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
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.
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’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.
Frank Yamma is without a doubt one of Australia’s most significant Indigenous songwriters with an ability to cross cultural and musical boundaries – a love song sung in Pitjantjatjara will make your heart sing in whatever language you speak. When he sings, you listen and travel with him. An initiated Pitjantjatjara man, Frank sings in his native language and English. His mighty songs, magical guitar playing and deeply evocative voice are all there in his compelling new album ‘Uncle’ (2014). Although he’s lived in Adelaide for many years, Frank’s spirit belongs to the heart of Australia. Uluru. Docker River. Ernabella. Central Australia. As Frank says, “wherever the Pitjantjatjara mob come from”.
His 2014 release ‘Uncle’ is a follow up album to the critically acclaimed ‘Countryman’ (2010). ‘Countryman’ re-launched Frank’s career following a ten-year hiatus, gaining international attention, sparking extensive national and international touring, and seeing Frank pick up a licensing deal with Proper Records UK. The new album features songs of country, protection, heartache and travel. And songs of love. Not of love lost, but of pure, present-day raw emotion. ‘Uncle’ shows the continuity of a musician that is hitting his peak with grace and conviction.
Frank’s touring highlights include Australian festivals’ WOMADelaide; Byron Bay Bluesfest; and Sydney Festival. He has undertaken three tours to Europe since 2011, performing at the 2012 Cultural Olympiad (UK); Womad (UK); The New Hebridean Festival (Scotland); Festival Bled (Slovenia); and Colours of Ostravia (Czech Republic). Most recently he has returned from a 2014 summer tour setting hearts on fire across Canada at Calgary, Vancouver and Winnipeg folk festivals, where he shared the stage with Buffy Saint Marie and The Mekons, as well as performing a coveted spot opening for Joan Baez.
A new career defining opportunity for Frank has arrived in the form of a coveted invite to perform at the foremost world music conference and trade show WOMEX ’14, this year held in Santiago de Compostela, Spain. A spot on the WOMEX official selection showcase has not come to an Australian music act for the past five years and it is both an honour and an acknowledgement to Frank’s unique story and music.
“The voice grabs you first, a soulful shout of pain and yearning to connect and remember. But it’s the voice, relating hard tales with honesty and emotion that makes this a raw, stripped-back classic.”
The Independent UK
“Yamma’s rich, powerful voice resonates and is as spiritually charged as any of the songs on Geoffrey Gurrumul Yunupingu’s solo CD or Archie Roach’s albums.” Tony Hillier, The Australian
“… one of Australia’s most sought after indigenous artists. Yamma’s heartfelt set of husky, beautiful songs hit the AWME crowd like a sucker punch…”
Songlines /BBC3 (5 Star Review)
“Frank Yamma … received a standing ovation from a packed house” Rhythms Magazine
Fraser A. Gorman grew up in a small surf town on Melbourne’s southern coast called Torquay. Growing up surrounded by surf culture, Gorman quickly strayed away and looked to the songs of Bob Dylan and early 60’s Rock’n’Roll. When he was twelve, his mother put him in singing lessons and he took to it like a duck to water.
By 15 he was playing in a high school garage rock band at many local venues, and touring around the country. A few years later, the band decided to go its separate ways. With his love for country, blues, and folk, he started a solo project writing lots of songs with a more laid-back, story telling style.
A few years later, in 2015 he released his first full length album, Slow Gum, It was was received critical acclaim across the globe including mass praise in Uncut, Mojo and Rolling Stone. Gorman toured the world three times before settling back in Melbourne to work as a carpenter and contemplate existence.
Now the break is over and his sophomore album comes out mid July 2018. Titled ‘Easy Dazy’, the album was recorded at Head Gap with producer Nicolas Vernhes (War on Drugs, Silver Jews, Cat Power, Etc) and Melbourne musician Dan Luscombe (The Drones). The record also features guest musicians friends including members of King Gizzard, Leah Senior, Anika Ostendorf (Hachiku) and Hollie Joyce. Gorman’s songwriting builds around his ability to convey his life, hopes, and fears openly with sun-drenched tones and lyrical wit. Sonically, the album has a warm and timeless feel. Taking a slight step away from the country folk vibes of his previous releases, ‘Easy Dazy’ is more laid back Americana with a driving pop sensibility. Tasteful horn arrangements sprinkled on a few tracks evoke the vibe of contemporary blue-eyed soul and the lush background vocals evoke the sound somewhere between Transformer era Lou Reed and Bill Fay’s ‘Omega Day’. ‘Easy Dazy’ will be out July 13, 2018 on Caroline Music Australia and Brown Truck Records. Gorman will have a tour to follow.
Guitarist Simon Austin formed the Melbourne, Australian folk-pop band Frente! in 1991, bringing in Angie Hart, Simon Austin (guitar), Tim O’Connor, and Mark Picton (replaced by Alastair Barden) to round out the lineup. Frente! entered the international spotlight in the summer of 1994 with their quirky acoustic version of New Order’s “Bizarre Love Triangle.” On the back of that single, Marvin: The Album entered the charts, with the single “Labor of Love” becoming a minor hit. Shape followed in 1996.
In between learning what it was to be an adult, working casual jobs, and finding any excuse to hang out with friends even if in questionable locations; Jonas Nicholls spent a fair bit of his early adult life hidden away with his guitar in his bedroom, in his backyard, and even in the slightly eery basement below his local cafe recollecting the highs and lows of being young and embracing all the cliches of growing up.
Over time, Jonas had accumulated a catalogue of home-recorded songs, of which form the basis of Games Night’s debut album, ‘Youthful Indecision’.
Finding a bassist for Games Night was as easy as knocking on Beth Koulyras’ bedroom door, which was right beside his own. Completing the lineup is lead guitarist Ryan Curtis (Doom Loops), and drummer James Butler. Despite a breach of lease warning, Games Night home-recorded ‘Youthful Indecision’ in Jonas and Beth’s apartment in Newtown and continue to rehearse there (at reasonable hours and at very low volume).
Australia’s most celebrated contemporary songwriter has recorded his debut solo album. For the past ten years, Gareth Liddiard has been the driving creative force behind Australian Music Prize-winning band The Drones and a string of modern classics including Shark-Fin Blues – named the greatest Australian song ever written by a panel of musicians polled by Triple J Magazine.
Recorded in an isolated mansion thirty minutes outside Yass, in country New South Wales, Strange Tourist captures Liddiard at his most naked, and his most explosive. Armed with just a guitar and a bottle of whisky, he makes surreal stories of tightrope walkers, down and outers, suicidal Japanese salarymen and suburban radicals come alive like no one else could.
On Blondin Makes An Omelette, the first single to be lifted from the album, Liddiard tells the story of wirewalker and acrobat Charles Blondin from the point of view of his eternally suffering understudy: “No one cared for him at all until he crossed Niagra Falls/ So you’d all feel a little lower down the scale… but I ain’t here because he’s tall, I’m only here to see him fall/ And if I get on the wagon now it’ll only be to run him down.”