A Sydney club was closed in the early hours of the morning after six patrons were taken to hospital with suspected overdoses.
NSW Police released a statement saying that around 1.30am police and emergency services were called to the Darling Harbour venue to treat six people, two men and four women believed to be in their 20s.
All six were taken to hospital, however, they are in a stable condition.
report, the nightclub owners made the decision to close the club early to deal with the situation. Patrons were all asked to leave the club.
The owners are yet to make a formal statement about the incident.
It is unknown what substance the club-goers took but the police will be talking to them to find out more information. They’ve also urged anyone with more information to call Crime Stoppers on 1800 333 000.
The Music Feeds team is ready to wax lyrical about tunes we’re digging and show how ~cool~ we are when dropping that new music knowledge. Here we’ve wrangled together the fresh new songs that made an impact on us, for the ultimate new music playlist. It’s Music Feeds Faves!
Radiohead – ‘Man Of War’
A new old (new old?) Radiohead song dropped today, as part of the 20th-anniversary reissue of the band’s 1997 album OK Computer.
The rereleased version of the record is titled OKNOTOK and contains the previously unreleased song ‘Man Of War’, which bounces around on weighty piano chords and feels kinda similar to the unused theme song the band wrote for the James Bond film Spectre.
‘Man Of War’ has been given its own paranoia-inducing video that’s straight out of Black Mirror and the lyrics are timeless too, despite the song being recorded two decades ago.
“You’re my man of war / Yeah, the worms will come for you, big boots,” Thom Yorke sings, backed by a piano and strings combo that almost foreshadows what Radiohead would achieve on the icier sections of their latest album A Moon Shaped Pool.
The days are getting shorter, the mornings and evenings decidedly cooler and my mood is following suit. When wallowing listelessly in winter-induced languor, I find it’s always nice to indulge in some dreamy, lush, well crafted indie pop and, on this, Sydney duo Noire have delivered the goods with ‘Real Cool’.
“Real Cool is a tribute to Air,” one half of the duo, Jessica Mincher, says of the track. By that she means the Parisian band renown for their downtempo ‘trip hop’ electronica, but you could also mistake the track as a tribute to the air we breathe too. Mincher’s vocals float effortlessly into the ether over tenderly sculptured production and ever so lightly reverberating instrumentation.
“It’s about the things you tell yourself when you think the one you love doesn’t feel the same anymore,” Mincher says of the track. Winter is coming, it seems.
Noire’s debut album Some Kind of Blue is due to be released in September. / Nastassia Baroni, Managing Editor
Molly & The Krells – ‘Relationshit’
Sydney punk rats Molly & The Krells have announced themselves upon the world with their give-no-fucks debut single ‘Relationshit’ (possibly the most punk rock name ever). The awesome foursome have their roots planted firmly in ’70s punk but their ripping new tune has the catchier melodic hallmarks of more modern punk acts like Sum 41. Their rollicking tongue-in-cheek breakup anthem is the sound of ejecting that special someone from your life with a big fat smile on your face and two middle fingers raised in their general direction. / Emmy Mack, Senior Staff Writer
HAIM – ‘Want You Back’ (video)
For the last few weeks, I’ve been strutting down streets with HAIM’s ‘Want You Back’ stuck in my head in a beautiful loop, and now, courtesy of its new video, I have a few new moves to throw in. HAIM just can’t help but make struttable music. / Nastassia Baroni, Managing Editor
“It was one of the best shows we’ve ever done,” says an admittedly exhausted but cheerful Mike Kerr, one-half of British rock outfit Royal Blood. The band are, somewhat, fresh off a 1 am club show at Brooklyn venue Warsaw, ahead of an anticipated set at New York City’s Governors Ball festival. The venue, it turns out, is inside a Polish community centre that sports my favourite tagline to date: “Where pierogies meet punk.”
“It’s great,” quips Kerr. “It smells like sausages, you know, in a good way.”
Chatting to Music Feeds at the New York festival, just a few weeks away from the release of their second album, the wryly titled How Did We Get So Dark?, out now, the band seemed buoyed by the excitement of having new material to play live. They had, after all, been touring off the back of their hugely successful eponymous debut for over two years.
“It’s nice to have new shit to play,” says singer, bassist Kerr. “I don’t know, before we were, like, milking a 33-minute record. So this time, there’s more dynamics in the set. It feels good. The more people get to know the new stuff, the better the shows are getting.”
“We’re excited,” adds drummer Ben Thatcher. “Excited to have the album out. Excited to play today. We’ll get a boost of energy and adrenaline before we get on stage, I’m sure. Last night we played a show, at 1 in the morning and then we partied a bit afterwards. So we’re a little bit fragile.”
With How Did We Get So Dark?, Royal Blood now have around another 34 and a half minutes of material to play with on stage, and while the record doesn’t deviate far from their sonic home turf, that is by design. Royal Blood know they’re onto a good thing, and they’re not about to mess with it.
MF: There’s quite a lot going on in the new album, production-wise. How are you translating that live?
Mike: Ben has some triggers on his kit that he’s like firing shit off and then I’m still, kind of, doing a bit of voodoo, having loads of pedals turning on and off. But, apart from that, it’s the same as we did on the first one, really.
Music Feeds: You had a bit of an insane trajectory though over the last few years – album success wise and also hanging with some of rock music’s greats: Jimmy Page, Lars Ulrich, opening for Foo Fighters and The Pixies. Did that change the way you approached doing this next record?
Mike: No, I think it just kept us on the same trajectory. I think it was a vote of confidence that our instincts, as a band, were good. So, it was more about continuing to follow our gut and our instincts on what was good music. I don’t think it changed our mentality at all.
Music Feeds: You’ve kept that core Royal Blood sound, which is, basically, the two of you. Is that intentional?
Mike: It’s all intentional. I mean, we have a sound, which is ours, so it’s OK to own it and refine it, sharpen it. A lot of bands don’t have their own sound. They have their own songs but they don’t have their own sound. We have a sonic identity. So it was just about preserving that and seeing if we could enrich it, rather than reinvent it.
Music Feeds: Still, you can hear the influences of other genres in there. ‘She’s Creeping’, for example, has a Weezer meets hip hop groove. Was that reflection of things you were listening to? Or were you deliberately trying to enrich the record with other sounds and genres?
Mike: I think every song on the album has its own set of influences. We never design songs. We never sit down over a drawing board thinking: “Wouldn’t it be cool if we made a hip hop, Weezer tune?” We just start writing and start fishing for ideas and as they come together we follow our nose with it until it’s completed. It’s not really until we have hindsight that we realise we were influenced by that or by that. We don’t, sort of, flick through the filing cabinet of influences and try and build something. Everything just happens naturally.
Music Feeds: Are you constantly refining songs as you’re in the recording process.
Mike: Yeah. I definitely think this album, more so than the first one, we spent time refining the songs by either demoing them or giving them time to breathe and just to sit with them for a bit. And that proved to be pretty productive, a lot of the songs really went to another level by that process.
Music Feeds: Do you feel like you’ve honed in on a good process then?
Mike: Kind of. I don’t really believe in having a process because that feels like you’ve got a method and you’re just running through the motions. It feels contrived. So I think it’s about doing whatever you need to do to feel creative and excited and then when you stumble across something that feels like it has potential, then it’s just cherishing that. Being respectful of it and seeing where it can take you.
Music Feeds: Do songs then change when you play them live?
Mike: Yeah. The songs, for our band, when they’re written they’re captured. And when they go out on the road, they’re growing and developing and changing. Sometimes they speed up, sometimes they slow down a bit. They swing a bit or they change key. Sometimes a whole new section gets put in there. It’s more about… we’re still trying to improve the songs the whole time.
Music Feeds: Does that ever make you want to go back a re-record something?
Mike: No. Because it’s supposed to be set in stone at some point. Records are just references of that time period. The band’s like a living, breathing thing that’s constantly changing and evolving.
Music Feeds: Do you always write songs with playing them live in mind?
Mike: Definitely. I mean there is an element of practicality to what we do. We probably wouldn’t put a string orchestra with what we do unless we thought we’d be able to have a full string orchestra up there [on stage]. But I think those practical limitations, or those decided limitations, are what keep us being us. I think as soon as you throw a couple of guitars on there, my bass would just sound quieter and the drums would sound quieter and we’d just sound like every other rock band.
It’s like, if we were a cuisine we’d be Italian food. Wholesome ingredients…
Ben: You know what you’re going to get.
Music Feeds: Do you use music as a form of escapism or as a way to vent?
Mike: It depends really. That isn’t a constant feeling. It would be impossible for me to say that every time we play. It’s so circumstantial. But I’d say more times than not, we get a kick out of playing live and there’s the sort of risk element of playing in front of people. So I’d say yeah it does bring an element of, like, adrenaline and it’s fun to do. I don’t know if we vent anything. Because, I think, any emotion you wrap up in a song kind of dies when you record it, and after
I don’t know if we vent anything. Because, I think, any emotion you wrap up in a song kind of dies when you record it and after that, you’re putting on some kind of performance. It’s put over what you meant. You’re kind of acting really, you can’t forever feel like that. With a breakup song, you write it and you feel really sad. You record it and you feel a little bit less sad than when you wrote it.
Ben: And then you meet a new girl…
Mike: And then you meet a girl and three years later you’re playing it on stage, there’s no way you’re feeling as sad as when you fucking wrote it. There’s no way, at that point you’re acting.
Music Feeds: So there’s always that element of performance?
Mike: Absolutely. Music is performance. Live music is performance.
Music Feeds: Do events like the attacks in Manchester or in Paris at the Bataclan Theatre weigh on you as performers and as touring musicians?
Mike: No. I think those things affect everyone. In all walks of life. I think you’ve just got to carry on. I think playing music is something that can’t be held back or stopped. At times, being a musician or a performer can seem kind of pointless. Like, what does it actually do? What does it serve? There are real problems in the world that need practical solutions and, meanwhile, bands are just kind of being a distraction. But I think they’re important distractions sometimes. [Music is] like a relief, sometimes, from thinking or worrying about these things. So I think it’s crucial and vital to be kept alive. It can’t hold anyone back. Like, what happened in London the other day, doesn’t mean I’m going to stop crossing bridges. What happened at some shows over the last couple of years, doesn’t mean we’re going to stop playing gigs, or going to them.
Music Feeds: Are you thinking beyond? Are you thinking of the next album?
Mike: I think we’re always looking forwards. So, whether that’s another album or just the next song. Or our careers as movie stars, we’re not sure yet. But we are just looking forward.
Music Feeds: Careers as movie stars?
Mike: I mean, that’s just one example. That’s just forwards, isn’t it? ‘Cos it’s something we haven’t done before. Maybe we’ll get into origami or something.
Kroeger is yet to respond to Taylor and Smash Mouth’s comments, but we’re really hoping he does.
Until next time on ‘Stone Sour vs. Nickelback’…
Gallery: 11 Of The Lamest Feuds In Music
Wayne Coyne vs Arcade Fire: While to most, Flaming Lips frontman Wayne Coyne is an affable, Willy Wonky-type figure with his head perpetually in the clouds, when it comes to interviews, he’s known to be kind of a dick, particularly to other bands, and particularly to Arcade Fire, saying the Montreal band are “pompous” and “really treat people like shit.”
Wayne Coyne vs Arcade Fire (cont.): Arcade Fire frontman Win Butler responded to Coyne’s comments in a blog post, turning the tables on his “pompous” label and explaining why he might’ve thought the band treated others poorly. Coyne responded by retracting his comments, only to later claim that what he said was “absolutely the truth.”
Rated Lame For: Coyne’s seemingly constant and out-of-the-blue attacks on other bands are lame to begin with, but here in particular he comes off as childish, inconsistent, and totally lame.
Miley Cyrus vs Radiohead: The story goes that this bitter feud was sparked after Miley was about four dressing rooms away from Radiohead frontman Thom Yorke the night of the ’09 Grammys. Miley promptly asked her manager to reach out to the UK indie veterans’ people to see if they could arrange an introduction, insisting she would cry if she ever got a chance to meet the band, to which Radiohead’s manager responded, “We don’t really do that.”
Miley Cyrus vs Radiohead (cont.): While this would come as little shock to say, anyone who knew anything about Radiohead, Miley was incensed, having allegedly already told her friends that she could introduce them to the band. So hurt was Miley by the band’s snub that she slammed them as “Stinkin’ Radiohead!” and insisted that she was “gonna ruin them.” The band’s rep then released a statement saying, “When Miley grows up, she’ll learn not to have such a sense of entitlement.”
Rated Lame For: Miley stomping her feet because a band isn’t able to meet her right before a Grammys performance and then referring to them as “Stinkin’ Radiohead” and having the gall to claim she will “ruin them.”
Azealia Banks vs Disclosure: At this point, there’s almost no one that Azealia Banks hasn’t engaged in a feud. This one started after she tweeted that she’d had an “amazing session” with UK EDM duo Disclosure, which the boys soon refuted, claiming they really just sat around eating sushi. These comments lead Banks to claim she was scrapping the track because the pair were “really rude in an interview.”
Azealia Banks vs Disclosure (cont.): After changing her tune about the “amazing session,” saying she had better material on her album, the Howard brothers appeared on Triple J’s Tom & Alex where they joked about the situation and generally poked fun at Banks’ oversensitivity. Meanwhile, Howard explained that his “sushi” comments were a result of the pair’s typical secrecy when it comes to collaborations.
Rated Lame For: Just where the hell did this one come from? Apparently telling interviewers your alleged “amazing session” wasn’t so amazing is “really rude,” and appropriate response to scrap the track and claim you may release it as an “F-side, a fuck-you side.”
98 Degrees vs 5ive: When asked who the worst boy band of the ’90s were, 98 Degrees’ Nick Lachey named 5ive, and claimed that the UK group “had it out” for his band when touring together years ago. 5ive’s Abz took exception to Lachey’s barb, telling TMZ that 98D “suck ass” and that 5ive were the “bad boys of pop… always looking for trouble” and 98D “just got in our way.”
98 Degrees vs 5ive (cont.): Speaking to VH1, Lachey apologised to Abz and the members of 5ive, and clarified his comments, saying, “When asked who the worst band of the ’90s was I said 5ive and that’s absolutely not true. 5ive is actually the worst boy band of all time.”
Rated Lame For: Did we mention this all happened last month? Two equally faceless ’90s boy bands sparked a beef long after both had receded from cultural relevance and they did it by making comments to Bravo, TMZ and VH1, respectively.
M.I.A. vs Lynn Hirschberg: This one got a lot of press and will forever be known as the ‘Truffle-Flavoured French Fry Incident’.
In 2010, writer Lynn Hirschberg profiled M.I.A. for New York Times Magazine, depicting the fiercely political and individualist rapper as a querulous and naive first-semester uni kid who eats elitist french fries while musing on the rampant materialism of the Western world and the plight of Sri Lanka’s Tamil people.
M.I.A. vs Lynn Hirschberg (cont.): In response to Hirschberg’s harsh article — which while it made some fairly sobering points and intriguing observations, seemed to descend more and more into a run-of-the-mill takedown piece as it went along — the fiercely political and individualist rapper decided to release Hirschberg’s phone number on Twitter and shared an audio recording that proved Hirschberg in fact ordered the fries.
Rated Lame For: We call lame for Hirschberg’s overly editorialising article, M.I.A.’s immature doxing, and the fact that this could all have been settled with a simple “Fuck the haterz!” tweet.
Flo Rida vs Diplo: Diplo became irate after viewing Flo Rida’s ‘Can’t Believe It’ video, alleging it’s similarity to his own video for ‘Butter’s Theme’. It makes sense as both clips employed the novel concept of having women show their rear ends in a rap video. Diplo quickly took to Twitter, slamming Rida as a “fuck ass fuckboi for ripping off my video” and insisting that he would fight him in a street fight.
Flo Rida vs Diplo (cont.): After threatening to “toilet paper the trees in front of Flo Rida’s mansion” and having Rida himself respond by thanking God that he “can afford a mansion.”
Rated Lame For: Eventually, the UK producer sort of calmed down about the whole thing and promptly returned to Twitter to admit that his beef with Flo Rida is “kinda lame.” In this case, props must be given for self-awareness.
The Killers vs The Bravery: When Nirvana exploded in the early ’90s, labels couldn’t sign grunge bands fast enough. When The Killers were rocking the charts in the early ’00s, a similar phenomenon took place, and it really seemed to stick in the craw of the band’s frontman Brandon Flowers, who reserved particular vitriol for NY’s The Bravery.
The Killers vs The Bravery (cont.): “They’re signed because we’re a band,” Flowers told MTV, while attacking the band’s previous incarnation as a ska band. In the same interview, Flowers praised Franz Ferdinand, whose frontman happened to have once been in a ska band. Bravery frontman Sam Endicott responded by calling Flowers “a little girl” and “a kid in a wheelchair.”
Rated Lame For: Flowers’ utter cluelessness and Endicott’s childish response, and for Flowers later allegedly admitting the whole thing stemmed from jealousy on his part.
Nelly vs Chingy: By the time Chingy came onto the scene, Nelly had already established himself as a giant in the rather goofy field of mainstream pop rap. But this didn’t stop him from feeling like Chingy was encroaching on his territory as THE St Louis rapper and insisted that Chingy’s hit ‘Right Thurr’ was merely aping his cadence on tracks like ‘Hot In Herre’.
Nelly vs Chingy (cont.): Upset with Chingy stealing his favourite syllable and with both claiming to have coined the term “derrty,” Nelly aimed a dis track at the rapper in which he attacked his integrity and credibility (we know, right?). The barbs flew back and forth between the two until they made up for the ‘Beef III’ hip-hop rivalry documentary video.
Rated Lame For: Some rap beefs start over money, some rap beefs start over women, and some start over contract disputes. This one started over a syllable.
Billy Corgan vs Pavement: Pavement bursted onto the scene in 1992, quickly garnering praise for their lo-fi sound and frontman Stephen Malkmus’ sarcastic and ironic lyrics, including these from the single ‘Range Life’ off the band’s sophomore album: “Out on tour with the Smashing Pumpkins / Nature kids, I they don’t have no function / I don’t understand what they mean / And I could really give a fuck”.
Billy Corgan vs Pavement (cont.): Corgan maturely responded by first having Pavement thrown off the Lollapalooza tour and claiming that Malkmus’ characteristically tongue-in-cheek lyrics were in fact “rooted in jealousy.” Malkmus insisted his lyrics weren’t a dis, that he enjoyed the Pumpkins’ music, and that “Billy’s gotten over it.”
Rated Lame For: Billy showing just how over it he was by sending Twitter jabs Pavement’s way almost two decades after the single was released, even launching into a tirade against Pavement as recently as 2012.
Bow Wow vs Lil Romeo: This ‘Biggie vs Tupac’-like feud erupted after Bow Wow, then known as Lil Bow Wow, claimed to earn more than Lil Romeo’s dad, rapper and mogul Master P, on the track ‘Fresh Az I’m Iz’ (yes, the song was really called that).
Bow Wow vs Lil Romeo (cont.): Lil Romeo responded to the venomous dis by bringing Master P (who did we mention was his dad?) along to the Nickelodeon Kids Choice Awards to confront Bow Wow, which saw Bow Wow running to his trailer for safety. Master P even reportedly tried to arrange a boxing match between the two.
Rated Lame For: We’re calling lame because Lil Romeo’s response is the showbiz equivalent of having your mum beat up a bully for you, and for two adolescents to beef over what was said in a song called ‘Fresh Az I’m Iz’ is just sad.
Lil Wayne vs Pusha T: In 2006, Weezy appeared on the front cover of Vibe rocking BAPE — the Japanese streetwear label made popular by Pharrell Williams — clothes, and had worn them in his ‘Hustler Musik’ video. Pharrell-produced duo Clipse, allegedly one of the first to rock BAPE threads, soon dispatched a dis track dubbed ‘Mr. Me Too’ in which they claimed, “Ni–as bite the style from the shoes to the watches.”
Lil Wayne vs Pusha T (cont.): This minor dispute soon metastasised into an absurd beef, after Wayne levelled Complex magazine with a tirade in which he alleged that he didn’t bite anyone’s style and that Clipse only gained notoriety after working with Wayne’s label head, Birdman. Pusha then proceeded to drive this beef well and truly into the ground, and continues to mention it in interviews to this day, long after Weezy and everybody else got over it.
Rated Lame For: This is like one of those arguments where it gets so out of hand that neither person can actually remember why it started. We can remember why it started. It started over who wore a clothing brand first.
American post-hardcore outfit Hawthorne Heights
have announced their return to Australia for an extensive headline tour later this year, and they’ll be playing two of their albums in full.
Arriving down under this August for seven new shows, Hawthorne Heights will perform their first two albums (The Silence In Black And White and If Only You Were Lonely) in their entirety at venues in Perth, Adelaide, Melbourne, Newcastle, Sydney, Brisbane and The Gold Coast.
Supporting the tour will be Silverstein’s Shane Told under his solo moniker River Oaks, and he’ll be playing both solo stuff and Silverstein material. Sydney’s Sienna Skies will also be supporting, as will Spitalfield frontman Mark Rose in solo mode.
Catch all the dates and ticket details, below.
Hawthorn Heights 2017 Australian Tour
Supported by River Oaks, Sienna Skies and Mark Rose
Many of us can link a certain album to pivotal moments in our lives. Whether it’s the first record you bought with your own money, the chord you first learnt to play on guitar, the song that soundtracked your first kiss, the album that got you those awkward and painful pubescent years or the one that set off light bulbs in your brain and inspired you to take a big leap of faith into the unknown – music is often the catalyst for change in our lives and can even help shape who we become.
In this new series
, Music Feeds asks artists to reflect on their relationship with music and share with us stories about the effect music has had on their lives.
Here are their love letters to records that forever changed their lives.
Damn you’re sexy. Like, stupidly sexy.
You may not know me, so I hope you don’t mind me writing you a love letter, but I gotta admit it. God! You’re stunning in so many ways!
As I said, we haven’t met but I have met your older sibling When the Storms Would Come back in 2015. We used to chat heaps. We used to get real cozy, too.
Anyway, I think what staggers me is that when a set of parents birth such a magnificent work for the first time, it’s really unfortunate and extremely common that the second child is dog ugly. Paint, my love, you are the exception. This is great because I’m a second child and I’m a knockout too, so we really have a lot in common already.
I (and a lot of people) have been waiting for something like you to come along for a long time. You’re a rare mythical creature in the music industry these days, one that used to roam the world all the time. The beast I am referring to is a strong and consistent start-to-finish album, in which every song has a purpose and the same amount of love poured into it. Beasts such as you have been near extinct for some time, but occasionally there is a sighting out in the wild.
A number of things about you stand out. Simplicity is one. “Keep it simple” is a phrase used a lot in songwriting, but to be ‘simple’, engaging, progressive, attractive, surprising and enticing all at once is a real challenge and you’ve nailed it. The second is your use of space. Producers, songwriters and an extreme number of people love cutting out unnecessary space that has ‘no purpose’. This might be why we don’t have artists like Pink Floyd, Zeppelin, Queen or Elton anymore; music is getting shaved because of ‘purpose’. Holy Holy have that sound, sonic space, and breathing room that the listener can just sink into and get lost. Tame Impala also execute this very well and look at their success. That takes confidence and guts in this day and age.
Having seen Holy Holy live, I know to some extent the playing capabilities of guitarist Oscar Dawson. One of my favourite things about the album is his ability to keep his lead guitarist capabilities in check and flex his arranging and songwriting muscle to compliment the songs. His diversity in playing, creating parts and effects is staggering.
His ability to add a minimalist touch that is still so effective is a rare trait to have. ‘True Lovers’ is a great example, he doesn’t shut up the whole song but every part works so well, then he has a cheeky little go around the 2.45-minute mark, which is sick too. This extends across the band, the bass lines and runs are just so on point, with the keys solo in ‘December’ being another great example.
Paint; you are such a relief. To see a great band back up a fantastic first release with real character, diversity, love, and honesty is so exciting. It makes me hopeful and grateful. I don’t know the lads but I somewhat feel proud. So, ‘Send My Regards’.