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Sheppard are an award-winning Australian pop band from Brisbane, Australia. After emerging onto the Australian music scene in 2009, the group released their debut EP in 2012, featuring standout single 'Let Me Down Easy' (3 x Platinum sales in Australia).  Sheppard's breakthrough international hit single, 'Geronimo', was released in Australia on March 2014, and it has since sold over 400,000 copies locally. The track, taken from Sheppard's 2014 debut album 'Bombs Away' was the most played song on Australian radio and the highest selling Australian single of last year.

Since performing to sold out crowds in North America earlier this year on Meghan Trainor’s ‘That Bass Tour’, ‘Geronimo’ has now become an official RIAA certified platinum record with digital sales and streams in excess of 1 million.  ‘Geronimo’ continues to build momentum on the US airwaves, as Sheppard recently became only the third Australian group to impact Top 40 in the 21st century.

With a handful of UK tours already under their belt, Sheppard have at last released their debut album ‘Bombs Away’ and international hit single ‘Geronimo’ within the region.  ‘Geronimo’ debuted in the UK Top 40 midweek chart at #12 and was simultaneously added across Heat Radio, Absolute Radio C list and BBC Radio 2, with a number of weekly spins on BBC Radio 1.

Sheppard continue to build upon stellar worldwide success with string of major international shows and headline tours in the second half of 2015 covering all major continents including North and South America, United Kingdom, Europe, Asia and Australia.  For the full list of dates please visit Sheppard’s website below

2014-2015 ACCOLADES

AUSTRALIA

ARIA Awards  - ‘Best Group’ 2014
#1 Single - 'Geronimo'
iTunes #1 Album – ‘Bombs Away’
#1 Highest Selling Single 2014 – ‘Geronimo’
ARIA Accredited – Gold Album Sales (35,000+) for ‘Bombs Away’
ARIA Accredited – 5 x Platinum Single Sales (400,000+) for ‘Geronimo’
ARIA Accredited – 2 x Platinum Single Sales (140,000+) for ‘Let Me Down Easy’

"The longest running #1 single by an independent Australian artist of all-time"

AMERICAS

Accredited – Platinum Single Sales for ‘Geronimo’ in USA
Accredited – Gold Single Sales for ‘Geronimo’ in Canada
Accredited – Platinum Single Sales for ‘Geronimo’ in Mexico

#32 on national Hot AC Top 40 Chart
Nominee – SiriusXM New Artist Breakthrough of 2014
Sold-out headline shows at New York’s Webster Hall and LA’s The Lyric Studio

Support Band on Megan Trainor’s National ‘That Bass’ Tour
Television performance on The Ellen DeGeneres Show (October 20 2014)
Television performance on Jimmy Fallon (10 February 2015)

UK AND EUROPE

Accredited – Platinum Single Sales for ‘Geronimo’ in Italy
Accredited – Gold Single Sales for ‘Geronimo’ in Germany
Accredited – 3 x Platinum Single Sales for ‘Geronimo’ in Sweden
Accredited – 4 x Platinum Single Sales for ‘Geronimo’ in Netherlands
Accredited – 4 x Platinum Single Sales for ‘Geronimo’ in Norway
Accredited – Gold Single Sales for ‘Geronimo’ in Spain
Accredited – Gold Single Sales for ‘Geronimo’ in Austria
Accredited – Gold Single Sales for ‘Geronimo’ in Switzerland
Accredited – Gold Single Sales for ‘Geronimo’ in Denmark
Accredited – Platinum Single Sales for ‘Geronimo’ in Belgium
Accredited – Gold Single Sales for ‘Geronimo’ in Poland
Accredited – Gold Single Sales for ‘Geronimo’ in Czech Republic

Top 10 European Airplay Chart

#1 Single – Italy for ‘Geronimo’
#1 Single – Austria for ‘Geronimo’
#2 Single – Philippines for ‘Geronimo’
#7 Single – Austria for ‘Geronimo’
#4 Single – Poland for ‘Geronimo’
#9 Single – Sweden for ‘Geronimo’
#9 Single – Germany for ‘Geronimo’
#10 Single – Netherlands for ‘Geronimo’
#10 Single – Ireland for ‘Geronimo’

SPOTIFY STREAMS

Surpassed 144 million streams of ‘Geronimo’ worldwide

Surpassed 6 million streams of ‘Let Me Down Easy’ worldwide

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“Don’t be sorry / Please don’t be angry 
It wasn’t fair / There, there.”’
From ‘Marry Me’, Megan Washington

If they’re honest, every poet, novelist and songwriter will divulge how it’s done. To write a decent story, you’ll have to pluck, plagiarise and plunder events from real life, before contorting the facts to make even better tales. “That’s the thing about being a writer,” Megan Washington says. “You get to rewrite history, and in doing so, you get to rewrite your life.” Looking back, it’s how she wrote her debut – the ARIA Award-winning, anthem-filled platinum debut I Believe You Liar (2010) – and its follow-up, the majestically sorrow-filled mini-album Insomnia (2011). 

On her second full-length album, There There, Megan has taken a different approach. The 14 songs on the album – inspired by lush new-romantic ‘80s pop (think: Talk Talk, Tears for Fears, 10cc) – might be as infectious as ever, but lyrically stick to the truth. As Megan explains, every song is a real story, and every lyric is about someone real. “In my mind, every single one of these songs has a name in brackets afterwards,” she says. “The people in the songs know who they are. I certainly do.” 

Spanning synth-woven dance shuffles (‘Get Happy’, ‘My Heart is A Wheel’, ‘Limitless’), soaring emotional bruisers (‘Who Are You?’, ‘Yellow and Blue’, ‘Skyline’) and stripped-back piano ballads (‘Begin Again’, ‘To Or Not Let Go’, ‘One For Sorrow’, ‘Valentine’), There There is an album of leather jackets, blood-red lipstick, pastel hair and fluorescent swatches. At the same time, it’s also a bold showcase of newfound emotional depth. If I Believe You Liar was the diary of a wide-eyed youth dizzy with romance, There There is the chronicle of a woman discovering the moral complexities of love – with hooks to spare. 

— Writing & Recording —

After touring I Believe You Liar, starring in a film (Michael Kantor's The Boy Castaways) and a stint in New York, Megan found herself in London. One day, by chance, she ran into songwriter/bassist/producer Sam Dixon (Sia, Adele), who she’d met when supporting Sia on tour. For kicks, the two co-wrote a song, and immediately felt something special was there. After returning to London in 2013, Megan and Sam got to work. Every morning, Megan caught the overground to Kensal Rise, walked to Sam’s studio and the two would work from 11am to 6pm, writing a song per day, for over a month. “I’d never worked so hard,” she says. “Day in, day out, we’d write. After six weeks we had so much music.” 

At one stage, Sam gave Megan homework. “He told me, ‘Go home and think about something in your life – something that’s actually happened, but you’ve never written about. Something you believe to be song-worthy. Tomorrow we’re going to write about that.” Megan remembered she had once been engaged. “I’d never really written about it, because I always had held the belief that it was too complex a situation to be contained in three and a half minutes.” That evening though, between glasses of wine and bed, she wrote about having her engagement ring resized.” The song became a key track titled ‘Marry Me’. 

“I always cringe when creative people talk about breakthrough moments,” she says. “There’s something so clichéd about pretending ‘eureka moments’ happen all the time. In my experience, they don’t. But something about this song – about being connected to the subject, and the terror you’ll get it wrong – was a breakthrough.” Megan and Sam wrote the rest of There There in three weeks, and recorded it over a wet London summer in 2013 at Rak studio in St. Johns Wood, with Megan Washington on keys, Sam Dixon on bass, Stella Mozgawa (Warpaint) on drums and Leo Abraham (Roxy Music) on guitars. 

 “I wrote all the songs I was afraid to write,” she says. “I wrote about living with anxiety, bad sex, being unfaithful, how much I loved the person I was unfaithful to, waking up in hospital, the heart-cracking sadness at the end of a party, being reckless and selfish and losing my best friend. I told the truth, as best I remember.” 

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The Griswolds’ first bio simply read: “The chameleons of pop.” That description holds true for the Sydney indie pop group, formed almost three years ago by singer/guitarist Christopher Whitehall and lead guitarist Daniel Duque-Perez, as they look to become a globally known act.

Recorded under the guidance of legendary American producer Tony Hoffer (The Kooks, Beck, M83, Ladyhawke), ‘BE IMPRESSIVE’ is the band’s debut full-length album. Featuring breakout single ‘Beware The Dog’ (Top 40 US Alternative Radio / triple j high-rotation / #28 triple j's Hottest 100 2014), the album has received a global release via Chugg Music (AU / NZ) and Wind-Up Records (Worldwide) in August 2014.

Forming in 2012, The Griswolds leapt to a roaring start after being handpicked as a triple j Unearthed feature artist, and winners of the Parklife Unearthed competition.  Praise from over 100 blogs around the globe followed quickly – all simply by posting their debut single ‘Mississippi’ online. Second single, ‘Heart of a Lion’, was immediately added to high rotation in Australia on triple j radio, ending 2012 as one of the station’s most played tracks of the year. The international airwaves were quick to take notice, with ‘Heart of a Lion’ attracting airplay in over 20 countries worldwide, achieving #3 on the radio airplay charts in The Netherlands via tastemaker station 3FM and an iTunes Single of the Week in the region.

The Griswolds’ Heart of a Lion EP was released into the USA in 2013 via Wind-Up Records.  Stateside, the EP release had critics and fans buzzing, with a number of noteworthy features from sites including CMJ, MTV Buzzworthy, Neon Gold, Paper Magazine and Vice Noisey.

The Griswolds continued to take worldwide audiences by storm with acclaimed shows at MUSEXPO, NARM, Brooklyn Bowl, The Viper Room, Mercury Lounge and a sold-out Neon Gold popshop in NYC, along with key international festival performances at CMJ Festival in New York, The Great Escape festival in the United Kingdom, and a headline slot at the London Calling festival in Amsterdam. 

In early 2015, international success continued to build as The Griswolds were announced as main support for Walk The Moon’s ‘Talking Is Hard’ tour in North America.  The 45+ day tour sowed increasing levels of global demand that could only be met with their long awaited return to Europe and the United Kingdom. The Griswolds left no stone unturned, performing at major European and UK festivals like Liverpool Sound City, Dot To Dot Festival and London Calling alongside a string of full capacity headline shows at Club Koko and The Stillery.

In addition to the recent run with Walk the Moon, The Griswolds have confirmed their very own U.S. headline tour this June and July. The 'Excellent Adventure' tour includes stops at New York’s Bowery Ballroom and Los Angeles’ Troubadour as well as a performance at Firefly Music Festival. Tickets are in high demand, with Chicago, Minneapolis, Kansas City and Los Angeles completely sold out.

- The Griswolds 'Excellent Adventure' USA Tour -

All tickets are available from wearethegriswolds.com

June 16 - Brighton Music Hall - Boston, MA
June 17 - Milkboy - Philadelphia, PA
June 18 - Bowery Ballroom - New York, NY
June 19 - U Street Music Hall - Washington, DC
June 20 - Firefly Music Festival - Dover, DE
June 23 - The Garrison - Toronto, ON
June 25 - Lincoln Hall - Chicago, IL
June 26 - 7th Street Entry - Minneapolis, MN
June 30 - Troubadour - West Hollywood, CA
July 1 -    The Independent - San Francisco, CA
July 2 -    The Boardwalk -  Orangevale, CA
July 6 -    The Observatory - Santa Ana, CA
July 8 -    Hawthorne Theatre - Portland, OR
July 9  -   The Crocodile - Seattle, WA
July 12 -   Larimer Lounge - Denver, CO
July 14 -   The Tank Room - Kansas City, MO
July 15 -   The Tank Room - Tulsa, OK
July 16 -    House Of Blues - Dallas, TC
July 17 -    Stubb’s BBQ - Austin, TX

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Kourawhero Hall sits hidden in the shadow of the Kaipara Flats and Dome Forest, tucked off an ambling string of wineries and scenic reserves winding up from Auckland City. Five years ago, Dave Baxter, a frustrated player-for-hire took to the wild, bedding down in the building to record what would become Our New Life Above the Ground.

The rest is neo-folklore. The album, with its ready-for-summer anthem Love, Love, Love propelled Baxter’s musical moniker Avalanche City into radio mainstay. While he spent two years travelling the world, Love, Love, Love was being awarded Song of the Year, and Most Performed Work back home in New Zealand.

Now, on the eve of his anticipated sophomore release, Baxter is pining for the wild places again.

“We Are For The Wild Places is about where we come alive, that spot in the middle of fear and uncertainty, determination and courage. It’s the moment when we struggle and we can see our own failure just behind us but we push on.” Explains the songwriter, “I think a lot of fulfillment in my life has come from overcoming obstacles and achieving things I wasn't sure I could. The wild places are where adventure happens.”

In a way, Baxter’s debut outing was a longing for adventure; by his own admission, a collection of pop tunes thrown to the wind to see what would stick. Settling into We Are For The Wild Places is the sound of an artist debriefing an accidental hit career.

“I’ve spent a lot of time traveling and I’ve spent a lot of time at home writing music and I feel like I’ve gotten to know myself a lot better for it.” Says Baxter, “When life is fast paced and you’re constantly in motion with a million things to do you don’t have the time to examine yourself. I’ve been pretty lucky because I had an intensely busy year or two and then an extended period of stillness that was great for just figuring out what I wanted to do. And it just confirmed that music for me is about having fun, it’s about experimenting and challenging myself.”

The songwriter spent unhurried months in his home studio, a leafy backyard room affectionately named The Treehouse. He surrounded himself with a cadre of old instruments and invented the familiar, yet evolved songs that would become We Are For The Wild Places. 

Baxter cites eponymous track ‘Wild Places II’ as a favourite on the album; an inward, cathartic track: “‘Wild Places II’ is about challenging yourself to not walk down the popular path. Sometimes I think I write these songs to make sense of the difficult career I’ve chosen. To me it’s about getting my priorities right and to not worry about what other people think.”

Lead single ‘Inside Out’ is another favourite. It’s a plaintive ode to a friend’s broken relationship that builds from arpeggio guitars and ghostly atmospheres to orchestral brass motifs. Baxter inserts himself into heartbreak dialogue: “This is inside out, I want you here, but all we have is gone.” It was the final track to be included on the record – Baxter wrote it while the album was being finalised, holding up the final production in order to include it. 

We Are For The Wild Places also saw a once-in-a-lifetime opportunity for Baxter to work with a childhood hero, former Death Cab For Cutie guitarist Chris Walla, who mixed the album. “He makes really musical decisions” enthuses Baxter, “He understands that music doesn’t have to be perfectly in time or perfectly in tune for it to be good. We have a very similar approach to music in that way. My studio is right next to a couple of big trees and sometimes the birds are loud and they get all through my recordings. There’s one track in particular where you can really hear them and he loved it. He understood that it’s these happy little accidents that give recordings uniqueness and character.”

As the pair huddled in Walla’s bunker-like studio in Seattle, USA, We Are For The Wild Places came alive, a fitting tribute to a happy accident half a decade ago, and a full-circle from the country to the city. 

The man behind Avalanche City is ready for the next adventure.

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Deep Sea Arcadeʼs reverberated brand of psychedelia recalls guitar-based music from across the ages, yet with a character and charm that is undeniably unique.

The group began as a home recording project for founding members Nic McKenzie and Nick Weaver while in their mid teens. Using four-track tape recorders, broadcast microphones and unconventional computer programs, the duo created a sinister backdrop to contrast with their penchant for pop-song structure and melody.  After years developing a large catalogue of demo recordings, McKenzie and Weaver banded together with drummer Carlos Adura, and guitarists James Manson and Simon Relf, to give the music an energy and scope that was previously out of reach.

Long awaited debut album Outlands received a worldwide release in 2012 through Ivy League Records, with singles heavily supported in Australia by Triple J (Feature Album) and FBi Radio, and in the UK by BBC 1, BBC 6, and XFM.

Aside from previous sold-out tours across 1000-1500 cap venues in Australia’s major cities, as well as having a spot on Australiaʼs prestigious Big Day Out festival, the band have been on the road with Noel Gallagher's High Flying Birds, The Charlatans, Girls, Kaiser Chiefs, Cloud Control and Modest Mouse. They have also toured the UK and Europe extensively, including appearances at Lowlands Festival (Netherlands), Wilderness Festival (UK), Primavera Sound Festival (Spain), Reeperbahn Festival (Germany), Live at Leeds (UK), and sold-out headline shows in London.

Deep Sea Arcade are currently preparing to launch the next highly anticipated stage of their careers following the outstanding reception given to Outlands. Having resided in London over the English Spring and Summer of 2013 to work on their follow-up record, the band dropped the first taste of new material via one-off single Black Cat in August 2013. Recorded and mixed by UK heavyweight Dan Grech-Margueray (Lana Del Rey, The Vaccines, Moby), Black Cat blisters with some of the band’s strongest hooks to-date. The track melds the trademark sound of Deep Sea Arcade’s debut record with newly found influences from their travels throughout the UK – a strong indication of what’s to be expected from their anticipated new record.

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Formed out of Brisbane’s burgeoning indie scene in 2012, Hey Geronimo have developed into one of country’s most innovative purveyors of warped, indie-pop.

Comprised of four genuine songwriters, the band's previous four singles all achieved Triple J rotation, even though they were written by different members. This fundamental diversity, along with a wide range of influences from The Beach Boys to Weezer, has seen the band manage to steer clear of an apparent “indie sound” and craft their own space in the local soundscape.  

After a pair of well received EPs, Hey Geronimo (2012) and Erring On The Side Of Awesome (2013), the band will release their debut LP in 2015. Having spent the last twelve months in and out of the studio with acclaimed producer Steven Schram (San Cisco, Little Birdy), Hey Geronimo has married retro licks with eccentric, bombastic production to create a record that has further developed their sound following the EP releases. This full-length release is set to build on Hey Geronimo’s substantial local and international attention, including major international syncs, festival appearances, over a million YouTube views, a coveted inclusion in triple j’s Next Crop 2012 list, and an entry in the US CMJ Radio Top 100 charts.

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After working up a head of steam throughout 2013, Sydney's Lime Cordiale set their sights towards the United States in 2014 with the release of their acclaimed Falling Up The Stairs EP into North America in February.  Standout single ‘Sleeping At Your Door’ turned heads in America, achieving #9 Most Added track on the CMJ College Radio Charts in March.  

To coincide with the release of Falling Up The Stairs at the start of 2014, Lime Cordiale were picked as one of a small handful of Australian acts to showcase at SXSW Music Festival in Austin, TX in March.  Their emphatic live set drew undeniable praise from a number of US tastemakers, with the likes of Zimbio, Buzznet, CMJ.com and SXSW.com featuring the band over the course of the festival.

The last twelve months have seen Lime Cordiale perform to receptive audiences throughout Australia, including sold-out headline shows at The Standard (600 cap) and Oxford Art Factory (450 cap), Newtown Social (250 cap) in Sydney, well received festival sets at Australia’s biggest music conference Bigsound 2013, Bigsound 2014, Homebake, Peats Ridge, Deni Blues and Bluesfest, and gigs alongside the likes of The Rubens, The Specials (UK), Ball Park Music, The Griswolds and as main support on both Cosmo Jarvis’ (UK) 2013 Australian tour and The Delta Riggs 2014 Australia Tour.

Lime Cordiale are storming through 2015 on the back of recent single ‘Hanging Upside Down’, which saw them tour the country and achieve a national Spotlight feature on Spotify Australia in February.  The Northern Beaches locals are now excited to release new single ‘Feel Alright’, paired with three exclusive single launch shows in Sydney and Melbourne in July.

Inspired by a string of influences from Charles Bradley to Daft Punk to The Roots, ‘Feel Alright’ was recorded with Sydney-based producer Jean Paul-Fung – the second single with JP since their signing to Alberts Music at the end of 2014.

Frontman Oli Leimbach on working at Alberts Music in Sydney:

“Alberts was a buzz. There's always amazing people coming in and out of there. We'd be in the middle of a session and people like Jake Stone or The Delta Riggs would burst through the door wanting to hear something. There's always mi goreng in the cupboard too.”

 ‘Feel Alright’ draws from the diversity of Lime Cordiale’s emphatic live show, which has graced countless local and international stages over the last 18 months including two separate twenty-date tours of North America and alongside The Delta Riggs (sold out national tour), Ball Park Music, The Griswolds, Dispatch and Cosmo Jarvis.

The five-piece from Sydney’s northern beaches have previously sold-out Newtown Social Club, The Standard and Oxford Art Factory in Sydney, and performed at numerous festivals including Bigsound, Homebake, AWME, Deni Blues, Bluesfest, and SXSW Music Festival in Austin.

The ‘Feel Alright’ Tour is set to include a return to Melbourne, and a highly anticipated All Ages show at The Metro Lair in Sydney. 

TheMusic.com.au (AUS) - Bluesfest 2014 Highlight
“Fronted by brothers Oli and Louis Limebach, Lime Cordiale were too much fun. [The band] have built themselves a fresh sound and a growing audience, and with Chugg Music launching in North America this year international success could be within grasp.”

Sydney Morning Herald (AUS)
"Where [Lime Cordiale] stand out though, among a sea of carefree, upbeat pop bands, is in their ability to write some of the most memorable and melodic hooks this side of Abbey Road. Beach Boys, eat your heart out.”

The Music (AUS)
"I am immediately, and somewhat surprisingly, taken by these tunes. One of the finds of Bigsound week I'd say - keep your eyes peeled, this is good stuff."

A Music Blog, Yea? (CAN)
“There is a certain magic in the way this band utilises their instruments, and if you listen carefully, you’ll realise that it’s quite simple: this band hides nothing behind their sound. Their lyrics are honest and their vocals pure in execution.”

The Brag (AUS)
"Lime Cordiale provoked bellowing applause as they left the stage, the kind of applause that makes your plastic cup of poison vibrate gleefully."

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After the longest-wait between albums in their 18-year career Dappled Cities return with their fifth full-length album Five (Stylised as |||||) on May 5. As the title suggests, Five is the Sydney indie pop group’s fifth record, With the trademark even-split of songwriting, singing and deft guitar work of Dave Rennick and Tim Derricourt, the solid backbone of bassist Alex Moore and drummer Allan Kumpulainen and the walls of texture added by keyboardist Ned Cooke, Five is the sound of a band filled with a quiet self-assurance. “I’d call this record grown up. I take pride in that,” Rennick says. Tapping into the timeless qualities of ’70s mavericks like David Bowie and Roxy Music, they’ve created songs that sound mature but undeniably sexy.

“A lot of the songs on Five were written in what we've called the Office Sessions” says Derricourt. “We would camp out in Dave's office after-hours, overlooking Oxford Street, Darlinghurst, and jammed out the songs to the backdrop of street sounds, a lot of which made it onto the record.” The singer admits, “On Spacechild there's an audible bus driving past which we decided sounded like a space ship.”

Writing Five was easy compared to the journey to see it released, a period of nearly two years, with plenty of hurdles along the way. “This record’s taken a really long time to get out.” Says Derricourt. “In 2014 we started writing songs and then in 2015 we went and recorded in Byron Bay. We were like ‘Good. This is great’ but in the meantime we’d basically parted ways with our manager and record label and almost lost our bass player Alex. It was touch-and-go for a while, because he’d had a kid. I don’t think he really wanted to leave though…”

Luckily for fans, Five has arrived, and doesn’t disappoint. “Once we got to album number five we lost all of our fear,” Derricourt explains. In some ways, Five sounds is a return to the textural, expansive sounds of Dappled Cities’ early records, dialing back on the propulsive stomp of Lake Air and settling into an easy groove that is no less danceable, but allows the band’s knack for melody to shine through.

The making of the album was a new experience, with Dappled Cities replacing the big city studios of their previous works with the serene atmosphere of Byron Bay. Settling in to the now defunct 301 studio in Byron Bay, the band rediscovered the magic of recording as a unit. “301 was a fully decked-out recording studio with a huge live room, to capture the full-band, future-classic record vibes. There’s almost no soft synth and no drum samples on the record – everything is real and played by humans.”

Unlike Dappled Cities’ previous records Five is an album intended to be played from beginning to end. A journey of sorts, although there’s one black sheep on the record – the first single from the album released in mid 2016, “That Sound” is a disco-funk-infused piece of synth pop. “The rest of the record is nothing like that single.” Says Rennick. “We were even thinking of leaving it off the record. It’s a cool song, but with the new record we’ve tried to create a body of work that had a cohesive

mood from beginning to end. And then we fucked it by adding “That Sound!” The record is kind of quiet and moody with all these little subtle things and then “That Sound” goes ‘blam!’

Now in 2017 leading into the album release the next single, Stone Men asks one question says Tim, 'what is wrong with the men who seem to currently rule the world? What damaged them so badly? How can they think that what they do is in any way decent or for the good of us all? It's a question with no easy answer but the song tries I guess to understand what's going on in the world right now.

“This was the last song written for the record and, as you can tell by the easy vibe, was a breeze to put down,' contiunes Derricort 'That sax that enters in the end was a lucky after thought - while Dave was smashing out his wailing guitar solo, I heard a sax player warming up in the next room. I grabbed him, pushed him in the booth and made him play some melodies that I sang at him - dude didn't know what hit him. But what an end to the song!"

The forced break in 2016 gave the band time to forge a mutually beneficial new relationship with Chugg Music, the label that has become their new home. For Chugg Music, home to some of Australia’s most exciting new bands, Dappled Cities bring a wealth of experience to their roster. It’s a strange position for a band who began playing together in their teens to find themselves in – the role of elder statesmen.

Over their career Dappled Cities have played almost every major festival including Laneway, Falls, Big Day Out, Homebake, Splendour In The Grass and the Sydney Festival. They’ve attended SXSW four times as part of the official lineup and toured the US and the UK extensively. Most recently, Dappled Cities worked with members of the Australian Brandenburg Orchestra for the Sydney Festival, combining Baroque instrumentation with synthesisers and guitars for a one-off extravaganza at Sydney Town Hall, and a slew of side projects (Swimwear, The Curse Of Company, Light Pressure) and collaborations (Feelings, Disney's Alphabreaks, Jane Campion's Top Of The Lake).

These days, Dappled Cities don’t like to place any expectations on themselves, but they haven’t ruled out megastardom. “I think we did want to be a massive global band.” Says Derricourt. “I think we could do stadium rock, but in a Flaming Lips kind of way.” Looking into the future Dappled Cities say that they can see themselves continuing to make music. "We'd really like to make an album which is timeless, we think that's a nice ambition to have." Perhaps with ||||| they already have, we'll leave you the listener to decide.

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The Tambourine Girls is the songwriting project of Sydney-based guitarist, songwriter and lyricist Simon Relf. The music is an eclectic mix of country, psychedelia, rock, and Brit-pop, recorded with the help of Jack Moffitt (The Preatures), members of Deep Sea Arcade and Dustin Tebbutt’s touring ensemble, and producer Tony Buchen (Alberts - Andy Bull, Jeremy Neale).

Through his determined belief in Simon’s songwriting, producer Tony Buchen was instrumental in getting the project off the ground.  His large palate of analog and digital techniques - drawn from the 1940’s to today – evolved into a crucial element of The Tambourine Girls’ sound.

Lyrics from The Tambourine Girls’ debut EP stemmed from a string of poems that Relf crafted while living on the NSW south coast - blending the worldy and personal aspects of his life.

The EP release coincided with the band’s debut live performances as main support on Dustin Tebbutt’s national tour throughout May, and The Tambourine Girls have since performed an impressive string of support slots to the likes of Holy Holy, The Preatures, Megan Washington, Davey Lane and Spookyland throughout 2014 and 2015.

The Tambourine Girls are currently recording their debut album on the NSW south coast.

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Toby Rand unveils the debut single for his new solo project RAND. Cellophane World (Chugg Music/ MGM ) is the first cut off a new album from the L.A. based Australian who over recent years has gathered a swag of international fans via his previous projects including, London Cries (formerly Juke Cartel) and Rock Star : Supernova. 

 From the opening moments of Cellophane World where Rand implores, ‘Help Me Fade Away…’ we are drawn into a dark and emotionally raw world. Toby Rand lets us hear the deepest of his thoughts and emotions laid over a symphonically rich rock and roll landscape with swirling electro atmospherics. ‘It’s a battle between a character torn between self-doubt and self-belief ’ says Rand, ‘and perhaps in a way this is some of my most honest vocal work as I’ve tried to create music that is one-hundred-percent who I am as an artist today.’ 

Rand reached out to Grammy and BMI Pop winning producer Alex Geringas and award winning mixer, Mark Needham to help him craft a new sound for his debut solo album due later in 2017. 

Demand outstripped capacity the last time that Toby Rand performed in Australia and fans will get the chance to pack venues to capacity again in June when Rand plays the new material live accompanied by his musical director Tony Bruno in a series of intimate shows down-under.