Tagged: Electronica

Australian electronic dance luminaries THE PRESETS – Julian Hamilton and Kim Moyes – unveil their highly anticipated fourth studio album HI VIZ today.  Featuring the singles “Do What You Want”, which featured in triple j’s Hottest 100 songs of 2017, classic dance floor filler “14U+14ME”, and “Downtown Shutdown”, which is currently triple j’s most played song of the week, HI VIZ is destined to enhance The Presets’ already formidable reputation.

THE PRESETS’ are credited as producers on the album, while most of the record has been mixed by John Hanes who created the classic mix of “Uptown Funk”, as well as working more recently with the likes of Sia, Bruno Mars and Major Lazer.  Apocalypsocollaborator Scott Horscroft also mixed several HI VIZ tracks while Flume engineer Eric J mixed “Beethoven” – the pair’s nod to their Conservatorium years.

The release of HI VIZ will be followed by a national tour across June.  Commencing in Perth on June 13, it heads to Adelaide, Melbourne, Canberra, Wollongong, Sydney, Brisbane, winding up on the Gold Coast on June 29.

Julian said today, “However you are experiencing HI VIZ today – whether you’re at home with the vinyl, in the car with the CD, or streaming it off your phone on the way to work – just promise us one thing… that you’re gonna blast it loud.”

Both Julian and Kim individually produce other artists outside their Presets collaborations, and many of the artists with whom they’ve worked make HI VIZ cameos. “Are You Here?” features the DMA’s, whose latest album was co-produced by Kim, Alison Wonderland guests on “Are You Out Of Your Mind?” while Jake Shears from Scissor Sisters adds vocals to “Tools Down”.

It’s been a decade since The Presets delivered anthems like “My People”, “Talk Like That” and “This Boys In Love”. The pair had been making waves in Sydney’s clubs since forming in 2003 and signing to the influential Modular Records, but it was their 2008 Oz chart topper, Apocalypso, that first introduced them to wider audiences. That album was certified triple platinum and won them six ARIA Awards in their homeland. By contrast, 2012’s critically acclaimed Pacifica was comparatively introspective but epic gigs around the world – from Glastonbury Festival and Coachella to Splendour In The Grass – forged the duo’s reputation as Australian electronic music trailblazers.





Darling James returns with the first taste of new music he’s been constructing with teaser track ‘Didn’t Get It Right’. The Melbourne based artist, aka James O’Brien, flirts with melancholy on a track ornamented with sweeping synth, the lilting strings of a Zither and his clear, distinct vocal delivery.  

On his first release in 18 months, Darling James poses the question “Have you ever kept a tally of everything you’ve said but didn’t mean to?”. Partly confronting, partly cathartic, ‘Didn’t Get It Right’ makes inquiries many avoid, prompting us to examine our decisions and responses. While the lyric paints a picture of regret and self-consciousness the instrumentation offers a kind of redemption through a shimmering, hypnotic, zither motif which trickles over an ominous Stranger Things-esque synth bass. The polished production seamlessly wraps around an old-world song structure, building to a triumphant guitar crescendo. Every note here is deliberate and quietly calculated in true Darling James style.

Outside of Darling James, O’Brien has lead a colourful career so far, (co) fronting seminal Melbourne-via-Brisbane stalwarts The Boat people, writing a break-out hit with powerhouse pop duo YesYou, touring extensively with Machine Translations and working in Kate Miller-Heidke’s live band. He’s graced national stages including Splendour In The GrassWoodford Folk Festival, Sunset SoundsBig Day Out and Southbound Festival.

Darling James’ debut EP Theory of Mind, released in late 2016, saw the multi instrumentalist earn rotation adds to triple j and Double J, gain over 120,000 streams onSpotify for lead single ‘Ultimatum Talk’, sell out hometown shows and play supports withOlympia, The Church, Dan Kelly and Ella Hooper.  ‘Didn’t Get It Right’ brings with it the promise of new music, songs draped in Darling James’ urgent lyricism, intricate and deliberate instrumentation, and pristine production.