And now the memes have officially crossed over to RL, being rendered as a piece of limited edition merch thanks to this new retro style alarm clock, which is available in both a blue & black colour scheme for the price of $45.
Sydney’s Factory Theatre is likely nursing some serious bruises after a thumping four-band tag team roughed it up on Thursday night. Miss May I
‘s debut Sydney headliner was a sweaty pit-thriller that had fans rampaging around the upstairs auditorium like a herd of pierced and tatted-up beasts on heat.
Locals Oh/Villain and Justice For The Damned brought lashings of homegrown post-hardcore heaviness that got the young crowd amped up for the international guests to hit the stage, with Aussie debutantes Sylar
combining the bouncing brutality of their earlier tunes with the soaring pop-infused rap-metal bangers of their latest album Help!. Though they haven’t had a huge amount of exposure down under to date, these New York dudes still had fans singing along en masse to their arsenal of huge, car-radio choruses. Don’t be surprised if the next time we see them back on our shores, it’ll be for a headline tour of their very own.
But this time, that honour was reserved for Miss May I, and the Ohio metalcore giants straight-up owned it. The explosive aggression of the endless limb-thrashing circle pit that erupted from the opening blast of their 2017 single ‘Lost In The Grey’ (and lasted for just about the entirety of their set, FYI) was counterbalanced with the palpable vibe of love and appreciation that came pouring from the stage. From Jerod Boyd’s feral animal precision behind the kit to frontman Levi Benton screaming with so much force that he looked like he was about to bust a capillary, it was clear that the band were truly stoked to be up there on that stage, headlining their very own show here in Sydney, and the feeling was totally infectious. Fans were screaming for an encore before MMI had even left the stage.
And with the ceremonial throwing of picks and drumsticks into the crowd accompanying the final ring-out, the only complaint was that the night had ended too soon.
But to be fair, it was an all ages gig, and plenty of fans probably would have had school the next day.
At least show & tell would have totally kicked ass.
The LA rhyme-spitter has just dropped his brand new album NO SHAME, and it seems disc opener ‘Hotel In Sydney’ is the musical incarnation of the whole dramatic saga that unfolded during his 2016 Australian Tour.
It intros the record with some very memorable dialogue, featuring a dude doing a pretty bloody woeful Aussie accent, just FYI.
“Are you guys letting me go now?” Hopsin asks from his Sydney jail cell to kick off the tune.
“Yeah yeah, I’m afraid not, ya fuckin’ dog of a cunt!” replies the aforementioned unnamed ‘Aussie’ feat. artist, adding “Go inside, ya fuckin’ wombat!”
The lyrics then unfold Hopsin’s full and very emotional side of the story, during which he claims to have found out that his pregnant Aussie girlfriend had been cheating on him with her personal trainer and secretly moonlighting as a stripper, prior to the incident that landed him in jail.
Hopsin claims that he was unfairly made out to look like an “abusive monster” following the situation, and once again expresses fears that authorities will make it difficult for him to get back into Australia because of what went down.
It’s all very full on stuff, but on the plus side there’s a cheeky shoutout to Penrith.
You can give it a spin and read the full lyrics below. But be warned, it’s not a very comfortable ride.
For those needing assistance,1800 Respect– the National Sexual Assault Domestic Family Violence Counselling Service – can be reached on 1800 737 732.
[Intro: Hopsin & Police Officer]
Are you guys letting me go now? Yeah yeah, I’m afraid not, ya fuckin’ dog of a cunt!
Let’s go, dickhead!
Officer, you said I was only gonna be here for 30 minutes
It’s been five hours, man, what’s goi— Yeaaah, shut your fuckin’ mouth ya fuckwit before I fuckin’ bash ya
Man, what the fuck are you talkin’— Go inside, ya fuckin’ wombat!
Man, this is stupid Go on, sit down!
*sighs* Oh, god Now, your misses claims you assaulted her
Psssssst Bloody oath, man, why’d ya fuckin’ beat her?
Man, I didn’t fucking beat her, listen, I’m telling you
[Verse 1: Hopsin]
I got her the engagement ring that she liked, booked a new flight
To come to Sydney, just to see her, start a new life
Man, she’s 20 weeks pregnant and I was tryin’ do right
For us, the family, the kid, but maybe I was too nice
My homie text me a picture and I just burst into anger
It was my girl in a bed with her personal trainer
I text my homie like, “Yo, where you find this?”
He says, “Snapchat, bro, it’s all on my timeline, shit.”
Swear it struck a fuckin’ nerve in my chest
I looked at my girl and said, “Get a paternity test!”
She said “NO! Don’t you get all worked and upset
I only slept in this bed right after work just to rest.”
I said “What? You expect me to believe that?
Ha, alright, yeah I’ll ‘relax’
Guess it doesn’t seem bad
My girlfriend’s with a buff nigga gettin’ t-bagged.”
Officer, correct me if I’m wrong but she needed her head detached
I said, “Bitch, I can’t believe this shit!
Does he know you’re pregnant? Is that his kid?
Look how big my headache is!
This whole time y’all havin’ sex and shit
What type of nigga would fuck a pregnant chick?!
I said, “Let’s get this paternity test, I’m not kiddin’, bitch!”
She said, “No, I’m not gettin’ it!”
Officer, I ain’t seen her in months, I couldn’t trust the lyin’ whore
Plus she told me she slept with this guy before
And then I said, you know what? Forget it, it’s all good, nevermind
Shit was makin’ my blood pressure high
I love her unconditionally, you know?
I can’t pretend I ain’t never lie
For the moment, I guess I’ll let it slide
She said, “If you don’t want to take care of this kid, Marcus, then say so.”
I said, “Wait, no, it’s mine too, I can’t go
How you gonna support this kid without me? You don’t make dough.”
She said, “Hahaha. I make loads.”
She had six grand cash
I said, “But you was broke two weeks ago!
How you makin’ chips that fast?”
She said, “I bartend, I made it all in tips, haha.”
I said, “Girl, you must take me as a big jackass.”
I’m like, “Please, we both know money is hard to come by.”
Her bullshit might fly over the heads of some guys
Officer, she’s always tellin’ dumb lies
I’ve known her for six years, and she hasn’t lifted a finger one time!
I said, “Where’d you get the cash from?”
She said, “I bartend, duhhh, from tips. I’m a waitress.”
I said, “Where’d you get the cash from?”
She started stutterin’ like, “Uhm-uhh-mmm, Marcus, wait just—”
I said, “Where’d you get the cash from?”
She said, “Ok, ok, I’ll tell you, just promise me you won’t get mad.”
I’m like, “Baby, where’d you get the cash from?”
She said, “I work at a strip club… it’s how I made the six grand.”
I said, “Woaah, no… NOOO!”
I fell down in tears, my heart broke, I turned cold
I don’t want the girl that I’m in love with doin’ ho shit
If she needed cash I woulda loaned it, and she knows it
They won’t let me get a refund on this $20,000 ring
Fuck, my head hurts, I need some ibuprofen
[Interlude: Hopsin & Police Officer] Yeah, Mr. Hopson, you need a minute?
Um, may I have some water please? Ah, no worries at all
I don’t mean to cry and get emotional, but all this just bothers me Yeah, it’s alright, you’re good… yeah here ya go, mate
Thanks… *sips water*
[Verse 2: Hopsin]
I wasn’t me no more
I looked her in the eyes and straight told her
(What’d you say to her?)
I need you to tell me where this strip club is at
Or this family we’re about to have is over
I said, “Tell me where it’s at!” — she said, “No.”
I said, “You about to make me mad!” — she said, “So?”
I said “Bitch, you better panic and run, the damage is done
You’re doin’ this four months away from havin’ my son! UGHN!”
I told her I would always have her back
I forgave her after all the careless acts
I have one question, and she couldn’t share the facts
The strip club — how come she couldn’t tell me where it’s at?
Who the fuck she fuckin’ in there?
Who’s dick she suckin’ in there?
Shakin’ her fuckin’ butt in the air
It’s like we’ve argued for a thousand fuckin’ hours, I’m annoyed
And I was at the point where somethin’ was ’bout to get destroyed
I grabbed her purse, threw that shit across the room
I fuckin’ launched it too
It was filled with makeup kits and all of her jewels
I blacked out; she said, “What the fuck is wrong with you?”
She got up out the bed to get it, I pushed her ass back in it
I said, “We’re still talkin’, bitch, you and I ain’t finished
Now, this strip club, where is it? BITCH, WHERE THE FUCK IS IT?!”
I said, “You know what? Fuck it. Awesome. Fine.”
In the process of all this drama, I had lost my mind
I felt lost and blind: the gym trainer, the strip club
The ring, the baby, she really crossed the line
And then I finally came down and all the madness was finished
Then she invited me to dinner with her family in Penrith
I said, “I ain’t goin’ with you, you can leave now
I need to stay in this hotel room, and figure some things out.”
Officer, I know you ain’t gonna sympathize
I don’t approve of any man puttin’ hands on his girlfriend or wife
Especially when she’s pregnant with his kid inside
Honestly feel like I wasn’t in the wrong, but still I wasn’t in the right
Ask her, she ain’t got no bruises on her
I’m human, there’s only so much that a dude can conquer
She knew that her actions reflected true dishonor
And tried to cover it, sayin’ I’m an abusive monster
That’s bullshit, huh, and that fast, poof
All of her wrongs are in the past, cool
She’s just the innocent white girl and I’m the black guy
Who always gets mad, true!
I know y’all about to make it hard for me to get back into Australia
Man, this shit is fuckin’ sad, dude
I still don’t know if this baby is mine or not
So when he’s born, who’s gonna be the fuckin’ dad? You?
It’s a known fact that you should generally stay away from covering Prince
songs, but that hasn’t stopped American talk-show host Jimmy Fallon
from singing one of The Purple One’s tracks with his Tonight Show band The Roots
, which hasn’t gone down too smoothly.
Despite Fallon being a huge fan of Prince, his (probably lip-synched) performance of the 1984 Prince And The Revolution song ‘Let’s Go Crazy’ at today’s Macy’s Thanksgiving Day Parade in New York has come off, well, a little crazy.
points out, a number of Prince fans have taken to Twitter to share their disapproval…
The Roots are allowed to cover Prince. More than allowed. Jimmy Fallon is not.
This discussion saddens me. I’ve heard Jimmy Fallon say incredibly respectful and loving things about Prince. And I just can’t see him having a racist bone in his body. No he can’t sing, can’t we just leave it at that?
So far, at least 14 acts have pulled the plug on their slots at this year’s Earthcore events including headliner Coming Soon, who said, “The reason for the cancellation is because the owner of this festival didn’t pay us until now and didn’t even book a flight.”
“We just have to mention that we never got treated like that ever in our 15 years in the industry and we will never work with this promoter ever again… we lost a lot of money from this issue,” they added.
Other international acts have taken to Facebook to express similar sentiments:
In their Facebook statement, Earthcore promoters also addressed what they called Coming Soon’s “vindictive advertised smear campaign”, saying they’re “seeking legal advice for damages to our festival and our lives” after he apparently inferred that Earthcore Victoria was cancelled.
Earthcore 2018 is set to kick off later this week in Victoria, followed by smaller Earthcore events in Queensland and Western Australia.
As for anyone who bought tickets to the now-axed Sydney event, this is what organisers had to say:
“Existing ticket buyers have 2 choices. Use your existing NSW ticket to gain entry to earthcore in Victoria for the main event. 7 hours from Sydney. Please note your E Ticket needs to match your photo id at the gate or obtain a full refund. The refund process commences 15 December onwards. Please contact email@example.com.”
Google has taken a hammer to the dodgy dealings of some online ticketing resellers, announcing a bunch of new rules that sites will have to follow if they want to keep advertising on the global search giant.
So basically, if these corporatised scalpers still want to appear in a Google search — where two-thirds of all music, entertainment and sporting tickets are found and purchased — then their sites will have to clearly spell out exactly how much they’re trying to f*ck you by.
This includes listing the OG value of the tickets, plus any extra fees and taxes, so you have all the info right in front of you before you decide to proceed to the checkout.
“This policy will apply globally, across all accounts that advertise ticket resale from early next year,” a Google spokesperson tells CHOICE.
“We believe these changes strike the right balance between helping Google users find tickets to their favourite bands and acts online, while protecting their interests and those of artists.”
And while the move is all about protecting fans from the underhanded tactics of these unscrupulous resellers, it’ll also likely take a wrecking ball to their profit margins.
“Given the extent of poor practice across the ticket resale industry, it’s great to see Google is playing its part to dry up their site traffic,” says Tom Godfrey, head of media at CHOICE, who’ve been campaigning for reform since doing their own independent investigation
into the online reselling industry back in March.
“Once you land on a resale site you don’t really stand a chance with resellers using tricky tactics such as disguising buttons to look similar to authorised sellers, not disclosing the full price before you pay, or making ‘official’ claims.”
Google’s move comes after state and federal regulators issued warnings about ticket resellers, prompting some states to introduce legislation this year banning ticketing bots
and imposing huge fines
on anyone caught reselling a ticket for more than 10 per cent above the original price.
He may be 40 years into his career, but Daryl Braithwaite is enjoying as much success in 2017 as he did in the 1970s and 1980s, when he first forayed into music as the frontman of Aussie rock band Sherbet. That’s thanks a lot to the somewhat bizarre yet utterly compelling resurgence of a certain 1991 cover. Braithwaite takes the memes and jokes in stride, and sees the irony in the fact the track that has been cemented in Australia’s pop culture – ‘The Horses’ – is one he didn’t, in fact, have anything to do with writing.
His touring schedule is relentless, but he loves it and admits he will keep doing it for as long as he can. Braithwaite will kick next year off with the Red Hot Summer Tour, with John Farnham
and the like, but before that, he will be inducted into the ARIA Hall of Fame in Sydney on Tuesday night, and release yet another ‘greatest hits’ compilation, Days Go By.
Music Feeds caught up with Braithwaite towards the end of a gruelling press schedule, but he was as jovial as ever.
Music Feeds: How crazy is horse racing season for you now that ‘The Horses’ has kind of blown up?
Daryl Braithwaite: Yeah, it’s not that crazy, but it’s… I think it’s the crazier than what I give it credit for. I was just somewhere a moment ago and a girl came up and showed me some footage from Derby Day in Melbourne and they were playing ‘The Horses’ and everyone was singing at Flemington. I wasn’t aware of that, but they were just singing along with the song and there was some guy who was a little bit tipsy and he obviously had won, he was going crazy as well, like dancing and stuff. So it’s yeah… now that the Spring Carnival is over I think things will subside a little bit.
MF: What is it about that song in particular, do you think that has kind of resonated with people lately?
DB: I don’t know. You know, it came out, it was successful after a long time you know, in the charts and all that and then, uh, well we haven’t stopped playing it, the band and I, for whatever it is, 20-odd years. I have no answer as to why it has become more popular. But it’s good. I mean, I still love it with a passion and I love the fact that people react to it the way they do. But yeah, I have no answer as to why. I mean, you could try and analyse it and think, well, maybe is it the melody, is it the beat, is it the chords? Is it the imagery? Yeah, I don’t know. Do you like it?
MF: I do, but I think it’s one of those songs that, if you tried to replicate it if you tried to come up with the formula and replicate that, I don’t think you ever could.
DB: I agree. And I think well, hopefully, that will never be, you know, never happen, that they’ll be able to sort of put all the numbers and stuff into a computer and then come up with, “Ohh this is how you write a perfect song.” I don’t think that will happen, you know, it won’t. But I’m eternally grateful for the song. Let me tell you and I never get sick of playing it at all.
MF: Do people seem to understand that the song isn’t really about horses?
DB: Well, I have to tell them occasionally when they go, “Oh yeah, it’s about…” and I go “No, it’s not about horse racing. It’s not about horses.” It’s the image of a horse, but, it really is that imagery of way up in the sky, you know, that sort of just floating away, et cetera. So the horse has something to do with the song, but it’s not, it’s nothing to do with actual horses… I take great delight when people say,”Oh, that horse racing song” and I go, “No, it’s not. It’s not about horse racing!”
MF: Well, what actually inspired that song?
DB: Well, I didn’t write it, but I had to find out what it was about before I recorded it because it was Rickie Lee Jones and Walter Becker. And it was written about Rickie’s daughter and, well, she never fully explained the ins and outs of it. I mean I have spoken to her only this year for the first time about the song and then I think she played at Bluesfest in Byron and she did the song and everyone sang it. She couldn’t believe it, you know. I think she was aware of how accepted it had been over the 20-odd years that it’s been out, you know, it’s strange, that it was successful back in ’91 and it still continued to grow over the last whatever, five years or more.
MF: Yeah. Yeah, for sure. You’ve become a bit of a viral sensation as a result of it. I mean, there are memes all over the place. What’s your take on that?
DB: I honestly don’t know. I don’t push for anything about it at all, you know, on social media, except maybe occasionally on the only thing that I’ve got really is Facebook, which I put on occasional photos of the backyard or something out on the road, you know, nothing to do with ‘The Horses’. But people obviously make things out of it and try to utilize it. But yeah, I sometimes have to ask my son Oscar, he’s got a very funny… well, it’s kind of a funny story. He’s 32, and he was telling me triple j did something on it last week or the week before or whatever it was in regards to the ARIAs and they inserted a little clip of me where I’m running along the beach jumping
and, and he said to me, “Dad, that’s what they love. They love the jump.” And I said, “You’re kidding!” He said, “Nah, they love the jump, that’s it.” I said, “Okay, great.” So he showed it to me and I laughed because it’s just got the jump on the sand as I’m running along with my jumper tucked into my pants.
MF: Yeah, I think it’s the dad jeans that did it for me.
DB: Oh I mean the look, when you look back, I go, “Oh my God, how nerdy does that look? God!”
MF: If you had been able to choose the song that you were famous for in 2017, which one would you choose?
DB: Oh… I would have chosen ‘One Summer’. Only because I wrote it, and it was about a good friend of mine. But I think you take anything, you know, the music game is so – I mean, I love it with a passion – but it’s up and down and all over the place. So I think you count your lucky stars [with] how long you’d been in it and all that. I mean I’m just eternally grateful that I’m still doing it, like 40… 48 years later or something like that. It’s great because I should have retired, you know?
MF: Did you think, when you first started out with Sherbet and Tommy and the like, that you’d still be slogging it out on stages around Australia?
DB: No, not at all. It’s just one of those things. I’ve got a twin brother, he retired maybe two years ago, I think it was, or three years. And I remember him leaning across the table and saying, “I’m retiring tomorrow” and I went, “But what are you going to do?” Because, that’s the thing, I mean with what I do and the group of people that I work with and I’ve been with them now for 20-odd years. We know each other back to front. It’s like a group that go away or whatever, a group of men that go away and work – and, I mean, it’s not really work, we just play music – and we’ve done that for all these years and hopefully will continue to do it until, I don’t know, until something happens.
MF: Was music always your original career plan?
DB: Um, no, not really. I was probably like many, many young people, uh, back in the sixties that went to school and then I dropped out of school fourth year because I didn’t like it. And then I went into fitting and turning at Cockatoo Island dockyards in Sydney and finished that after four and a half years, just, and then went straight into Sherbet as a professional, as they said. And that was it. I never really looked back.
MF: You did step away from music briefly in, what was it? The late eighties I think. What made you do that?
DB: Well, after Sherbet finished I went out and did a few solo gigs in clubs and all that sort of stuff, which I really didn’t like that much. It was demoralising, to a certain extent. And then I gave it up and I ran out of money and I was married at the time and had a son on the way, Oscar.
And so then I went on the dole for about four or five weeks and they found me a job which was digging roads in Sunbury, in Victoria. And I guess the lesson I learned from that was that I didn’t want to do that for the rest of my life and I should, um, you know, pull my finger out and try and get something happening.
So with a lot of help from my wife Sarah and a few, a handful of other people, we managed to get it together to record Edge, and also have investors involved in that and then sell it to Sony music at that time. So that all worked out. And then the next thing after that was whether radio would play it or not, which fortunately they did. And that was the start of, I guess, that was the start of the solo career again, you know – part two.
MF: What did you find so demoralising about it, to begin with?
DB: Well, after the Sherbet thing, what was demoralising was going to clubs and with sheet music and giving it to musicians. And I had a musical director, Johnny Dick, who’s no longer with us, but he did his very best to try and make the band play this or that. That was just… if I had the chance, I would have had my own band but I just didn’t have it together then. Looking back, it’s something that I had to go through, to experience, to make me do, you know, all the things that happened after that. I guess it was a realization.
MF: And well obviously your career, overall, has been phenomenal. Do you have any personal highlights so far?
DB: Oh highlights! I guess there’s been many, you know, quite a few. I mean maybe when ‘As The Days Go By’ was played on radio the first time I heard it in Melbourne back in 1987 and I thought,”Oh my God, how good does that sound!” And there’s been many, because, I love live gigs over recording. I mean recording to me is, I find it very hard and tedious. But the live gigs, there’s been many that have been sensational, just in my opinion anyway. But I think of late, the one that stands out… we did The Footy Show in Melbourne about a month ago or something that to me was like the gig from heaven. It was in Rod Laver Arena and there were about 15 thousand people there or whatever there were, and they just sang like there was no tomorrow. I mean we only did ‘The Horses’, but there was something about it that was extra special. It was just amazing. And I thought, “God, if I get shot now, if I fall over and die of a heart attack, it’ll be fine.”
MF: Congratulations on your ARIA Hall of Fame induction too. That’s massive. How does it feel?
DB: Well, really good. I’m most definitely honoured to be accepted into the Hall of Fame along with people who’ve gone before. And it’s totally unexpected. I mean, I guess mainly because you know, you do the music thing because it’s rewarding as far as you’re playing to people, you’re playing music, they reciprocate. I guess the award thing is just something that you’d never expect or, you know, you don’t anticipate it all. But out of the blue that came and it’s really fantastic, and I’m really honoured to be accepted into it.
MF: It’s great because a lot of times people aren’t recognized until after they’ve passed away, posthumous recognition.
DB: Yes! I mean I think it’s lovely as well because we are right in the middle of, well, one of the busiest times that we’ve had, my band and I, for maybe five years. A long time. You know, we’ve got festivals that were playing at and all this sort of stuff. And you just think, “My God, what else can happen?”
MF: Well you are one of the hardest touring acts out there at the moment. How do you manage to keep up with everything?
DB: I don’t know. I get confused sometimes, I do get confused. But I’m very lucky that I’ve got very supportive fans who understand and I’ve got an agent who’s very, very good and all the rest sort of takes care of itself. It’s just that you’ve got to do more than sing I guess, or I have to, you know, because I’m sort of like the part-time manager as well. But I find that interesting as well. I find the workings of being in music very interesting.
MF: What advice would you give to younger bands, up and coming bands, with your experience in the industry?
DB: Hmm. Well, I reckon if you find the right combination of players and I can only say that in looking back that it takes a little while for everyone to settle in, but if you have a good chemistry amongst all the band and if you’re happy and if you love it then, you know, the passion will come out and you just keep playing and hopefully the songs will come. You know, if it makes you happy and if you’re really passionate about it then you just stay with it. But it does need, I think you do need the support of other people, you know, so that it feels like, that it’s easy, and I don’t mean that in a lackadaisical way. I just mean that it comes easy. Everything seems to click.
MF: Well, the new album, Days Go By – this is like your, what – sixth compilation album now?
DB: Well yeah, I guess including Sherbet it would be that many. I only received a copy of Days Go By yesterday, and it looks good, you know, the photos in it are good and all the dialogue that’s written in there is good, and it’s got two CDs for people to play.
MF: Looking back on it now, how do you feel you’ve changed as an artist through the years?
DB: I think that I’ve gotten, you know, wiser, but I don’t think I’ve lost the desire or the passion for it. I’m talking about [playing] live here, not the recording thing or any of that stuff, but playing live is just… it’s still, that’s the passion that I have, you know, I love it and I can do it all the time.
Last week or the week before, we did six gigs in a row, and I thought, “My God, what am I doing?” But they were all different and they were all good. I probably try to take care of my voice. I’m aware that you can’t drink, you can’t smoke and all this sort of stuff. So… you know, I try to look after it.
A lot is different [today] but it’s still… I was only thinking about this the other night, I thought it’s still the same in a lot of ways. You know, as a band you want people to like what you do, no matter what. And it’s a prerequisite. If that doesn’t happen then, you know – you may as well go home. Or retire, if you will.
Peter Tägtgren is bringing his Swedish metal group PAIN down under for the first time ever in 2018.
The Hypocrisy frontman’s industrial metal project will be coming armed with their latest slab of techno-fuelled metal Coming Home, to crush all five major Australian capital cities in May of next year.
Their tour will hit Perth, Adelaide, Melbourne and Sydney before wrapping up in Brisbane, with Melbourne’s Witchgrinder supporting at all dates.
“We cant wait to play for our Australian fans,” Tägtgren says. “They’ll get 100% energy from us, we’re so happy to be finally coming!
“Please come to the shows and support us, cause we will give you all we got, on the last Europe tour, fans voted for the songs they wanted to hear, we copied the first 15 on the list and added a few more. Let us know what you want to hear!”
PAIN is rounded out by drummer David Wallin, bassist Jonathan Olsson and guitarist Greger Andersson.
Tickets to their 2018 debut Australian tour are on sale now.
Catch all the details below.
PAIN 2018 Australian Tour
Tickets on sale now
Supported by Witchgrinder
Wednesday, 23rd May
Badlands Bar, Perth
Thursday, 24th May
Fowlers Live, Adelaide
Friday, 25th May
Max Watts, Melbourne
Saturday, 26th May
The Bald Faced Stag, Sydney
Sydney five-piece The Florins are bringing the British invasion to Australia, and they’re doing it with a rockin’ debut single called ‘In The Sunshine’.
Influenced by ’60 and ’70s rockers like The Beatles, The Rolling Stones, The Who and The Kinks, The Florins formed in 2015 after graduating from Sydney’s Macquarie University.
They went on to release a debut EP in 2016, before going on a brief hiatus, and now they’re back with the high-energy ‘In The Sunshine’, which gives off some serious Beatles-meets-Jet vibes.
“We reckon there’s not enough rock and roll to go around at the moment, so we’re looking to change that,” frontman Bradley Owens tells Music Feeds.
“The song is about giving myself a second chance, but on a surface level it’s just a feel-good summertime track. It’s rock and roll plain and simple, but with a ’60s British invasion feel to it.
“We knew the song had something devilish about it when one of the guitar amps caught alight mid-solo! ”
The Florins — that’s Bradley Owens (lead vocals/guitar), Monjie Echevarria (lead guitar), Jonno Keen (bass), Zach Odgers (rhythm guitar) and Sam Falco (drums) — will support Just Breathe at the Hornsby Inn on Saturday, 2nd December.