FRESH JUICE: BULLY – RIGHT

Back in January when Donald stumbled into the Oval Office, Secretly Group- which encompasses a collection of independent American labels- embarked on their ‘Our First 100 days’ project. The project sees a different artist debut a new track every day for the first 100 days of the Trump presidency via Bandcamp. Today marks the 91st day of the project but today’s Juicy tune came out earlier in the week as at number 88 and its a rough as guts cut from Nashville indie rockers Bully  and the song is called Right.

Quiet is not necessarily a word that fits neatly into the same sentence as Bully, but it has been a little while since we’ve heard new music from the four piece. Packing all the familiar traits of a good Bully track, Right is a high octane head banger and is defiantly on the heavier end of the Bully spectrum. Kicking into gear early with punk paced drums and a whiny guitar hook, each member of Bully match each others intensity and maintain a fierce stride for the duration of the track. Not sure what Bully were up to in their two year spell but Alicia Bognnano’s voice sounds louder and better than ever. What I love about Right is how coarse Bognnano’s voice sounds. The vocals have been recorded and produced in such a way that makes Bognnano’s pipes sound like they’re too heavy for the speakers to handle. If you love Bully but hate bullies then give this track a hurl and subscribe to the ‘Our First 100 days’ project as all money raised “will go directly to handful of non-profit organisations fighting for inclusion and equality”.

Not sure if there if a sophomore album in tow but this will do for now.

 

FRESH JUICE: GIRLPOOL – IT GETS MORE BLUE

Girlpool have been doing wonderful things since they emerged a few years back, think I first heard them after everyone loved their SXSW set. And although I thought their simple, and honest jams on their debut LP were really strong – they have nothing on their new stuff. ‘123’ has been rinsed across radio lately, but I also implore you to check out ‘It Gets More Blue’, it retains the deep and emotive songwriting that is typical of Girlpool – but it’s got an added depth instrumentally, which really only adds the ~feels~ of the track. It’s a damn feeler, and it’ll fit right into your emo-lo-fi-folk-Alex-G playlist.

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The new Girlpool LP, ‘Powerplant,’ is out May 12th via Anti- Records.

GREEN BUZZARD SHARES OFFICIAL VIDEO FOR ‘DREAM IN/OUT’

Green Buzzard today shared their official video for ‘Dream In/Out’, as featured on their recently released Space Man Rodeo EP. The clip was directed by debutant Rik Saunders in his apartment with a handheld VHS camera. Hope you enjoy.

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Space Man Rodeo is out now via I OH YOU. Stream/Purchase HERE.

BRIGHTNESS DEBUTS VIDEO FOR ‘WALTZ’

Brightness has today shared a brand new single/video for ‘Waltz’. Speaking of the song, Alex Knight aka Brightness said “Waltz is a song of love and gratitude. My friend Alex (Crosby) and I experimented using an old Akai 1/4″ Reel to Reel for this song. The Tape itself had just about had it and you can hear another song bleeding through from one of its other tracks. It’s made up of one uninterrupted take using a single microphone, along with a mellotron part of the choruses that I overdubbed later”.

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Oblivion by Brightness is out now through I OH YOU. Stream or purchase it HERE.

FRESH JUICE: THE XX – A VIOLENT NOISE (FOUR TET REMIX)

Have you been going a little too ham on the XX’s new album? It’s ok, you’re not the only one. I have been too…. but who gives a fuck about me, so has Four Tet! Late last week the UK producer released a remix for A Violent Noise, which seems like an unlikely song to cover but man, does he make it work! The 20 year veteran is no stranger to an XX remix, in fact, today’s Fresh Juice complete’s the triangle as Four T has now remixed at least one track off all three of the XX albums.

Playing with different textures and moods, Four Tet takes A Violent Noise to new depths as he stretches out sections of the original track, creating a strong housy foundation. The XX are known for their space between beats; that cosmic dreaminess that really establishes the mood of the song, but Four Tet disrupts this template and fills all the empty space with a crunchy two- step- shuffle beat, hazy synths and distant vocal samples creating a whole new mood all together. What I really like about this track is the way Four Tet distorts those strange violent, siren-like, noises that are almost buried within the original version, and uses them, along with the catchy guitar hook, as a key effect in the climax of mix. This guy really murders any track he chooses to play around with. Cheers Four Tet.

ROYAL BLOOD announce exclusive headline show at Sydney’s Metro Theatre

After acclaimed sold out concerts in 2014, the Brighton bass-and-drum duo are back to perform an exclusive one-off headline show at Sydney’s Metro Theatre on Thursday 20 July before sharing headline duties at this year’s epic and already sold out Splendour In The Grass. Tickets for Royal Blood’s only Australian headline show go on sale Friday 28 April.

Since forming in 2013, the two-man band of Mike Kerr (bass guitar/vocals) and Ben Thatcher (drums) have taken their unique bluesy-psychedelic rock sound across the globe playing iconic festival stages at SXSW, Coachella, Reading and Leeds, and T in The Park as well as support slots for rock legends Foo Fighters and Guns N’ Roses. Their 2014 self-titled debut became the fastest-selling British rock debut in three years and hit #1 in the UK and #3 in Australia, as well as top 20 in 12 countries, including the USA.

In November 2016, Kerr and drummer Ben Thatcher, along with producer Jolyon Thomas, spent six weeks in a studio in Brussels that was decked out like a New York diner and featured a warehouse of antique gear. The album’s first single ‘Lights Out’ (out now) ups the ante from their debut with a wrecking ball of a groove cemented by Thatcher’s thunderous rhythms, while Kerr wrangles the twisted invention of his bass riffs to a whole new level. How Did We Get So Dark? (out 16 June through Warner) was subsequently completed after a final session in London with their debut album’s co-producer Tom Dalgety.

Renowned for their unpredictable kinetic energy and captivating live chemistry, Sydney fans will need to get in fast to secure tickets for this night of glorious rock!

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ROYAL BLOOD
With special guest Concrete Surfers
Presented by Frontier Touring & I OH YOU

Frontier Members pre-sale via target=”_blank”>frontiertouring.com/royalblood
Wednesday 26 April (12noon AEST)
to Thursday 27 April (12noon AEST)
(or ends earlier if pre-sale allocation exhausted)

General public on sale from 10am local time, Friday 28 April

Thu 20 Jul | Metro Theatre, Sydney, NSW (18+)
ticketek.com.au | Ph: 132 849

FRESH JUICE: GHOSTING – ONE SUMMER

If there was a ever a more perfect match made in heaven situation, it’s this. Studio Ghibli meets trip-hop. Let’s say that again in a bit more detail: the refined, gorgeous, shimmering, emotive, relaxed, unbelievable soundtracks from Studio Ghibli films meet trip-hop re-imaginings. Of course, there’s a huge sense of dread when you hear this too right? What if it’s completely butchered… Well, the best bit is that the artist behind this whole project, ‘Ghosting’, is none other than Andrei Eremin. You’ll know him as the producer/engineer from every single local song you’ve fallen in love with over the last few years. As Ghosting he’ll be creating a mixtape using soundtracks from every major Hayao Miyazaki film, and the first cut, ‘One Summer’ – from Spirited Away – is just like crushing me with it’s beauty right now. It takes the minimalist soundscape and breathes an upbeat, hip-hop influenced life into it. The original soundtracks may never be beaten, but Ghosting is getting damn close with this.

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The “Reimagining Hayao Miyazaki” Mixtape will be out ‘soon’ via Wondercore Island.

FRESH JUICE: NILUFER YANYA – THE FLORIST

Now I’m going to preface this piece with the fact I’m going to mention Of Monsters and Men in this piece; but please, pleeeease don’t freak out. Okay. Great. Here we go. This kinnnnnnda a little bit sounds like an Of Monsters and Men track, but in a way that reminds me of a version of that band that isn’t truly terrible. This is Nilufer Yanya, a London based solo artist, who is bringing a nice mix of pop and folk elements together for her new cut, ‘The Florist’.

Here’s a few reasons why you should ignore my aforementioned comparison:

  1. The insane opening guitar line that is reminiscent of a King Krule piece.
  2. The way it slowly builds from the poetic and emotive jazz verses to the super catchy pop-folk chorus. Before you can turn around and say, ‘I’m not into this’, it’s way too late – you’ve been caught. A testament to really strong songwriting.
  3. It retains it’s raw and unique soundscape the whole way through.

Anyway, this video involves gabber culture, and that’s always fun. Go watch/listen.

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FRESH JUICE: FATHER JOHN MISTY- SMOOCHIE

 

In case you haven’t noticed, Father John Misty is a peculiar dude. Misty is a truly enigmatic artist whose musicianship is as polarising as his personality. The rise and rise of the former Fleet Fox is pretty damn impressive when you think about it. I mean, it’s not all that often you see a drummer in a band like the Fleet Fox’s jump ship to pursue- and enjoy a very successful career in- a darker shade of Indie Folk music. Having admitted to exceeding his own expectations in terms of his solo success a long time ago, it’s comforting to see that he’s keeping the gas on with tracks like Smoochie, off his album that dropped late last week titled, Pure Comedy.

Putting the satirical/controversial nature of his lyricism aside, people often forget that Misty’s silky smooth voice alone is enough to grab your attention. Echoed by a barely audible demonic growl Misty shows off his pipes with the opening lines, “When my personal demons are screaming/ and when my door of madness is half open.” Resting beneath a faint slide- and acoustic- guitar, Misty expresses the weight of his inner angst and how the burden of his ‘personal demons’ and ‘concealment’ is made a little lighter by his partner’s love. A simple but powerful love song that sounds a little like Early Elton John.

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JUST ANNOUNCED: CONVERGE MANAGEMENT – A NEW MANAGEMENT ARM FROM I OH YOU

We’re so pleased to announce our expansion into management with a new arm of the company known as Converge Management to be responsible for the management of artists, producers and songwriters. It’s exciting to
begin our venture into territory beyond the record label, concert promotion and parties that I OH YOU company has become renowned for.

“I OH YOU has been something that has consumed the majority of my adult life and has allowed me to work with artists in a way that my teenage self used to dream of. I’m really psyched to see it now expand in a manner that will allow us to work with artists that we love in a way that we haven’t been able to thus far. I’m really excited about the artists we’re working with and what the future holds for them,” says Johann Ponniah.

With the announcement of Converge Management now out there, Johann and Scott are very happy to introduce you to the artists that the company are currently working with:

Melbourne band Rolling Blackout Coastal Fever who are signed to seminal Seattle label Sub Pop, along with Ivy League Recordings for releases within AU/NZ. The five-piece recently released their sophomore EP The French Press featuring the title track and wound up a hugely successful SXSW from which they garnered high praise from the NY Times and Pitchfork. The band have also announced a European run for September 2017 and sold out consecutive London headline shows within the space of a week.

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Brisbane five-piece, The Belligerents, who have released a pair of EP’s as well as a Fatboy Slim approved triple J ‘Like A Version’, along with a handful of cracking singles including ‘Caroline’. The band have just signed a worldwide deal with Sony and are gearing up for the release of their highly anticipated debut LP Science Fiction later in the year.

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Brisbane-based, German producer, mixer and sound engineer, Konstantin Kersting, who has worked with the likes of The Church, Big Scary, Kingswood, The Belligerents, Moses Gunn Collective, Mallrat, WAAX, Morning Harvey, The Furrs, Tia Gostelow, Ivey, The Vernons, The Jensens, Art Of Sleeping, Seja Vogel and Mosman Alder. He also has mixing and additional production credits on the latest record from The Jungle Giants.

Brisbane-based songwriter, Lewis Stephenson, member of both The Belligerents and Confidence Man. Stephenson has previously toured the world performing with bands such as The Jungle Giants and Morning Harvey.

www.convergemgmt.com | Twitter: @convergemgmt | Instagram: @convergemgmt