15th of May
Come down for a wholesome night of Dream Pop and Folk provided by Kaitlin Keegan, VIM and Taylah Carroll.
It’s been just under a year since The Rollercanes released their scratchy debut album and launched it to a rowdy sold-out home crowd at the Gaso Upstairs. The Melbourne locals have since dusted themselves off and stepped into 2019 with a brand-new track in hand. “Cost Of Living” explores the paradox of pursuing a life as a musician while trying to make sensible choices.
Whilst fuzzy guitars, thumping drums and self-deprecating lyrics are not unfamiliar in The Rollercanes music, “Cost Of Living” possesses a level of clarity and maturity that we haven’t seen from them before.
To celebrate this release, The Rollercanes will be heading out on the road and hitting up some of the best small venues this side of the planet.
Make sure you get down as they wrap up their tour with a big old party in Melbourne alongside their good friends Barefoot Bowls Club, The Stained Daisies and Jess DeLuca!
“Cost of Living” out April 5 via Main Offender Records
Available on all digital and streaming services
18th of May
$10 ON THE DOOR
Filth Dimension Alt Punks are celebrating the release of their popular debut EP ‘Heavy Peace’ and are gearing up for a release party Rock n Roll style at the Grace Darling Basement!
With their unique fusion of punk, rock and grunge they have developed a sound like no other. The three piece band delivers a high energy live performance with powerful vocals and heavy riffs.
Joining Filth D in the Basement are-
Sophomore, an exciting new group with members from (Mannequin Death Squad and Valentiine).
Sarah Eida Trio
Candy and The Dead
After selling out his first headline show of 2019, Zachary Leo is back to promote his new single ‘She’ at The Grace Darling Hotel. His blend of Funk, Rock, Blues, and Soul brings a versatile set which can cater to many. Joining him on the night will be good friends and fellow Melbourne Acts Velvet Bloom and Mona Bay.
NICEFEST is Art As Catharsis' showcase of progressive local music.
The Melbourne edition features post-rock standouts Bear The Mammoth, Sydney progressive trio Instrumental (adj.), the lush, immersive sounds of half/cut, the spacious shoegaze of Laedj, and the Melbourne debut of Black Aleph, who fuse ambience and drone with Persian instrumentation.
Unabashedly dorks Sweater Curse came together quickly when members Chris, Rei and Monica started captivating Brisbane’s local scene with their charm and evocative, jangly melodies. Writing songs that have been described as ‘slightly depressing but still groovy’ and ‘introspective, slightly sparkly indie-rock’ the band carved out a niche for themselves with a throwback feel.
It didn’t take long for Sweater Curse to catch on. With only two tracks to their name in 2017, the trio landed slots on sold out lineups with the likes of Camp Cope, Julia Jacklin, These New South Whales, Rolling Blackouts C.F., Jess Locke and Jen Cloher, as well as recent tours with Phantastic Ferniture, Polish Club and Horror My Friend.
Throughout the year the band maintained this momentum, also clocking up festival spots Blurst Of Times, Mountain Goat Valley Crawl, Against The Grain and Secret Garden. After releasing their second single ‘Don’t Call Me’ at the end of 2017, the band signed to New World Artists and headed out on a national headline tour, with the track stacking up airtime on triple j, Unearthed, FBi and 4ZZZ.
This year Sweater Curse have headed back into the studio, releasing their debut EP produced by Fletcher Matthews (Dear Seattle / Clews), as well as single ‘Can’t See You Anymore’ which earned them rotation on triple j as well as the coveted Unearthed Feature Artist slot. Now the band have released ‘Mon’s Song’, a track born of troubled relationships, vivid dreaming and psycho-analysis.
“I don’t think of music in terms of genre,” says Jack Gray. “I grew up listening to everything, so I feel like that sets the table for me as a songwriter.”
Take a listen to Gray’s captivating debut EP, ‘Nights Like This,’ and you’ll understand exactly what he means. Blurring the lines between pop charisma, R&B swagger, and rock and roll propulsion, the collection showcases the young Australian’s deft hand as both a writer and producer, one with a preternatural knack for infectious hooks and emotionally resonant arrangements. Gray sings with a seemingly effortless intimacy, his easygoing demeanor often belying the relentless work ethic and minute attention to detail that goes into each of his tracks. Calling to mind contemporaries from Jack Garratt and James Blake to Frank Ocean and The 1975, his productions show little regard for traditional distinctions between acoustic and electronic elements, frequently combining both into an ambitiously modern blend that feels instantly familiar and boldly adventurous all at once.
“When I’m making beats, I don’t care if I’m using an 808 drum machine or an acoustic kit,” explains Gray, who plays most every instrument on the EP himself. “If it sounds dope, I say let’s run with it and see where it goes.”
That up-for-anything attitude has helped fuel Gray’s success from the start. Just a few short years ago, the Queensland native was studying music at a conservatory in Brisbane when he received an unexpected invitation.
“This manager from Sydney reached out over email and said they heard my stuff online and wanted to record me,” he remembers. “I decided to just go for it.”
Those recordings landed Gray a development deal with Warner Music, who quickly added him to the famed 50 Songs In 5 Days songwriting camp in order to meet collaborators. Gray made such an impression on the team from event organizers Specific Music that they offered him a publishing deal on the spot.
Though Gray had suddenly gone from student to major label breakout star-in-the-making, his creative approach remained largely unchanged. He continued to work primarily in his bedroom, writing and recording by himself or with friends for the sheer joy of it, just as he had since childhood.
“My dad raised me as a musician,” Gray reflects. “He was a drummer, and my whole family played instruments, so I was surrounded by music growing up. I started off playing drums, guitar, piano, and bass, but when I finished high school, I got a laptop and started teaching myself how to produce in Logic. That software became like another instrument in and of itself for me. I was obsessed with it.”
Gray would put in countless days and nights fine-tuning his material, often writing the skeleton of a song in a quick burst of inspiration before producing as many as a dozen different versions of the track in search of the perfect vibe.
“I’ll spend a stupid amount of hours on the same song,” he laughs. “I’ve got a little recording setup right next to my bed, so I can work for a bit and then lay down and listen over and over again until I get it just right. I’m a perfectionist, but working on my debut meant that I had the luxury of taking my time until everything was exactly the way I wanted it to be.”
When not working in his bedroom, Gray often found himself working out of “Gracevan,” a caravan studio that his publishers set up on the beach in the small community of Fingal Head, just north of Byron Bay in Australia.
“It’s such an amazing creative space because you could be in the studio all day, but the beach is right outside your door,” says Gray. “If I lose inspiration, I can head out for a swim or a beer to clear my head. I’m my own producer and engineer and band, so I don’t have to follow anyone’s schedule.”
It was in the caravan that Gray penned some of his earliest singles, including “Red Rental Car” and “My Hands,” which earned him extensive international tour dates with multi-platinum Australian star Dean Lewis and collectively racked up more than two million streams on Spotify alone. While the singles made for a great introduction to his music, Gray was ready to tackle something a little larger with the EP, assembling a collection of songs written and recorded over the past two years that reflected his remarkable growth as an artist and producer.
“I’ve finally gotten my songs to a point where they sound like what I’ve heard in my head for so long,” says Gray. “That’s how I knew it was the right time for this EP.”
Capturing all the beautiful highs and messy lows of the journey into adulthood, the songs on ‘Nights Like This’ often juxtapose conflicting emotions, tackling weighty topics with subtle nuance and thoughtful reflection. “Down Side of Up” is a fast-paced sugar rush that clocks in at less than two-and-a-half frenetic minutes as it balances optimism and pessimism, while the slow-burning “Take Our Time” builds from a hushed piano to a dreamy synth-scape in its exploration of fantasy and reality, and the soaring and powerful “Bullet” examines human connection and loss in the face of depression and isolation. Perhaps it’s the radio-ready alt-pop gem “Fools,” though, that’s most indicative of Gray’s artistry. Grappling with the pull of nostalgia and the push to move forward, the track would ultimately go through an elaborate series of revisions and re-imaginings before ever seeing the light of day, with fourteen alternate versions eventually giving way to its final form.
It was a long and winding evolution, but, as with everything Jack Gray does, the results are more than worth the journey.
Melbourne based singer-songwriter, Harrison Storm releases his ethereal new EP, ahead of his largest run of Headline shows in Australia.
"this EP is a collection of songs I’ve been working on over the past year. A mix of songs written here at home and away on tour overseas. It was awesome to make these tracks come to life with producers, Edd Holloway and Nick Atkinson (Dean Lewis, Lewis Capaldi, Gabrielle Aplin) in the UK, as well as Hayden Calnin here in Australia. Really excited to get these out into the world” - Harrison Storm
Indeed, this new EP, feels like the culmination of his entire young career to date. Combining the warmth and sincerity of his first two EPs with the crowd-pleasing confidence and energy he has consistently displayed on the road.
With over two million monthly listeners and his music receiving over 105 million streams - This new EP is sure to be a big next step for Harrison.
Having just come off a huge 12 months of touring, supporting the like of Ziggy Alberts, Snow Patrol, Gregory Alan Isakov & SYML, Harrison can’t wait to get back to Australia and play to his fans at home.