South Australian rockers Indiago have returned with their new single Gusto; a warm blend of ambient guitars and huge sound to deliver a breath of fresh, rocking air.
Off the back of their independent release Loose Change last year, their new trackGusto is a testament to the complexity and diversity of the young band’s songwriting.
After heading back to their Adelaide Hills-based studio, managed by new addition to the band, Matt Cooper, the four young lads have emerged with one of their most uplifting and soulful songs to date.
“We’ve been through a lot of changes over the past twelve months,” says frontman Will Solomon.
“I think this is a perfect example of where we’re at musically, and the song stands as adedication to those who’ve stuck with us.”
The smooth, warm tones of Solomon’s hollow-body guitar open up the song beforediving into a driving bass and drums section by Matt Cooper and Shane Cox. Soulful, delicate vocals cut across the mix, helping to mould the first verse.
After a catchy, pre-chorus vocal lick, the song returns to the opening guitar riff before bounding into a fast-paced second verse and, finally, opening out into a huge, anthemic chorus.
You can discern elements of early Kings Of Leon, alongside the massive sound of Gang Of Youths and Foo Fighters, which comes as no surprise as they’re among some of theband’s biggest influences.
“There’s this idea of someone sticking by your side, regardless of the outcome, free of selfishness, and full of encouragement,” says frontman Solomon.
The song stands as a tribute to the band’s longtime supporters and a testament to what these boys are capable of.
Gusto hits all the right notes as a rocking tune with a heartfelt message that all listeners can relate to.
Since Phil Lewis began his musical career in the late 80s, he’s brushed shoulders and played with some of the most well-known rock stars, some still on the scene today. As the singer for glam rockers LA Guns, the music he’s released has had a massive impact on those that were on the scene when he started out, and still inspires many today – of course, not everyone is going to love what LA Guns do. “I get a lot of compliments, I’ve been slagged off a bunch of times too,” he says, his English accent balanced with an American twang. “It’s always nice when people say nice things about you but the public can be fickle – they’ll love you one day and they’ll hate you the next.
“I’ve been in both sides because I have been doing this such a long time now, it’s inevitable I would see all kind of aspects. It’s still a great job I can’t think of anything I’d rather be doing and I don’t know how I feel personally, about my influence honestly – you’d have to ask them I suppose.”
Though Lewis isn’t based in Los Angeles anymore, hanging out on Sunset Strip played a massive part in propelling his career in those early days, though those of us who’ve weathered the streets that so many stars have stepped are often disappointed with what we find. “People have an expectation for it to be like it was in 1978 and it’s not, it’s not even like it was in 1988,” Lewis says firmly. “It’s a bit of a shadow of its former self to be honest with you – venues closing down left right, the West Hollywood scene, the Sunset Strip scene, is roughly 10% of what it used to be and I can understand how that might be [a] disappointment for people but that’s the reality of it.
“I’m in Vegas now, just down the road by LA standards, because I couldn’t bear how populated LA’s become. The density of people, it got to me. It wasn’t like that when I first moved out. It’s just filled with people that really have no business being there. People like the weather, they like the lifestyle or whatever, but it’s just so overpopulated, so expensive. It’s hard to do anything – it’ll take you an hour in Hollywood to drive ten miles. I couldn’t bear that.
“I know we [LA Guns] are very much diplomats for Los Angeles, Southern Cali, that whole Hollywood scene, but I agree, it’s nothing like it used to be. It always was fake, let’s be very clear about that. It’s a shallow town, you just scratch beneath its shiny, gold surface and its rusty tin underneath it, and it always has been that’s just the nature of LA, it’s a bit of a whore.”
Groups like LA Guns ultimately had to break through the greasy film that covered Los Angeles to get out and perform elsewhere – and now, they’re here. LA Guns are on Aussie shores with the “original” lineup, a roster that sees Lewis reunited with founder and bandmate Tracii Guns. “Yeah me and Tracii – we’ve never played there together – we’ve both been very in separate projects so this’ll be a first for us,” says Lewis. “There aren’t many new firsts we haven’t done so we’re really looking forward to it. It’s good to be in LA Gus right now.”
Still experiencing firsts some 25 years into their career, Aussie fans can expect a fresh injection of life into classic LA Guns repertoire, all because of one element that exemplifies their bond – chemistry. Chemistry between players, musicians, is very important, fundamental,” says Lewis. “Even though you can have two guys playing the same guitar part, the same song, it’s gonna have subtle influences that are actually quite different.
“Tracii, his playing, his style when we work together, he puts a flame up my arse. He makes me work harder than anyone else, than any other guitar players. There’s just something about the chemistry between me and him when we’re together and that we bring out in each other, that’s very unique and I haven’t felt that with anyone else.
“To have that partnership with somebody that who music just flows through his veins 24/7, he lives and breathes guitar music and it’s great, especially after a hiatus of well over 15 years. There’s something hard to put into words, but it’s a chemistry.
The Sword know no boundaries. JD Cronise [vocals, guitar], Kyle Shutt [guitar], Bryan Richie [bass], and Santiago Vela III [drums] take their own conception of heavy psychedelic rock beyond the realms of perception. You feel the pounding in your ears and you feel that vibration in your diaphragm, but this is an attack that is wholly joyous and uplifting.
Basking in the glow of the outstanding 5 star reviews for their latest album ‘Used Future’, The Sword bring their sonic journey in from the outer reaches of the galaxy to a city near you.
Inspired by classic rock originators such as Black Sabbath, Led Zeppelin, Deep Purple, Thin Lizzy, Iron Maiden, ZZ Top and classic eraMetallica, the Sword have forged their own identity melding buzzsaw guitars, 60’s garage, 70’s psychedelia and a decent dollop of sludge with lyrics exploring mythology, science fiction literature and introspective philosophy. The result is a spellbinding concoction of gut wrenching bliss.
There are very bands over the years that have been so different that their work has pretty much placed them in a genre of their own – but that has certainly been the case for American modern progressive metal innovators The Contortionist. Their last album Clairvoyant had music journalists and lovers scratching their heads on what to class them as… the end result was a genre of their own.
Now The Contortionist is teaming up with UK djent-metal pioneers SikTh for a tour of Australia and HEAVY Mag was able to catch up with guitarist Cameron Maynard ahead of the tour.
“I think I can talk for everybody in the band when I say that we love coming to Australia, “ says Maynard. “It’s exotic but reminds me of the States, everybody speaks English and there is this kind of cowboy machoness that I see in the States a lot to… that’s why it is similar. It just feels like we are in California the whole time and that’s great, but yeah we are very, very excited. Every time we come down to Australia, and we don’t do it very often, but we love coming down there and this time is especially great because we have got SikTh, and a little bit of information that you may not have known but The Contortionist, especially Robbie and I we were very much influenced by that band – the structures, the melodies, their guitar riffs, things like that, we have certainly taken an direct influence from that. It is surreal for us to be going down there and playing a show with them.”
I ask Maynard whether that means they are a little bit in awe of what is happening with this tour or whether it means in a way they have ‘made it.’ “It’s a good feeling,” he says really thinking. “We used to get butterflies and anxious about how we were going to do things, but I think especially with this tour it is something that we are excited about and we just can’t wait to get down there and do it. Like-minded people getting together to play music, I can’t get much more perfect than that really.”
The Contortionist hits Australia with SikTh very soon. All details are below.
Hostel will hit the road throughout June and July to celebrate the release of Malevolent and unleash their brand new tracks on some unsuspecting and also many welcoming ears!
TOUR DATES Saturday, June 9: The Basement, Canberra
Sunday, June 10: Rad Bar, Wollongong Friday, June 15: Hideaway Bar, Sydney Saturday, June 16: The Vault, Newcastle
Sunday, June 17: Born2Rock Studios, Central Coast Friday, June 22: Prince Of Wales, Brisbane Saturday, June 23: Kirra Sports Club, Coolangatta
Friday, July 6: The MusicMan, Bendigo Saturday July 7: Mr Boogie Man Bar, Melbourne
Formed in early 2017 and previously known as Kitten Hurricane, the band released their debut EP, Fake Friends And Bitter Ends, which demonstrated their ability to deliver quality songs based around heavy grooves and solid riffs. The addition of a second guitarist added much more beef to their sound and with that came a change in direction.
Taking their name from the Eli Roth and Tarantino horror movie about some fucked up shit that happened to some clueless back packers in Eastern Europe, Hostel more accurately reflects the bands music today than their previous moniker.
Dark, mysterious and eerie, Hostel’s sound sits with one foot in post black metal territory and the other in the savage riffage attack of death metal.
Brutal rhythm guitars, rumbling bottom end, swathes of grand keyboards and etherial guitars all underpinned by a vocal delivery full of anguish and despair.
“Prevail II” is the proverbial yang to the yin and continues right where KOBRA AND THE LOTUS left off in 2017. The album is out TODAY!
The band is pleased to unveil their video for a cover of the Fleetwood Mac classic “The Chain”.
“We couldn’t be more stoked to release the final closer to our “Prevail” album series!! We’ve chosen a classic, recorded in 1976, and we hope to connect and carry the magic forward from that musical era.Here it is, “The Chain” by Fleetwood Mac, in full Kobra and the Lotus spirit. Can you recognize it?” says Kobra about the video and song.
Watch the video for “Let Me Love You” HERE A lyric video for “Losing My Humanity” is streaming HERE!
Globally renowned, chart-topping band DEVILDRIVER recently announced the upcoming release of their highly-anticipated full-length album of outlaw country-gone-metal anthems, Outlaws ‘Til The End: Vol. 1.
The monstrous collection of savage metal interpretations will be released via Napalm Records on July 6, 2018, and pre-orders are available now in multiple formats via www.nervegas.com.au/napalmrecords
The wait is over for new music! DEVILDRIVER just dropped their full, haunting rendition of Hank3‘s “Country Heroes”, featuring Hank3 himself on vocals. The album’s starter track kicks in with an ominous classic outlaw/country western intro, instantly careening into a heavy assault accented by Hank3‘s Ozzy Osbourne-influenced vocal approach. Quickly veering towards full heavy metal with a grooving double bass foundation, the track travels into heavy-hitting signature DEVILDRIVER territory, wrapping up with a hair-raising, whiskey-soaked solo by guitarist Neal Tiemann.
“This record would not have meant as much to me without having Hank3 on board,” says DEVILDRIVER vocalist Dez Fafara. “He is one of the most authentic and real outlaw country artists out there right now. I chose to record “Country Heroes” because the lyrics are extremely well-written, and using the names of all the outlaws within the song really does the song justice. ‘I’m drinking some George Jones and little bit a Coe…’ etc., that is genius writing from Hank3 and should be recognized as such.”
“I’ve heard this song as ‘heavy’ in my head for a very long time, so to re-track it and have Hank3 appear only to sing almost Ozzy-ish is just an over the top treat to the ears! Enjoy,” adds Dez.
DEVILDRIVER recently revealed part one of a new interview commentary series supporting the release of Outlaws ‘Til The End: Vol. 1. Entitled “Intro to Outlaw Country”, part one features members of DEVILDRIVER as well as album guests Randy Blythe of Lamb of God, Lee Ving of Fear, Hank3, Wednesday 13, Burton C. Bell of Fear Factory and Brock Lindow of 36 Crazyfists discussing their personal introductions to the outlaw country genre and how it has influenced them as musicians.
From the opening seconds of Hank3‘s”Country Heroes” onward, Outlaws ‘Til The End: Vol. 1 is simply one of the most invigorating records the band have made yet. More importantly, these evocative, irresistible songs have all been wholly rebuilt from the ground up, powered by the classic DEVILDRIVER sound and embellished with Fafara’s unmistakable feral roar. Outlaws ‘Til The End: Vol. 1 was produced, mixed and recorded with Steve Evetts (Dillinger Escape Plan, Every Time I Die, Sepultura, The Cure), and co-produced by DevilDriver guitarist Mike Spreitzer. The album was mastered by renowned engineer Alan Douches.
Completing this unprecedented project is a host of metal and country luminaries providing unforgettable cameos: horror metal icon Wednesday13 lends his incensed rasp to George Jones’ “If Drinking Don’t Kill Me”, 36 Crazyfists frontman Brock Lindow brings fire and soul to Steve Earle‘s, “Copperhead Road”, and Fear Factory‘s Burton C. Bell helps to turn Richard Thompson‘s anti-war classic, “Dad’s Gonna Kill Me”, into a brooding gothic metal extravaganza. Meanwhile, Lamb of God members Randy Blythe and Mark Morton contribute to an exhilarating decimation of Willie Nelson‘s “Whiskey River” before Randy makes a second appearance on DEVILDRIVER‘s version of cowboy standard “Ghost Riders In The Sky”; the latter featuring the son and daughter of Johnny Cash himself, John Carter Cash and Ana Cristina Cash. The album also features the iconic voice of Fear, US punk rock legend Lee Ving, on Johnny Cash‘s “The Man Comes Around” and David Allan Coe‘s “The Ride”.
Track listing: 1. “Country Heroes” Written by Hank Williams II Performed by Hank3 & Dez Fafara
2. “Whiskey River”
Written by Johnny Bush and Paul Stroud; recorded by Willie Nelson Performed by Randy Blythe, Mark Morton of Lamb of God & Dez Fafara
3. “Outlaw Man”
Written by David Blue; recorded by the Eagles Performed by Dez Fafara & Neal Tiemann of DEVILDRIVER
4. “Ghost Riders in the Sky”
Written by Stan Jones Performed by John Carter Cash, Ana Cristina Cash, Randy Blythe & Dez Fafara
5. “I’m the Only Hell (Mama Ever Raised)”
Written by Bobby Bobby Borchers, Wayne Kemp, Mack Vickery; recorded by Johnny Paycheck Performed by Dez Fafara & DEVILDRIVER
6. “If Drinking Don’t Kill Me (Her Memory Will)”
Written by Harlan Sanders, Rick Beresford; recorded by George Jones Performed by Wednesday13 & Dez Fafara
7. “The Man Comes Around”
Written by Johnny Cash Performed by Lee Ving of Fear & Dez Fafara
8. “A Thousand Miles From Nowhere”
Written by Dwight Yoakam Performed by Dez Fafara & Neal Tiemann of DEVILDRIVER
9. “Copperhead Road”
Written by Steve Earle Performed by Brock Lindow of 36 Crazyfists & Dez Fafara
10. “Dad’s Gonna Kill Me”
Written by Richard Thompson Performed by Burton C. Bell of Fear Factory & Dez Fafara
11. “A Country Boy Can Survive”
Written by Hank Williams Jr. Performed by Dez Fafara & DEVILDRIVER
12. “The Ride”
Written by J.B. Detterline Jr., Gary Gentry; recorded by David Allan Coe Performed by Lee Ving of Fear & Dez Fafara
Founding KISS guitarist and Rock and Roll Hall Of Fame member ACE FREHLEY has released a brand new single today titled “Bronx Boy.” The new single is the first track of an all-new, untitled full-length solo LP to be released this summer. “Bronx Boy” is available on all digital music services starting today.
Sunshine Coast World Music legends Dubarray have just released their new single and music video ‘Inner Sanctum’. The single is the title track from their new upcoming album, which is set for release on Friday 18th May 2018.
Dubarray have also announced that their highly anticipated album is now available for pre order on iTunes.
Uplifting, Soulful & Euphoric, Dubarray combine a fresh fusion of boundary bending world music that infuses styles such as trip-hop, drum & bass, house, reggae, funk, dancehall and tribal grooves layered on a bed of electronic ambience and organic undertones.
Dubarray formed in Europe 6 years ago and built a solid foundation thanks to a relentless live touring schedule. They have since released 3 Albums and 5 Singles, returned to tour Europe multiple times, hit the Australian road for many national tours and have been nominated for various Music Oz and Queensland Music awards.
Dubarray have appeared at many festivals in Australia and abroad including Splendour in the Grass, Woodford, Wanderlust, Island Vibes, Luminate, Palm Creek,Nannup and Earth Frequency (to mention just a diverse few.)
New single ‘Inner Sanctum’ is available for download on all major online stores.
Missy Higgins’ fifth studio album, Solastalgia, is unveiled today. The beloved singer/songwriter has vaulted back into the spotlight this year. Her new singles ‘Futon Couch’ and ‘Cemetery’ ignited playlists everywhere, an impassioned appearance on ABC-TV’s “Q&A” provoked national debate about refugee policy, and a stadium tour as Ed Sheeran’s special guest ensured Australia fell in love with her all over again. Not surprisingly her headlining national tour – which starts next week – sold out faster than any in the last decade.
So 2018 marks an exciting new phase in Missy’s career but it also signals a fresh start creatively. She has clearly absorbed some fresh influences since her last collection of original songs, The Ol’ Razzle Dazzle (2012), joined The Sound Of White (2004) and On A Clear Night (2007) in debuting at #1 on the Australian charts. The three albums have collectively sold over a million album copies in this country and earned her nine ARIA Awards but Solastalgiasees Missy exploring new frontiers. Synthetic soundscapes and drum loops now underpin the organic pianos and acoustic guitar tones that people typically associate with her, perhaps reflecting the addition of new production collaborator Pip Norman (Tzu, Troy Sivan) and mixer John O’Mahony (Vance Joy, Coldplay, Metric).
The album also sees some different lyrical approaches.
“I’ve always tried to write honestly about what’s going on inside my head and that’s still the case so in a way nothing has changed”, Missy explains. “When I was a teenager I was writing songs about early heartbreaks and other stuff I was experiencing but my life’s very different now. I got married. We had a baby. My priorities have changed and my thoughts are gravitating towards different things like, well, the end of the world!”
The title Solastalgia refers to the existential crisis people feel when confronted by seismic environmental change so as the word suggests, there actually is a bit of an apocalyptic theme that runs through many of the new tunes. “How Was I To Know” (co-written and produced with Adele collaborator Dan Wilson) literally contemplates “the end of everything” while “Hallucinate” is a tense and restless rumination on a fragile future. Clearly this is the same yearning and earnest songwriter who penned Australian classics like “Scar”, “The Special Two”, “Where I Stood”, “Steer” and “Everyone’s Waiting” but she has simply moved into a different phase of her life. She’s still grappling with finding meaning and sharing it in her work but the stakes are now even higher.
“I’m sure that subconsciously it was all shaped by having a baby”, says Missy. “For the first time I started thinking about the future more seriously and more personally. I started asking “what kind of world is my little boy going to experience when he grows up?‘. And if you stop and think about it like that it can be bloody terrifying. Just watching the news at night can make you want to cover your eyes. Plus I’d been reading some climate-fiction (cli-fi) and post-apocolypic literature so that also caused a bit of an existential crisis that shaped some of these songs too.”
But while the word “solastalgia” describes this exact fear it is actually a hybrid of the latin terms for both “comfort” and “pain” so the picture isn’t one dimensional. On tracks like the album’s first hit single “Futon Couch” Missy playfully recounts the story of how she met her husband at a Broome share house. “The Difference” sees her embracing the idea that things can be changed for the better while “Red Moon” (co-written and produced with Tove Lo and Broods collaborator Alex Hope) is an end-of-days romantic fantasy.
Her new single ‘Cemetery’ looks back fondly on a moment of youthful indiscretion and the music video for that song is also released today. Missy says, “I had a blast shooting this with my good friend and long-time collaborator, Natasha Pincus. She also directed my videos for ‘Everyone’s Waiting’, ‘Unashamed Desire’ and ‘Oh Canada‘. In other words, she’s bloody brilliant. This video was shot all in one take, and I have to thank the whole camera and lighting crew who put in so many hours getting their moves so perfectly right, so that I could just come in and sing the song. Then of course there’s the VFX (the little lights you’ll see as the clip progresses) which were done by dream-team GRAMM. I’ve never done a black and white clip, nor a one-shot clip before that was so stripped back and raw.”
In an era where albums are increasingly being sidelined by individual tracks Solastalgia is a defiant piece of work. It makes the case that a dozen songs in a row by one artist can fill a broader canvas picture that’s worth the time required to absorb it as one piece. While playlists can clearly be fun and there are songs here that can fit on them, this is a genuine album in the classic sense of that word.
“My loved-one said to me that this album feels like “a meditation on Time” – he’s a playwright so he gets to say profound things like that but I think he’s spot on. The notion of time has changed so much for me since becoming a parent. I’m now both imperative to someone’s survival while simultaneously obsolete in the grander scheme of things. I now look into the future and think about the world I am bringing my son into and what a debilitatingly huge responsibility that is. I think about the mistakes I’ve made and how I can try to make the future safer, for him and his children and their children and their children. At the same time though I think about the capacity for love I feel right now that I never knew was possible. That in itself gives me so much hope that maybe things will turn out OK after all. Especially when I think about all the balls of love out there in people’s chests, not just for their children but for each other, their friends, their family.”
“The forces in both directions just feel so much bigger and stronger now that I’ve literally got more skin in the game. It’s a huge journey, this album. Through hope and despair and ultimately hope (I hope!).”