are just under a month off releasing their third album 22, A Million and the brains behind it Justin Vernon has opened up about the record during a small press conference.
Vernon invited 30 journalists to a hotel in Wisconsin to chat about the new record which he’s described as “bombastic and exciting” as Pitchfork
Judging by the first couple of tracks released from the album and the live debut
of the record at Eaux Claires, this is set to be the most experimental and uplifting Bon Iver record yet and Vernon explained that was because he was getting bored of the “sad nature” stuff.
“I needed it to sound a little radical to feel good about putting something out in the world,” he said.
“For me, it’s not embarrassing, but the old records are of this kind of sad nature — I was healing myself through that stuff. Being sad about something is okay. And then wallowing in it, circling though the same cycles emotionally just feels boring.”
He continued that there’s still dark stuff on the album but on this one he’s, “cracking things, making things that are bombastic and exciting and also new, and mashing things together, and explosiveness and shouting more.”
Vernon also explained that he used a Stevie Nicks sample on one of the tracks we’ve heard so far 10 d E A T h b R E a s T ⊠ ⊠. He used parts of a video that shows her warming up for a gig in 1981, singing Wild Heart although she requested not to be listed in the credits.
“Mostly didn’t want to get asked about working together when we didn’t work together. And I totally get that,” he said about her request not to be included.
“It’s from my favorite YouTube video of all time. It’s just her warming up in 1981 getting her hair did and singing her song “Wild Heart,” which in my opinion was never properly recorded. There’s this beautiful YouTube of her singing and someone offstage singing harmony. It’s just the best piece of music. That little bit “wild wild wild heart,” that’s that sample.”
Every video Drake
drops becomes a meme-generating masterpiece and his new video for Child’s Play is likely to do the exact same thing.
The VIEWS track is the first cut from the album to be given a visual and it sees him on a date with Tyra Banks at what is supposedly US chain restaurant The Cheesecake Factory.
The Cheesecake Factory is one of Drizzy’s favourite spots and he gives it a shout out in the song rapping, “Why you gotta fight with me at Cheesecake, you know I love to go there.”
Staying true to the lyrics, the video literally depicts a fight between Tyra Banks and Drake at a restaurant. Banks is the best person for the role bringing all kinds of crazy to the vid after she checks Drake’s phone and finds sketchy things.
It’s a 12 minute epic video that peaks with Banks throwing a cake in Drake’s face and then pouring red wine all over him.
Somehow, the video then moves to the strip club and becomes a classic Drizzy visual.
Predictably, Twitter is already going nuts, delivering meme after meme and making gifs out of the entire video.
Watch: Drake – Child’s Play
Drake acknowledges that we’ve made him a meme. That’s why he flourishes. I know you see this tweet Drake.
has celebrated his third Fathers Day with the release of a new video for his track Little Girl’s Dad.
The track is taken off his 2015 record The Past Beats Inside Me Like A Second Heartbeat and is a dedication to his three year-old daughter Jetta.
Jetta was born in between his 2012 record Smokey’s Haunt and his most recent one and while she was the reason for the delay in between albums you can see why he was distracted by her in this new video.
In the clip, Urthboy has used footage of his daughter filmed everywhere from the home to daycare pickup. The Aussie MC has been filming the daycare pickup since she started attending.
It’s a moving tribute to his daughter that will no doubt generate some serious feels, particularly on Fathers Day. It also hands down some universal messages to all young kids about making mistakes, finding strength and ignoring gender stereotypes.
The best part is, at the age of three Jetta already has a hip-hop track written about her which is pretty sweet.
Yesterday, a Laneway Festival
poster revealing the lineup for 2017 ‘leaked’
, and while it looked pretty legit at first glance, it seems it’s not the real deal.
The poster was actually posted on Twitter by a fan who asked Laneway if they could have VIP tickets if they correctly guessed the lineup. Laneway told them to give it their best shot and they came back with this perfectly photoshopped poster which made its way around the internet.
Firstly, Run The Jewels are already booked in to play Beach Vibes in Mexico between the 26th and 28th January, meaning that they would miss the first couple of Laneway dates.
Travis Scott’s schedule says he’s free to play Laneway, however, he’s heading down under this month
to play Listen Out festival making a return visit so soon unlikely.
While it doesn’t rule them out completely there are a number of acts who have played in Australia very recently. Both Bon Iver and Oneohtrix Point Never were here in May to play VIVID Festival and Empress Of played Melbourne’s Sugar Mountain in January.
Music Feeds contacted Laneway for comment on the ‘leaked’ poster but organisers declined to comment.
It doesn’t stop there, either. There’s also great Aussie acts like Sampa The Great and Vera Blue joining internationals like Bat For Lashes and Todd Terje.
Earlier in the year British songstress Nao leaked her potential place on the lineup
, revealing that she’d been asked to come to Australia and do Laneway Festival. She’s included on this alleged leaked lineup, giving it some legitimacy.
US rapper and Panda hitmaker Desiigner appeared on that fake lineup and he also is included on this ‘leaked’ Laneway lineup.
You’ll find out whether this is fake or not when Laneway drops the official lineup on Wednesday, 14th September. Until then, check out the ‘leaked’ poster alongside the 2017 Laneway Festival dates and venues, below.
Music Feeds has contacted Laneway Festival for comment.
As founder of Porcupine Tree
, Steven Wilson commands a cult following. But he remains an enigma – down to his unusual inclination to perform barefooted.
The Grammy-nominated Brit is typically identified with progressive rock – although he emerged in the late ’80s, well after the prog boom. Wilson conceived Porcupine Tree originally as a prog spoof – becoming frontman and guitarist. At the same time, he introduced the most famous of his myriad experimental side-projects – the proto-trip-hop No-Man. Porcupine Tree would enjoy incremental success – 2009’s The Incident, their 10th album (!) cracking the US Top 30. By then, they’d long shaken off those unimaginative comparisons to Pink Floyd, venturing into prog metal. Muse owe Wilson bigtime.
However, in recent years the prolific multi-instrumentalist has concentrated on his solo career. In early 2015 Wilson, ever a believer in the concept album, presented Hand. Cannot. Erase. It was inspired by the tragic true story of Joyce Carol Vincent. Around December 2003, the 38-year-old died alone in her London bedsit, surrounded by Christmas presents and with the TV blaring – her body only discovered two years later. Wilson was moved by Carol Morley’s 2011 docudrama Dreams Of A Life, but, for Hand. Cannot. Erase., he fully fictionalised Vincent.
Over time Wilson has also quietly attracted work as a producer and audio engineer, specialising in 5.1 surround sound mixes of classic albums (clients include Tears For Fears, oddly revered in hip-hop). Wilson’s own sensibilities are anything but vintage. He’s cited Radiohead and Aphex Twin. Wilson even provided guest vocals on Pendulum’s Immersion.
This October Wilson, last here in 2013, will bring his Hand. Cannot. Erase. live audio-visual spectacle to Australia – among his band members is Nick Beggs, the bassist from New Romantic boy band Kajagoogoo.
Wilson talks to Music Feeds about Porcupine Tree’s fate, his upcoming fifth album, and unfulfilled ambition.
Music Feeds: It’s excellent that you’re headed down to Australia. How has this current show evolved – because you’ve been touring it for a few months now?
Steven Wilson: Yeah, it’s almost 18 months now since this current album cycle began and I think it’s kind of testament to how much fun it’s been and how well it’s worked that we’re still doing it – that my band are still together and we’re still out there touring. It’s great to be able to bring this show to Australia for the first time. It’s been a gift, this particular album, and this whole concept – the visual side, the musical side, everything, seems to have come together beautifully.
In terms of how it’s evolved, that’s a difficult thing to quantify. I’m sure it has. I’m sure it’s very different to how it was when we started playing this material 18 months ago. Obviously there’s a lot more confidence, we’re a lot more comfortable with the material now – it’s just incredibly enjoyable. Even though the music is quite melancholic and quite sad, in a way, there’s an incredible amount of joy about the way we play it and the whole visual spectacle of the thing. So I’m really excited to be able to bring it to Australia, I have to say.
MF: You had a mini-album, 4 1/2, earlier this year. The press materials suggested there was a fifth solo record in the works. Have you made any progress on that?
SW: Yeah, I’ve almost [finished] writing. I mean, you have to realise I finished writing Hand. Cannot. Erase. and 4 1/2, the mini-album, about two years ago. So since Hand. Cannot. Erase. came out, which is March last year, I’ve been thinking about what would be the next direction – how the writing might evolve… I started writing later last year – towards the end of last year. So I’ve been writing pretty much on and off the last eight or nine months and I’m pretty much done now in terms of writing.
I’m gonna start recording probably right at the beginning of next year and hope to have something out around this time next year. So around August/September next year would be the next record – the follow-up record.
MF: It does seem like you need the spark of an idea to get a record happening – as when you encountered the Joyce Carol Vincent story. I remember reading about that myself and it made a lot of people feel sad and start thinking about urban existentialism. But have you had that experience with this new album? Is there something driving it?
SW: I don’t think I’m ever going to find a story or a concept that is as perfect as the Joyce Carol Vincent story. I think that was such a gift because, as you pointed out in a way in your question, it was something that everyone could relate to. It was one of those stories that everyone felt like, “Well, that could so easily be me or that could so easily be someone I know, someone I grew up with, somebody from my family”. It resonated so well with people. And, when I started to think about this [next] record, I almost had to forget even the prospect of finding anything that good to hang an album off.
I’m not suggesting that that doesn’t mean musically the album can’t be as good, if not better. But, in terms of narrative, I think it will be very hard for me to find anything quite that powerful. So, listen, what I will say is this: It’s very hard to be alive in 2016 and not be aware of what’s going on in the world and the shit that’s going on in the world right now. I think as a writer – whether you’re writing music or you’re writing literature or writing movies – you can’t help but touch on some of the themes that we’re all experiencing in the world right now.
I won’t say any more than that right now, except to say that lyrically the album has got a very topical element to it – as indeed does Hand. Cannot. Erase. But the record I’m working on now is going to be a little bit more all over the place. The songs will be different themes, not necessarily so connected as they were on that last record.
MF: You have had such an expansive career and done so many interesting things. But is there something you’re yet to do that you’d really like to? Maybe something you’ve put on the backburner?
SW: Well, absolutely, but unfortunately the thing that would fit that description personally is not something that I really can choose to do. It’s something I have to really wait to be invited to do – and that’s I’d love to do a movie soundtrack. I think really top of my list of unfulfilled dreams is to work with a great director on a great script and score a really interesting movie that will hopefully be seen and heard by a lot of people. So that’s really been my number one unfulfilled goal for a long time now. I’ve kinda been waiting for someone to invite me to score a movie (laughs), but it hasn’t happened yet. But, you know what, I’m still optimistic that a time will come and it’s only a matter of time before I do get that invitation.
MF: You seem to have a voracious appetite for music. Is there an album that has really caught your ear this year?
SW: You mean like a new record or just something I’ve discovered?
MF: It could be either! Maybe new but, if there was a discovery, something you stumbled across?
SW: I’d certainly describe myself as someone that’s still very curious about discovering music. But I say that because I think a lot of people that go into the music industry ultimately become a little bit distant from music. Once it becomes your job, a lot of people do lose their passion for exploring and discovering new music. I have to say I never have – I’m still as passionate about discovering new music today as I always was.
The one thing that really has made a big impression on me this year is an artist that I already knew, and I already knew all the records, but I honestly hadn’t listened to them for such a long time – and you’ll understand why I started listening to them again when I tell you that that’s Prince. Because, when I heard that Prince died, it was such a shock to me, because I grew up in the ’80s and Prince was ubiquitous in the ’80s. He was the biggest pop star – or at least the pop star that was making the most interesting pop records.
I was a teenager at the time and he was my god and he was my hero. I kind of lost a little bit of touch with his music. Then, when I heard he passed away, like a lot of people, I started to go back and listen again, particularly to those records he made in the first 10, 15 years of his career – and completely fell in love with them all over again and became a little bit obsessed again, as I had been as a teenager. So I’d say for me the last few months have been very much obsessively listening to those classic ’80s Prince records again – albums like Parade, Sign O’ The Times, Purple Rain, Around The World In A Day, Dirty Mind. There’s a run of albums that I think that guy created in the ’80s that is almost unsurpassed by anyone else – maybe David Bowie in the ’70s, maybe The Beatles in the ’60s, that quality of work. And that’s an extraordinarily rare thing.
MF: This is the inevitable Porcupine Tree question: Is it likely that there will be another album?
SW: I really doubt it. You know, for me, I wanna move forwards, not backwards. It’s as simple as that. I wanna move forwards, not backwards. I know that sometimes the fans want the artist they like to kind of stand still and keep doing the same thing that they like. But that to me is creatively very retro. I’m not really interested in that. I’m not that kind of artist. I’m not that kind of musician. So the answer has to be very unlikely.
For me, right now in my career, it’s less appealing that it’s ever been – the idea of going back to something I did 10, 15, 20 years ago. It’s much less appealing than it ever was. And I think partly because I feel I’m making the best music I’ve ever made, I have the best band I’ve ever had, and I have the best show I’ve ever had. Why would I wanna go back to something I did in the past? So that’s kinda the answer to the question, I’m afraid (laughs).
Steven Wilson’s ‘Hand. Cannot. Erase’ Australian tour kicks off this October. See tour details below.
Suggesting that Banksy may be a team of people led by 3D, Williams is basing his assertion off of supposed correlations between the time and place of Banksy’s works and Massive Attack’s touring schedule.
“What if Banksy isn’t the one person everyone thinks he is. What if Banksy is a group of people who have been stencilling different locations both at home and abroad? Such a rich body of work done over a decade, across the globe, may allow for the suggestion,” Williams writes.
“Perhaps the assertion then that Banksy is just one person is wide of the mark, instead being a group who have, over the years, followed Massive Attack around and painted walls at their leisure.
“Perhaps, at the head of such a group we have Del Naja. A multi-disciplined artist in front of one the seminal groups in recent British music history, doubling up as the planet’s most revered street artist,” he says, adding, “Now that would be cool.”
Plotting Banksy murals around the world alongside Massive Attack’s touring schedule over the past 12 years, Williams claims that on at least six occasions more than a dozen Banksy artworks turned up in the same cities where Massive Attack were playing shows, shortly before or after they performed.
“A rumour exists from 2010 that his work that went up around North America was his work but were not necessarily painted by him, but rather by a street team that happened to be following the Massive Attack tour,” Williams says. “And on analysis of his North American work, this makes perfect sense.”
Indeed the instances of Banksy’s work coinciding with the band’s tour dates are numerous. Six of the artist’s murals were reported in San Francisco on 1st May 2010, after Massive Attack performed two back-to-back shows there. The band played Toronto, and a week later fresh Banksy pieces were up, and they played Boston’s Chinatown a day after a Banksy went up there. Even further abroad, in April 2003 Banksy’s work appeared in Melbourne, the same city Massive Attack had played a month before.
The band’s 2006 US tour even went through LA a week before Banksy’s seminal Barely Legal exhibition hit the city, and when it came time for the artist’s month-long New York residency in October 2013, Massive Attack just happened to be playing a four night residency at the Park Avenue Armoury.
The coincidences are more than just physical however, with 3D and the artist sharing thematic sensibilities as well. Both 3D and Banksy creating works concerning Hurricane Katrina, with the street artist producing 14 stencil works across New Orleans on the third anniversary of Katrina, while 3D wrote the soundtrack for the documentary Trouble The Water which dealt with the disaster.
Adding to his assertion is the fact that 3D was a graffiti artist in the 1980s. For his part, 3D claims he is only friends with Banksy. With Banksy rising to fame in the late 1990s as his controversial stencil work started to get noticed, at the same time Massive Attack were releasing seminal albums Blue Lines and Mezzanine, with 3D credited as Bristol’s first graffiti artist.
The musician also appeared in Banksy’s documentary Exit Through The Gift Shop, discussing his friendship with the artist from his early days in the city. Meanwhile, Banksy later returned the favour by providing the foreword to the book 3D and the Art of Massive Attack released last year. Talk about cross promotion.
As The Daily Mail
reports, for his part, 3D has denied being Banksy, claiming he was painting on the streets for only three years before finding success with music. “I got arrested twice. That was enough,” he said between 1983 and 1986.
Banksy has also tried to distance himself from 3D, claiming Del Naja is too old, saying, “When I was about 10 years old a kid called 3D was painting the streets hard; I think he’d been to New York and was the first to bring spray painting back to Bristol. Graffiti was the thing we all loved at school – we did it on the bus on the way home.”
Mind you, this all comes despite The Mail On Sunday having named former public schoolboy Robin Gunningham as the artist back in 2008 based of ‘geographic profiling’ of the artist’s works and comparison by scientists between Banksy and Gunningham’s work.
Some are refusing to swallow William’s logic, while citing the compelling evidence suggesting Gunningham is the masked street artist. On top of the “geographic profiling” and scientific analysis pointing to Gunningham “as the only serious suspect”, records reveal Gunningham once lived with artist Luke Egan, who went on to exhibit with Banksy. To make things even more suss, Mr Egan initially denied knowing Gunningham only to later admit he had lived with him.
Add that to the fact that in 2000 when Banksy works started popping up in London, Gunningham had recently moved into a flat in Hackney, where a number of Banksy’s most iconic works would eventually appear. He even shared the flat with Jamie Eastman, who worked for the Hombre record label who have — you guessed it — used illustrations by Banksy on their releases.
With Massive Attack due to play a homecoming gig in Bristol this Saturday, Williams predicts a new Banksy work will likely turn up as well.
“I believe a new mural is highly likely to appear prior to or after the concert (in Bristol),” he says.
Only time will tell, but in the meantime why not check out the trailer for Banksy’s Exit Through The Gift Shop below and see if you can find any clues as to the enigmatic artist’s true identity.
Watch: Banksy – Exit Through The Gift Shop Trailer
The Music Feeds team wrangle together the fresh new tunes that made an impact on them this week, for the ultimate new music playlist. It’s Music Feeds Faves!
Jack Grace – All Lost
Jack Grace has a debut EP coming out next month. This simple fact alone makes shitty rainy Fridays like this one feel a little less depressing, because now we have something to look forward to!
That voice, so gentle, so sincere, turned a lot of heads after his recent collaboration with Ngaiire. But now, it’s his time to shine, and that’s exactly what he’s doing. Rich acoustic piano leads the way on All Lost, the second single off his upcoming EP. The keys climb and fall, and the bass lines are fluid, roaming around over crisp break beats. His voice follows those lead lines, and his melodies are beautiful, simple and repetitive, even a little lazy in their delivery.
The introduction of a high pitched synth builds tension, and as the vocals continue to follow the piano, the drum sounds like it gets dragged underwater, until the synth re-emerges and pulls us back up. Eventually, Grace’s voice turns to liquid, drenched in processing, heavy with emotion. He drifts further and further away, until he disappears completely.
His style of production has so much clarity. It’s simple. It’s refreshing. Jack Grace is a tall glass of water for your ears./ Zana Rose, Staff Writer
Oh Boy & Donatachi – Bunny Island (ft Mallrat)
Oh Boy is another in a throng of Aussie producers tapping into sugary, 64-bit gaming vibes and making music from it. It’s an area that was cracked wide open by Wave Racer and Sable over the past 3-4 years. There are distinguishing aspects of his music though, primarily just how insanely clean his production is, whilst still remaining supremely cute. He’s collaborated with fellow electro-pop producer Donatachi on this one – but the undoubted star of this one is teenage sensation Mallrat.
We already knew she could rap, and belt out a catchy pop tune, but Bunny Island highlights that she does just as well inhabiting this weird space between singing and rapping. Her vocals on this are cut and layered over each other like samples – making the production even cleaner. How in the good name of Bob Saggett is this muso not even 18 yet??? / Zanda Wilson, Staff Writer
Tiny Little Houses – Song Despite Apathy
All your ’90s teen angst feels and contempt towards the state of the modern world come together on Tiny Little Houses’ scuzzy new single, with the Melbourne band offering a devastating reflection on the world we live in – “I can feel us dying/ And it seems like no one cares or knows/ The world is spiralling out of control” – yet delivering yet with buoyant sing-along vocals and bouncing guitars. You’ll find yourself screaming out and fist pumping through the entire song, whilst also bemoaning the world’s imminent demise. Despair never sounded so good. / Nastassia Baroni, Managing Editor
Ali Barter – Girlie Bits
Throughout this week, I’ve been singing in my head the words “No you don’t understand what it’s like to be a man”, and it’s all the fault of Girlie Bits, the catchy AF new song from Melbourne’s Ali Barter.
“Girlie Bits has nothing to do with body parts, it’s about the cage of what we expect of women: girlie guitar parts, girlie singing, hair; this idea of ‘femininity’ and how to fit within it,” Barter says.
“But women are not some gentle, watered down version of men. We do it our own way. We work really hard to write good songs and play great gigs – only to have people critique our clothes and the look on our faces, instead of the music.”
Now prepare to get Girlie Bits stuck in your head, too. / Tom Williams, News Editor
While Slash is back in the hat touring with his old bros in Guns N’ Roses, the Les Paul slinger’s partner in songwriting crime Myles Kennedy has rejoined his old band as well.
Alter Bridge have just loosed the debut music video from their fifth studio LP, The Last Hero. It’s called Show Me A Leader and it’s pretty much the most ’80s sounding thing we’ve ever heard from the AB squadron.
These dudes have clearly gotten to a point in their career where they don’t give a single fuck whether this thing charts or not. In a country where singles are increasingly butchered into 1 minute 30 second radio edits, the US melodic metal lords have unleashed a 5 minute shredfest.
The multi-riff jammed beast of a tune feels like pure self indulgence, but that doesn’t mean it don’t still kick ass. / Emmy Mack, Staff Writer
I may have used this metaphor before, but it stands that if I ever decide to climb a mountain I’d like Edward R. to soundtrack that moment I ascend upon the summit. That twinkling piano and warm voice soothe me as I spot the peak just within my reach. My weary body suddenly flushed with energy and my pace quickens as the hand claps kick in. I break into a light sprint as the chorus builds to a layered and almighty crescendo. And as Edward R. – in his exalting falsetto – poses the question “who’s gonna love you now?”, I reach the top, content in knowing that whatever the answer, I’m going to be OK.
Yeah it’s a schmaltzy image, but that’s what this kind of cinematic, uplifting indie pop does to you. / Nastassia Baroni, Managing Editor
has been harder at work than we might have thought, and now, following on from the release of his Prima Donna EP earlier this week, the US hip hop artist has unveiled a short film to go with it.
The Prima Donna video (below) is just under 10 minutes long, and was directed by Nabil for Vice’s TV Channel VICELAND.
The film takes you backstage on one of Staples’ video shoots, before he leaves the shoot and goes and hops in a cab. The rest of the clip follows his adventures throughout the night, as he hallucinates through a waking dream, with tracks from Prima Donna featured in various scenes.
Beloved New South Wales metal identity Tom Roberts has been battling Friedreich’s Ataxia since he was 14 years old, and a new crowdfunding campaign is hoping to raise funds for a wheelchair-accessible van so that he can get to gigs.
Friedreich’s Ataxia, which attacks the nervous system, is degenerative, and has seen Roberts, the father of two, confined to a wheelchair earlier this year at the age of just 26. But one thing’s for sure, it hasn’t affected his dedication to Aussie heavy metal.
Despite his health issues, Roberts has continued to go above and beyond to support the local heavy music scene, running his own podcast The Full Metal Lockdown
, working as a band booker for Run & Rejoice and masterminding Pitted
, a monthly heavy metal event in NSW’s Bateman’s Bay.
Roberts hatched the idea for Pitted a year ago, and it remains the only dedicated metal party on the state’s south coast. He has gone above and beyond to support the local scene that he loves and to make Pitted a success, but now he needs the scene’s support.
Getting around in a wheelchair is no easy feat, So Roberts’ family and friends have launched a crowdfunding campaign to raise funds for a wheelchair accessible van to help him get to gigs and go about his daily life, so that he can continue doing great work.
“Besides being a genuinely top bloke and an absolutely amazing Dad to his kids, Tom has completely reinvigorated the South Coast heavy music scene,” says fellow promoter Skylar Kyu.
“I’m in awe with what he has created in Pitted down here, we’ve had people tell us that the night rivals some of the best in Sydney, to achieve that in Batemans Bay was no mean feat and is a true testament to Tom’s passion and hard work.
“At the moment the dude actually needs to take a taxi to these amazing shows he books, it’s ridiculous. Not only would getting this van be huge deal in his personal life but would be massive asset in his professional life as well.”