Emily Wurramara

Emily Wurramara’s childhood was one of water and music. Growing up on Groote Eylandt, days were filled with travel, fishing and extended family, a mother telling stories of dreams and dolphins that would one day become the seeds of Emily’s music. In almost the blink of an eye the young fresh faced artist who debuted her breakout EP ‘Black Smoke’ in 2016, has matured into a now seasoned award winning Indigenous performer and a proud new mum with her own stories to pass down to her daughter.

With her daughter, K’iigari, born Boxing Day (2017), a freshly inked publishing deal with Mushroom Music, and the long awaited mid-year release of her debut album, Milyakburra, a dedication to her community – 2018 is shaping up to be the biggest one yet for Emily Wurramara.

Recorded with award winning producer David Bridie, Ngarrukwujenama is the first taste of the album to come. As an environmental activist, the earth has always been at the forefront of Emily’s song writing. Sung in her first language Anindilyakwa, Ngarrukwujenama means ‘I’m hurting’. Personally referred to as ‘The Seabed Mining Song’, in Emily words “This song was written in response to the mining on Groote Eylandt, and in particular the battle fought by the community, which saw the NT government place a total ban on seabed mining around Groote Eylandt in 2013, respecting the concerns of traditional owners about the destruction of the seabed and cultural songlines.  I’m passionate about protecting this earth and everything living on it. Ngarrukwujenama talks about how we all come from the sea and how it’s our duty to protect and cherish her, and the pain we cause when we don’t. The song is an anthem and a reminder to care for this beautiful country.”

Jan 26 – is a day of mourning for a lot of Aboriginal Australian’s. This date marks the anniversary of the 1788 arrival of the First Fleet of British ships at Port Jackson, New South Wales and the raising of the flag of Great Britain at Sydney Cove by Governor Arthur Phillip. Emily says “This date marks the start of so much devastation for Australia’s first people, which is why we can’t all celebrate this beautiful country on this date.” Emily’s continuous dedication to educate about Indigenous culture and standing up for environmental change is the reason she has chosen the week of this date to release Ngarrukwujenama.

2017: Off the back of her breakout 2016 debut EP ‘Black Smoke’ Emily toured nationally and internationally while amassing almost 1 million Spotify streams, 22K Shazams, 48K YouTube views, rotation on JJJ and ABC Local x 2, 10 weeks in the AMRAP charts (over 112 stations in 6 months) and airplay in every state and territory all whilst winning herself a Queensland Music Award, gaining places as a Triple J Unearthed BIGSOUND Artist, a Triple J Unearthed Feature Artist and showcasing at Folk Alliance International in the United States.

2018: Emily has a huge year planned, not the least of which is the release of her first full length album, Milyakburra, (which is a celebration of her home, community, culture, friends and family) National touring, feature performances at a range of festivals across the country and some new collaborations, together with some key dates in the United States and Canada will see Emily continue to establish herself as a force to be reckoned with.

Her music has been sent to heal our spirits.
SBS Living Black Radio

You take me to such a vivid place in my head. I can see everything you’re singing.
Gemma Pike, Triple J

Her voice is faultless, her passion forthright, and her culture imbued in everything she does. 
Triple J Unearthed

Eskimo Joe

To paraphrase the younger Bono, ‘there’s been a lot of talk about this album. Maybe, maybe too much talk’.

Eskimo’s Joe’s sixth album,WASTELANDS, is only just landing, but has been lauded for some time now, from its highly successful Pozible crowd-funding campaign – an important part of the story, but not the whole story – to the early word that the band had gone… electronic?

Rest assured, there’s always more textures to any story, including this one. This ain’t Electro Joe. “As far as our music’s concerned it’s more of an electronic album,” Stu MacLeod says by way of qualification. “There’s drum machines, there’s a hell of a lot of synths. But at the same time there’s a lot of organic grounding.”

“The synths are all analogue,” Kav Temperley points out. “The drum machine’s from 1980 or something. So it’s like, we have the technology, it’s just that all the technology is older than all the guitars we’ve been using for the last couple of years.”

“I don’t know if we’d be qualified to make an electronic album,” says Joel Quartermain. “We don’t know how to work the gear. Nothing is programmed, it’s all played.”

“Put it this way, we’re not going to be up against The Presets in the ARIAs,” laughs Stu.

Even so, album number six from Eskimo Joe was always going to be about doing things differently. In 2012 the band left its long-time record label and in the course of writing and demoing were searching for direction. “We wanted to go about doing something with a really good bass and drum groove with vocals that had a bit more subtlety to them up the front,” Kav notes. “We decided to get a producer because we’re probably a little bit old and set in our ways.”

Enter Burke Reid, formerly of Gerling and a masterful producer in recent times for The Drones, Oh Mercy and The Mess Hall. “It was like we needed that third party to come in and give us permission,” Kav continues. “‘It’s okay, you’re allowed to do this’. We needed to let go and when Burke came in he was able to make that happen.” 

Reid, actually had to be talked into it, but it seems that initial uncertainty brought in the kind of objective voice the well-established Eskimo Joe was looking for.

“When we first approached Burke he saidI don’t know about that. I’m not really into your band’,” Joel recalls “And we respected that. But we sent him three tracks and he got back saying two of them were great and got him really excited. He’d made records that we liked listening to that sounded nothing like us. I think he has a reputation of being the guy who comes in when a band wants to change their direction a bit.”

For his part, Reid utilised the trio’s strengths – innate chemistry and an ability to be frank with each other – while throwing curve balls at them. Hearing otherwise ‘good’ takes, Reid would ask for them to then be played backwards or in reverse, verily untangling expectations – both the band’s and, eventually, that of their audience.

In doing so, Reid found a voice that had been long unheard in Eskimo Joe, a naivety before the band’s sound began to cluster to the fact they were a road-hardened entity, writing albums in that manner for the next eight years. “We came home this time wanting to do something a little different,” Kav says, “but at the same time do something that we could all dance to.”

The band’s own preconceptions about its identity were cast aside. Songs didn’t have to be a certain way, not did there have to be certain types of (Eskimo Joe) songs. “We wanted to have fun and I think you can hear that,” Kav says. “There’s certainly an emotional content going on, but when the grooves kick in there’s a sense of fun, which I think is something you can hear on our first record (2001’s Girl).”

Joel notes that the band had the luxury of eight weeks to record, which itself allowed more time to try out different instruments and takes and let that guide the album to where it would go. Unusually, the songs weren’t fully written in the demo stage, so blueprints were not in place and structures were often changed many times over. “Every time there was a change to a song it was positive,” Stu notes, “it was an evolution.”

Accidents. Spontaneity. Unlikelihoods. Some songs stood firm from the get-go and others seemingly arrived with passports and went on journeys.

“The songs that survived from the early stage right through were Got What You Need andDisgrace,” Kav says. “Disgrace went from this Dusty In Memphis sort of thing to the ‘New Work Of Eskimo Joe’. Running Out Of Needs has become quite an important song, it’s quite fitting that it is the opening track. It takes you on a little bit of a journey, through old Eskimo Joe into this new place. It sets the flavour for the record. Sonically, it takes you from one place and invites you into this new world.”

Having recorded the entire album in their own studio, for themselves and their fans, with music industry politics not in the mindset, Eskimo Joe have gotten back to the ethos that set them on this 16-year odyssey in the first place.

“I think when you have a difficult record, where everyone walks away exhausted from it, that shortens the life a little bit,” Kav says. “This record was such a reinvigoration for everyone that it feels like the horizon is getting a little bit longer again. You can see further into the future”.

“I think that is something we’ve managed to create for ourselves with WASTELANDS,which is a really positive thing.” 


“If there’s stuff that’s hurt you along the way let it out. Music is the one to heal it.”

It’s been a four-year long healing process for Esoterik, who has been inspiring listeners for over a decade as one-third of Australian hip-hop powerhouse Bliss n Eso. During one life-changing month, Esoterik kicked his heavy drinking habit and married the love of his life. Now inspired by the love of his wife, blessed by a new baby boy, and with a renewed vitality, the Sydney MC has delivered his debut solo EP full of vibrant beats and unashamedly honest lyrics.

It could only have been the formidable combo of Melbourne producers Cam Bluff (also responsible for Bliss n Eso’s Off The Grid) and Nic Martin who were capable of capturing Esoterik’s unstoppable natural energy. On the quest to write songs he hadn’t written before, Esoterik challenged Bluff to create tracks that weren’t traditional, and found a new world of sounds that Esoterik then flew freely into and made his home there. Trap beats, groovy bass, sentimental piano, rousing brass and countless other surprises make up the invigorating kaleidoscope that is My Astral Plane. Each of the 9 tracks is completely distinctive but united by the impassioned drive to escape our mundane lives and find that blissful moment of freedom.

Second track ‘Just For You’ is one such moment of infectious love and belief. Written from a hook he made up whilst bathing his son, the zesty and soulful track is a motown-infused ode to his family, and indeed the listeners themselves.

‘Love Is The Vibe’ captures the playful vibe of watching The Jungle Book with his son, spitting lines about King Louie, Spongebob, The Simpsons and the wicked witch. “My wife and my boy are the guiding lights,” Esoterik explains, and their positive influence is clear.

Also joining the celebrations are a roll-call of local and international artists to watch. Up and coming Sydney-sider imbi the girl shines on closing track ‘Wide Awake’ with her slightly sweet, slightly raspy, all around fierce vocals. Indiana rapper Spazzy D adds to the anthemic track, melting his laid-back rhymes through an inciting verse as he joins the mission towards flying high in life.

Melbourne producer James Crooks and Tassie songstress ASTA lend their talents to the summery banger ‘Be Like You’, penned as a track dedicated to anyone struggling with addictions. With blatant lyrics like “It’s a shame that to get by we get high to live painless,” Esoterik hasn’t shied away from sharing his experiences, even if they contradict the party vibes.

“I wanted to be able to really self-express on this record, trying to let the listener understand something that’s human. I wanted it to be real. Being able to talk about my struggles with addiction and with alcohol, and being able to show that there is another side to it. The kids don’t look up to politicians, they don’t listen to their teachers. It’s rappers, comedians and artists that are guiding them in my opinion.”

Esoterik is exactly the type of rapper that should be guiding the next generation. This phenomenal debut features all the lightning fast quips and fiercely fresh tracks that entice young people towards hip hop, but more than anything it’s chock full of moral goodness. This is the type of record that can inspire people to make the most of themselves and the people around them, and that’s because nothing has been held back.

“To really put your feelings on the table isn’t the cliché thing that men are doing in rap. I think it’s important to be able to show that rapper, and men in general have feelings and we can express ourselves.”

My Astral Plane documents Esoterik’s journey through touring and partying to self-discovery. He describes, “The new man that I have become after standing over the devil and jumping to freedom. My son and my wife are the golden jewels of my life. It was only through them that I even had the confidence to go “You know what, I want to do this”. Because I’ve got them in my corner.”

With an outlook on life this powerful and positive, we’re sure everyone will be in Esoterik’s corner soon too.

Evil J And St Cecilia

As girls they had sung together, The songs of olden days. Saint Cecilia from the ocean shallows, Howled with the soul that dwelled in the branches shadows. After centuries of hiding in the forest shade The Evil J had taken on a plant like form. As her curiosity grew so too did her roots, Until one day she could no longer move. Filled with wonder and desperate for adventure She called out to the gullible sea nymph, Cecilia. Using songs and smoke signals she lured her From the clear ocean, deep into the forest. There, in the shadow of an old willow tree Cecilia met the voice she had heard, but never seen. The twisted being wrapped it’s splintered arms around her, Begging to be carried out into the world. Moved by compassion for the poor stuck soul Cecilia agreed to carry her to the far and distant land of Botania. Fused by spine and lung, the two set out on a voyage of great discoveries. The strange beasts they encountered filled their heads. New songs that needed singing drowned their dread. By the time they reached the Promised Land They’d forgotten what they came for. Lost in a haze of combined memories and desires They decided to stay bound together in eternal wandering. Eventually the pair settled into a cave of wood and glass. There, armed with an omnicord (with a loose power socket) And all the instruments they had collected on their travels, They set out to capture songs. Onto an old and unreliable tape machine They sang of their adventures and of their dark desires. Helped along the way by kind passers by Hands of the ancient and cries of the young A Goat boy and his herd, bleated and drummed They filled two reels before fate ripped them apart. And so the tapes remained unmixed deep in the cave of Botania, Until the mixing fairy Rick Will appeared and vowed To release them from their two inch prison… ‘Strange Beasts’ is the record now ready for release.


There’s a fearlessness to Nathan Hudson’s songwriting, even when it talks about fear. Whether sleepwalking, becoming a werewolf, or meeting graffiti monsters, Faker’s always had a surreal lyrical edge which attracts and retains intelligent listeners, and sets them apart from the alt-rock pack. Guitarist Nic Munnings says it’s all about the major sevenths. It’s a cheeky claim for a band that so consistently defies categorization.

Faker took their name from Bowie’s ‘Changes,’ and took to heart the lesson that being in it for the long haul means being prepared to shapeshift, stretch their sound, and experiment with how they reach audiences. From 80s and Britpop influences to sharper rock sounds and even dance remixes, Faker have kept moving, carving their own path. Like giving the last record, Get Loved, away for free, accompanied by a disarmingly honest open letter to fans about the band’s need to set its own direction. They’ve built a career on staying awake to complexity and challenge. So when Hudson raised the idea of moving to LA, it’s no surprise that the entire band was enthusiastic.

‘Australia has an incredible music scene and we love it to death but I don’t think we should limit ourselves to it,’ says bassist Liam O’Brien.

Travelling with the music was always part of the plan. Touring constantly over the years, Faker always runs at life head-on. Playing the Big Day Out one minute and free guerilla gigs the next can really test the sound and the dynamics. But this is a band that embraces challenge like no other. Hudson was one of the first out gay rock musicians in Australia and his courageous approach to songs about sex and sexuality are a signature. That courage has brought career highs that many bands would kill for. Working with Paul Fox on hit album Be The Twilight, having a platinum single in This Heart Attack, playing stadium shows with Pink and having 2011 track Dangerous remixed by CSS to huge airplay, to name just a few.

For 2012’s Get Loved, Faker stripped down to a core writing team of Hudson and long-time guitarist Nic Munnings. On reflection they see this phase as the strategic retreat before a fresh transformation. Now with two new members, O’Brien on bass and Chris Stabback on drums, there’s a renewed energy and a renewed enthusiasm for the magic of four-way collaboration.

‘We have developed something quite unique with the new line-up and it is constantly evolving into something bigger and better than anything the band has done in the past,’ says O’Brien.

Working in LA on Be The Twilight in 2007, Hudson found the new context brought a fresh focus. While many bands move to the US to “make it,” Faker is an accomplished band with its own idea of success. It’s about finding new ways to sustain the adventure of making music. Moving is an idea the band has been considering for some time.

‘We were actually talking about it quite a lot when we were making Be The Twilight,’ says Munnings.

For Nathan, there’s a more foundational meeting of landscapes at work. As a kid ‘we’d take these long family car trips around the outback of Australia listening to songs about the road and natural landscape of America… It’s always felt kind of inevitable.’

If bands are willing to become brands it is easy enough to sustain a career by working to a formula. But a band so allergic to limitations needs to embrace change.

‘Challenge your habits and place yourself outside your comfort zone,’ as drummer Stabback says.

With that attitude, the band is sounding better than ever. The time is right to turn and face the next chapter. Says Hudson: ‘When we’re learning, adventuring, celebrating and evolving, we’re Faker… anything else is fool’s gold.’

Family Fold

“One of the best songwriters in Australia.”

Noel Mengel, Courier Mail

“Classy, attractive and delightfully melodic songs with a strong base in the 1970s and an eye to something timeless.”

Bernard Zuel, Sydney Morning Herald

“Elvis Costello meets Ice Cream Hands.”

Andrew Murfett, The Age

“I liken my songwriting to a good high street tailor. I don’t do haute couture. I don’t do songs that are the equivalent of catwalk fashion – all power to those who can. But if you’re after a song that’s the equivalent of a well-made suit, in a classic style, that makes you feel a million bucks when you put it on, then I’m your guy.” Paul Andrews

Paul Andrews was a founding member and chief singer/songwriter in Sydney band Lazy Susan, which spent most of the 2000s flirting at the edges of awareness of Australia’s more informed music-loving public.

During the band’s 12-year history (Lazy Susan having broken up in early 2012), Paul was the driving force behind its four albums, six EPs, and countless interstate tours and local shows, both as a headliner and with national and international touring acts (eg: Brian Wilson).

Paul’s songs – ‘Bobby Fischer’ and ‘Canada’ – were two of the most frequently played tracks on Triple J in the first half of the 2000s and the national youth network paid the band the honour of inviting them to perform on their flagship Live at the Wireless program and record a cover of Dragon’s ‘Are You Old Enough’ for its Like A Version album series.

“We were one of the ultimate ‘Oh you’re the guys who do that song!’ bands,” said Paul.

“Mention to a punter who listened to Triple J in the 2000s that you were in Lazy Susan and you get a blank stare. Tell them you sang ‘that Reykjavik song’, and suddenly there’s this flicker of recognition in their eyes and it’s: ‘That was you guys? Oh, I love that ‘No one ever says Reykjavik in a song!’ song.

“I used to get a bit frustrated with it, but now I look back and I’m extremely grateful.”

Paul’s songwriting with Lazy Susan won him a small but devoted fan base alongside wider critical appreciation.

“But in the end, mainly through our own naiveté and lack of organisation, Lazy Susan was never able to convert the breaks we received into something bigger.

“After we released our last album in 2010, our shows became more sporadic until we decided to officially pull the plug in 2012.”

Shortly after Lazy Susan played their final gig – a song-by-song run through of their 2001 debut album, Long Lost (“an Australian indie-pop classic” according to The Age), at the legendary Sydney venue, The Annandale Hotel – Paul began writing songs for a new solo project that was to become Family Fold and eventually its debut album, Lustre Glo.

“Even though Family Fold is basically me – my songs, my arrangements, me making the calls – I was conscious that, given I sang 99% of Lazy Susan’s songs, and wrote most of them too, I didn’t want to just make a record that was Lazy Susan Mark II.

“So on Lustre Glo, apart from a passing parade of musicians, I’ve also enlisted other voices (Sarah Humphreys and Maia Jelavic) to sing lead or joint lead with me on several songs.

“Without being silly about it, I was determined for this album to sound like a different band.”

Lustre Glo is a collection of 11 songs that further confirms Paul as one of Australia’s best – albeit ‘under the radar’ – songwriters.

The material veers between the warm synth pop of ‘Shanie Love’ to the amphetamine-fuelled drive of ‘Get a Grip Upon Yourself’ and the pedal steel flavours of ‘Pot of Gold’.

Along the way, Lustre Glo explodes with marching bands, songs of Oxycontin-infused infidelity and Spector-esque flashes of timpani.

“All my favourite albums un-self consciously embrace diversity of sound and arrangement as a strength and something to be celebrated. I don’t want to record the same song 11 times.

“If it serves the song, I want to bring in a brass band that transports you to some dreary coal-mining town in northern Britain; I want to record something which takes its musical cues from Harry Nilsson, or gives the song over entirely for another singer’s voice to inhabit and interpret. But that’s the litmus test: ‘What serves the song?’

And as for the album’s curious title and cover image?

“Lustre Glo is actually the name of smash repairs shop in Marrickville in Sydney’s inner west. It has the most magnificent writing – in huge cursive font – across its facade: ‘Lustre Glo’.

“There’s a grand tradition in popular music of using the names and facades of shops as album titles and covers. Think Ian Dury’s “New Boots and Panties” or The Beastie Boys’ “Paul’s Boutique”. The moment I saw it, years ago, I thought it would be perfect for Family Fold’s album name and cover.

“When I told a friend where the name came from, she had an unexpectedly poetic take: ‘Smash repairers are all about new beginnings, rebirths. They bang out your dings and you’re as good as gold again. It’s a new start, and that’s what you’re doing with this album. It was meant to be!’

“I liked it so much I told her I was going to steal her interpretation as my explanation for the album title and cover.”

Family Fold’s debut album, Lustre Glo will be released in August 2015.

Feed Her To The Sharks

Hailing from Melbourne, Australia, one of Victory Records’ latest signings, FEED HER TO THE SHARKS, are out for blood. Assembled in 2010, the five-piece modern, melodic, metalcore act have established themselves by aggressively touring Australia with ASKING ALEXANDRIA, SUICIDE SILENCE, AUGUST BURNS RED and others in addition to a spot on the 2013 Warped Tour Australia.

Of the signing, FEED HER TO THE SHARKS comment, “We are very pleased to announce we have joined the Victory Records family! Victory is already home to many of our idols, and to say we are part of this is truly an honor. We are extremely excited to show our music to the world, and bring our unique sound to the masses!”

After a tour with BURIED IN VERONA and FIT FOR A KING, the band dusted off their pens and began the writing process for their Victory debut, scheduled for release in 2015. Committed to creating the most dynamic album of the band’s career, FEED HER TO THE SHARKS will shock and awe with their impeccable ability to incorporate clean vocals into their heavy, riff-driven metalcore sound.

“In the savage sea of metalcore, these wild Aussies stay afloat.” – REVOLVER MAGAZINE

“Feed Her To The Sharks take melodic metalcore back to its riffy, growly roots.” – BLUNT Mag

Felicity Urquhart

It takes an extraordinary artist to emerge on each new album with a fresh, original and dynamic sound — yet at the same time stay completely true to herself. But integrity is a vital part of Felicity Urquhart’s music as her new album shows.

Produced by highly respected producer Brad Jones (Bob Evans, Josh Rouse, Richard Julian), this is an album that transcends musical boundaries, combining Felicity’s exquisite voice and extraordinary songs with a simple thread of truth.

The album offers a collection of songs that reveal the many aspects of this remarkable singer and songwriter. The highly autobiographical “Girl in the Mall”, cowritten with Mark Seymour (of Hunters and Collectors fame), is both heartfelt and powerful, while the gentle “Landing Lights”, penned with ex-pat Aussie musician Jedd Hughes, touches the soul in the gentlest possible way.

Mark and Jedd are just two of many musical luminaries to join Felicity on this landmark album. Others include Kim Richey, who co-wrote and sang on the exquisite “All Good Fun”, one of the album’s standout tracks, along with Randy Scruggs, who wrote and performed on “Rollercoaster”, and The Greencards’ Kym Warner, who played on “So Go On” and “Girl in the Mall”. Pedal steel legend Al Perkins also left his memorable mark on the album.

“With this album, I wanted to open myself up to possibilities — to do something totally different, to take a risk,” Felicity said. “Thanks to Brad Jones, every song had the chance to be what it needed to be — to be honest, vulnerable and true to itself.”

Felicity’s step into the unknown is very evident on her first single, the powerful, edgy “I Fall”, cowritten with The Badloves’ Michael Spiby.

“It’s a very different song for me. I like taking new ideas and just going for it. Every album is uncharted territory, and should be fresh. Each song is absolutely me,” Felicity said.

It’s not surprising that Felicity is so grounded, yet so comfortable stretching the boundaries. She’s an artist who’s at ease in her own skin.

“I’ve been very lucky to have a close, supportive, loving family — and now a fiancé [musician Glen Hannah] who’s equally enthusiastic about what I do, and just as encouraging,” says Felicity.

“Glen has stepped back from production duties this time, but he had a lot of input and played on the album. We decided to use Brad’s talents as producer and to record in Nashville so we could step out of our comfort zone. It was an experience to work alongside someone who has produced so many of our favourite albums. His belief, creativity and approach towards my music were inspiring.”

Felicity has included a song about her grandfather and mother, the enchanting “Ernie’s Daughter”, cowritten with Melbourne musician Chuck Jenkins and Weddings, Parties, Anything’s Mick Thomas.

For Felicity, recording the album was a chance to do what she loves most — making music — in between a hectic schedule that includes being a presenter on Channel 7’s Sydney Weekender, other TV and radio roles, and being the face of The Heart Of Country for Tourism NSW.

Felicity is also still very involved with the NSW Talent Development Program, which gave her a start in music, and she works tirelessly for the Merry Makers, a program that brings young people with intellectual and physical disabilities together with artists and others to create amazing shows. It’s something she is passionate about.

“There’s so much generosity and love there. We all need to get out and understand, to befriend people who may be a little different from us, and realise what they can do and how incredible they are,” she said.

With numerous awards to her credit, including two Golden Guitars and three MO Awards, Felicity has been a leading light of the Australian music scene for the past decade, with numerous chart hits to her credit. She is widely regarded as one of the country’s finest vocalists and songwriters.

Felicity has supported John Mellencamp, Sheryl Crow, Willie Nelson and the late Waylon Jennings, and recently toured Australia with international music icon Kenny Rogers. She has been busy songwriting with the some of Australia’s leading writers over the past year, including James Blundell, James Reyne, Ross Wilson and Nick Barker.

Fergus James

Hailing from the country town of Armidale, NSW Fesrgus was accepted into the Newtown High School of Performing Arts and the Talent Development Project in 2016. He hit a career high when he performed for Justin Timberlake, whose reaction to Fergus’ song ‘Snow’ went viral, amassing 500k views on Timberlake’s Facebook page.

Most recently Fergus James released his debut single ‘Golden Age’, recieving support from Triple J Unearthed (Artist Spotlight). ‘Golden Age’ has amassed over 1,000,000 plays on Spotify, landing on New Music Friday (Aus/NZ & Canada), Pop Sounds, Get Popped Happy Pop and spent over 4 weeks in the Hot Hits Australia playlist.

Fergus James recently supported Ed Sheeran on the biggest stadium tour in Australia history having sold over one million tickets.

Fiction Writer

Fiction Writer’s debut single “No Rumour” is a fuzz-drenched, sass-filled stomper of a dance-rock tune. Squished guitars, sizzling hats and belting drums mince through a propulsive racket falling somewhere between Queens of the Stone Age and DFA, as Bensen’s distinctive voice yelps of hurts and emotion.

The striking video for ‘No Rumour’ was choreographed by Richard House, dancer and choreographer for the Australian Ballet. The noirish tale depicts an uneasy parallel between dancers, each facet of their relationship a masquerade of ulterior motives.

The Sydney-based Vocalist/Guitarist and songwriter Gideon Bensen released a debut EP of experimental ‘80s influenced new-wave pop under his own name in late 2015.  He then departed from The Preatures in March 2016 and has been stealthily working on a brand new guise. Bensen has now drawn a stark line between both his previous band and self with his new band: Fiction Writer.

No Rumour was produced alongside Dave Hammer (Washington/Thundamentals) and mixed by Chris Collins (Middle Kids/Gang of Youths).  No Rumour is Track 1 of the forthcoming EP on Puncture Records out now.