Ahead of their new album Bays, we had the pleasure of speaking to Chopper, saxophonist from the soulful New Zealand band Fat Freddy’s Drop. Combining live instruments with electronics and smooth vocals, the seven-piece is as much grounded in reggae as it is in jazz, soul and dub. With sixteen years of collaboration between them, they aren’t slowing down in any way, shape or form. Freddy’s has an Australian tour coming next February, and are at the cusp of releasing their refined new album, officially coming out on the 23rd of October.
We speak to Chopper about recording their latest album, the live music scene in Wellington, and what it is like to tour the world for ten years consecutively whilst raising a family.
I had the chance to listen to Bays this week, and it’s so good! To me it seems to have a different vibe to your previous albums. Did you have a specific direction when you started making it?
I don’t think we did, it was really just a case of following some sounds that we’ve been exploring for a few years in the live shows, and they sort of spilled over into the studio. Having the time to concentrate on writing songs they just followed that trajectory quite naturally.
Because I know that you did record this album mostly in the studio, whereas in the past it was more about sort of jamming and testing stuff out live, was that a big difference?
Yeah that’s a huge difference for us. It’s a bit of an indulgence really, from a working band perspective; because you know when you’re in the studio you aren’t earning any money (laughs). So normally we have to break up our writing and recording schedules with chores and shows, and we love doing that, but it’s also a bit of a distraction. So this was nice being able to concentrate on the task at hand. It was a bit of an unusual scenario.
Yeah to just sit down and have the whole day to focus on it must be good.
Yeah, to have days in a row and then weeks in a row and then months in a row. For a band that, you know, we’re not being supported by advances from record labels or anything like that so… It’s quite a commitment on our behalf, but one that we definitely wanted to make. Everything’s been heading towards this for the last five or six years so it was great that we could finally pull it off.
Is there any apprehension in not having had the affirmation from a live audience, and only really being able to go off each other listening to what you’re doing?
To be honest it’s actually quite exciting. Because it means the shows are going to be fresh, not only for us, because we’ll be playing the songs for the very first time live. But also for the audience as well, because they won’t go ‘oh yeah I remember the first version of that and now listening to the recorded version it’s got this extra section, or its missed out this bit that I really liked.’ You know quite often in the trajectory of a song for Freddy’s it gets burst, for want of a better word, and then it has a half life and then becomes recorded and then has the second part of its life. Whereas the recording process is really the very, very beginning of that life for these songs. So it’s going to bring a different sort of energy to how they are reinterpreted and performed I think, which is something that I’m looking forward to.
Yeah that’s so true. Do you think you rework songs on the new album as much as on previous albums, knowing that they’re quite refined in some ways?
That’s a good description of them actually, because we often feel that in previous processes, we’ve been able to drastically change direction or shift gear in the live performance. That sort of approach has sort of translated into the studio as well. So these songs kind of unfolded in a really natural, well conceived way. To me it feels like there are sections that could be extended further or that we could delve into deeper or whatever. But I think it’s going to be a real pleasure for us to play them out.
I found that compared to some of your older songs like Wandering Eye and Breakthrough and stuff like that, they’re almost minimal in some ways. They build up but then they die back down again, it really changed the tone of the album for me.
Yeah yeah, I think part of it is that in the past we’d throw in the kitchen sink into almost every song. So you’ll have a kicked back song, but somewhere in the middle of it there’ll be some random ska moment or a blues note or whatever, and we’ve not moved a million miles away from that. But we’re much happier for it just to be a country song, or that section be the country section or the brass band section, and this song can be the techno song. I think we’re a lot more sure of ourselves, just letting those moments exist for what they are, and not trying to clever them up too much.
https://www.youtube.com/watch?v=eCJg63SziL4
Did you, being in a studio, have more of a focus on the kind of electronic and digital side of things compared to previous albums?
It wasn’t really a conscious thing. We’d be recording away, and I don’t know if you’ve seen some of the clips of the band in the studio, you know it’s very rare that we’re actually sitting there playing the instruments that we play on the stage. So it’s quite natural for the horn players to end up playing bass or keyboards or something like that. And we just felt like that selection of sound was the freshest to us. At the same time, it makes sense, because we all had our feet in the club scene in Wellington in the 90s. There was a huge house and hip hop and techno undercurrent, so it just feels like, as I said, like we’ve let some of the other things out. The keyboard solo has always been part of the Freddy sound, it’s just that we’ve always doubled them up with a horn part or an electric bass or something. We’ve just been happy to lay it bare a bit more, I think.
Yeah so I’m hearing sounds that maybe were masked or hidden by other instruments?
Yeah it feels like that to me, which is kind of being just happier for them to be the main event, rather than a multi-layered part.
Yeah. I did read that you guys were obviously influenced by the live music scene in Wellington, do you still see a lot of live music now?
Not as much as I’d like to, to be honest. Part of it is because the music scene in venues in New Zealand has really changed in the last few years. Auckland has a bit more of a live scene. Wellington not so much, although it’s just a couple of venues. Also just the pressures of having a family, being out of the country a lot, all those sorts of things. It’s a detriment to getting out and doing what I’d like to. There’s some great, great music and great musicians going on in New Zealand at the moment so that’s always cool to keep tabs on.
Do you have a favourite live music scene in any other city or country, that you would always talk about as your go to?
Oh I think London’s always had an amazing array of artists coming through, and locals too. It’s such a great city from a music perspective, it feels like the music really gets a chance to develop. And it’s a transient city too, it’s really got an international bunch of people living there now. It really is an international city. So you can find little alcoves of, I don’t know, West African music or Brazilian, or Detroit guys, or grime, drum and bass, hip hop, it’s got everything covered from all over the world. There’s enough people there to sustain those things, I think that’s a really important part of things. We in New Zealand struggle a little bit, there’s just so few people living here that if you get a couple hundred people to a local live show, that’s a huge event.
Yeah, I guess in some ways kind of similar to Australia but on an even smaller scale than that.
Oh yes definitely. Australia is the next step up in terms of population density and all the positive and negative that brings.
Did you guys always find it important in early years to kind of travel and tour other countries?
Yeah, we’ve been touring for eleven, twelve years. We understood really early on that the band was about live performance, and live performance is something that you have to be prepared to tour for. It’s not something that you can do occasionally. It’s an interesting thing actually, we’ve always gone on tours, Europe, New Zealand, Australia, and a few other little places around the world regularly. A couple of times a year, I don’t know if it’s overkill or anything like that. But it’s just the idea that you’re in your audience’s mind the whole time. Our audience are incredibly loyal, and dedicated. They come to all these shows and they travel to see us. It amazes me sometimes, because you recognise these people too. You’ll be sitting there having a drink after the show, and someone will come up to you and you’ll recognise them and be like I don’t know how I know you and they’ll go ‘Oh I came to your show in LA six years ago and I talked to you then!’ And they’ll be in Barcelona having flown from somewhere like Paris, so they can see you. It’s a pretty humbling thing.
I know that a lot of you have children, was it ever had to maintain such a strong touring schedule with having a family at home?
Oh yeah absolutely, it’s always hard. Every time you pack your bags it’s quite funny. Well, not funny, it’s kind of sad, the weeks beforehand you’re pretty much having nightmares and anxiety attacks about your family. Terrible dreams and stuff! Just because you’re away for a long time, and often. If you travel away from your family it’s a stressful time for everyone. But that’s the thing about our families and our kids, they’ve sort of grown up and our relationships have developed with the touring as a constant backdrop. So our families are incredibly resilient. They know now the handle it while we’re away and we know what to do while we’re away. And there’s the benefit, the rest of the time we get to hand out with them. Hanging out with our families for weeks at a time, it’s a pretty luxurious way to exist really.
Do you think your kids are as into music as you were when you were growing up?
I wasn’t into music that much when I was a kid. It came a little bit later for me. I was really into sports, as were a couple of other guys in the band. It wasn’t really an important thing that I really sort of developed a musical interest. But they’re all different in their own ways; my son’s just started playing the guitar and he’s got a fabulous ear, he can sing any tune at all. He’ll turn on the radio and start singing along and be perfectly in key, which is something to behold. I certainly wasn’t that musically advanced when I was a kid!
Did you let them come into the studio a lot, and did they see a lot of you performing?
Not so much the studio, though when we’re not recording the studio is almost like a clubhouse. It’s like a drop-in centre for musicians and their families. So we see other families and kids in there all the time. But definitely when we’re touring locally and performing locally they’re hanging out. The summer here’s a great time for tripping around as a family and going to shows, so that’s a pretty cool way to spend some time.
Well it would be hard not to develop some kind of ear for music growing up in that environment, I can imagine.
Yeah I think possibly just that exposure to it, and its extreme for some of these kids. They see an awful lot of interesting music, and not just Freddy. We’re at festivals with all sorts of great acts, they get exposed to an awful lot of stuff, so that can be a really good thing.
Fat Freddy’s Drop Tour Dates
Saturday 13TH February – Perth – Red Hill Auditorium WA
(tickets available here)
Sunday 14th February – Dunsborough – Clancy’s Fish Pub WA
(tickets available here )
Wednesday 17th February – Adelaide – Thebarton Theatre SA
(tickets available here)
Friday 19th February – Melbourne – The Forum VIC
(tickets available here)
Saturday 20th February – Melbourne – The Forum VIC
(tickets available here)
Wednesday 24th February – Hobart – Odeon Theatre TAS
(tickets available here)
Friday 26th February – Sydney – Hordern Pavilion NSW
(tickets available here )
Saturday 27th February – Brisbane – The Tivoli QLD
(tickets available here)
https://www.youtube.com/watch?v=9mVHHDE9ips
Since its inception in 2012, OutsideIn Festival has revealed to be one of Sydney’s most exciting festivals. Now situated at Manning House, which sits on the campus of the University of Sydney, it is everything that a small festival should be. With a chilled, respectful crowd and a cleverly curated lineup, the festival creates a uniquely intimate relationship between artist and audience. This Saturday will see it’s fourth run, and it looks set to be even more exciting this time.
Using the space of the university bar must present some great challenges, but what they did with the space last year was incredible. The festival organisers completely reinvented it, adding an outdoor stage and designs from local artists, including handmade jellyfish hanging from the top of the courtyard area. The choice of artists is of consistently high quality, with a strong focus on electronica and inclusive of both local and international talent.
This weekend will see the likes of Devin The Dude, Big K.R.I.T, Cosmo’s Midnight, Sable, Total Giovanni, Cassius Select, Ben Fester, UV Boi, Pomo, Montgomery, Kucka, Andrés and more. Not only that, once the shenanigans end at around 10pm, festival goers have the option of continuing the party at GoodGod Small Club.
Presented by Astral People and Bacardi Fuego, GoodGod will be offering both its front and back area to the afterparty, kicking off at 10pm this Saturday (Sep 26). The back room will have a heavy house leaning, with Detroit producer Andrés, whose chilled house beats have made a huge impression on the underground scene, as well as Pender Street Steppers and Sydney artist Mike Who. The front section will incorporate a fusion of hip hop, grime, electronica and more, featuring DJ sets from Cosmo’s Midnight, Sable and South London MC Stormzy. These epic sets will be followed by Catlips, whose incredible mix of disco, house, pop and electronica will surely keep the party charging until an epic close by local artists Andy Garvey and Chris Barker.
If you did miss out on tickets to OutsideIn this year don’t fear, tickets are available at the door at GoodGod for only $20 each. Make sure to get their early and secure a ticket, as there is no way of reserving tickets online. To check out other events that GoodGod is hosting see their website.
Oh, and you can check out the full OutsideIn set times right here. There’s a handful of tickets left, so head over to the official website to catch ’em while you pop them dancing shoes on!
A lot of people are probably a little tired of hearing The Weeknd’s hugely popular track from his latest album, The Hills. Working with Canadian producer and mixing engineer Illangelo, The Weeknd created a sound that was dark, brooding and completely distinct from the rest of the album. With a strong, slow-building beat and an explosive drop, it quickly surged to popularity, with the music video currently sitting on nearly 209 million YouTube views.
Now, LA artist and producer RL Grime has taken the track in a completely different direction. Grime ups the pace of the entire song, peeling back the electronics, layering his own beats over the top. The Weeknd’s voice almost becomes a beat in itself, as his dynamic chorus is transformed into part of an ever-building drop. RL Grime’s drops seem to have a life of their own, and it gives the song a completely new sound.
Aside from producing awesome hip hop, grime and bass music independently, RL Grime is also part of the LA electronic music collective WeDidIt, accompanying artists such as NIck Melons, Groundislava and Shlohmo. You can really taste the collaboration, especially in the synthy, slow burning chorus, which holds strong similarities to Shlohmo’s latest album Dark Red. RL Grime brought his unique sound to Australia earlier this year when he performed at the festival Groovin the Moo, as well as a bunch of side shows in Sydney. His set at the festival was in a league of its own, bringing an incredible sense of energy to the main tent.
He is currently on tour in America, but you can catch him in Australia in January next year, check out his extensive list of tour dates here.
Following the release of her new album Honeymoon five days ago, Lana Del Rey has appeared in a live session with Huw Stephens for BBC 1 to perform three of her favourite tracks. The album is beautiful, maintaining that mournful nostalgia that she delivered so poignantly in her previous work, while also taking the new album in a completely new direction. Honeymoon is, in many ways, much more surreal and otherworldly than her first album. Del Rey chatted with Stephens about how her sound has become even more plush, and almost trippy in its layering of different sounds.
“It started with me knowing exactly what I was doing, and then when I kind of was trying to build it up bigger, instead of going bigger the songs were still really left but the production got louder. So I think it gave it that trippy feel, almost like a touch of psychedelia instead of going pop.”
The refreshingly candid interview proves once again that contrary to popular opinion, Del Rey is a smart, down to earth, incredibly talented musician. The artist received a lot of hate earlier on in her career, when it came to light that her image was largely constructed. Instead of being the indie working class girl that found fame with her single Video Games, and the nostalgic home-made music video to go with it, she in fact came from quite a lot of money. She also sparked controversy when it came to light just how surgically altered her face really was. Thankfully as time goes on wounds heal, and Del Rey has worked consistently to prove that she is more than just the image she projects.
Del Rey performed High by the Beach, Terrance Loves You and Honeymoon for BBC 1, accompanied by her band. Of Terrance Loves You she said is was her favourite song to perform.
“The vibe of it kind of encompasses the sound that I thought the whole record was going to take, kind of jazzy and noir but still really thoughtful.”
High By the Beach is similarly thoughtful, but it is the title track that really blows your breath away. With crooning vocals and a simple soundtrack of piano chords and drums, it evokes an old world sense of loss and pain. As Honeymoon progresses however, it builds in pace and finishes with a profound sense of optimism.
Del Rey’s album is now available for purchase on iTunes and other major music platforms. You can read our review of her live performance of Salvatore here.
It is no secret that Drake is a foodie. With lyrics that reference such haute cuisine items as “filets with the truffle butter” and “scallops and glasses of Dolce,” he has made many nods to the beauty of French fine dining. There is, in fact, an entire Tumblr page dedicated to demonstrating the ways in which Drake’s Take Care is really about binge eating.
Not satisfied by dominating this week’s news via his collaborative mixtape with trap lord Future, he has taken his passion one step further, by opening a restaurant in has native town Toronto. Located on 455 King West Street, the restaurant, called Fring’s, will be a partnership between Drake and celebrity chef Susur Lee. Lee has a professional background in Asian cooking, as well as having been a past contestant on Iron Chef and Top Chef Masters. The restaurant celebrated its official opening two nights ago, and sounds like it was a huge success. With celebs guests like Serena Williams and Jaden Smith, as well as a live DJ set from the man himself, attendees were treated to quite the spectacle.
We haven’t been privy to a proper menu, or had a chance to look at the food or prices just yet, but we do know that the menu included salmon tartar on garlic chips and homemade potato chips with vinegar mayo, very French-inspired dishes. Not sure how this will play out considering that he’s collaborating with one of the most well-known Toronto chefs who specialises in Asian cuisine, perhaps they will do a fusion.
Drake is joining an incredibly dynamic and competitive food circuit, as Toronto is home to some of the best restaurants in the country, and by extension the world. Home to the very first Momofuku, as well as restaurants such as Parks’ n Labour run by Matty Matherson, Bar Isabel and Agave Aguacate, there is a definite focus on real food made with quality ingredients. The fine dining scene, however, is dying off. It will be interesting to see how Drakes’ restaurant fares with the existing competition, and the angle that he will decide to take on his food. He does have the slight advantage of being incredibly famous and wealthy, so that may well play a big part in his success.
Around a month ago Flying Lotus and Shamir both appeared, among other artists, in a slick and heartwarming advertisement for Apple Music. Their brief appearances in the Trent Reznor-narrated clip obviously caught the attention of a few fans, as they now have their very own promotional ads. The simple black and white clips feature intimate close-ups of each artist performing. Flying Lotus’ ad is a minimalist performance supercut, Jamir plays an unexpected acoustic version of Demon.
In a time when they are still growing and creating a brand image for themselves, Apple Music’s choice of artist for their advertisements is of ultimate importance. It’s interesting to see that they’ve chosen artists like Shamir and FlyLo over perhaps more popular and well-known pop acts: we’d be less surprised if they’d have used bigger crossover artists like The Weeknd and Miguel. Instead they are going with artists who not only produce two completely different sounds, but artists – particularly FlyLo – revered for their experimental exploration. It sets up Apple Music as a forum of quality music, untainted by commercial prejudice or pop sensibilities.
One of the stalwarts of experimental electronic and hip hop music today, Flying Lotus last visited Australia at the start of 2015 to perform at St Jerome’s Laneway Festival. Headlining the festival alongside Jon Hopkins, his set was absolutely mind-blowing, incorporating lights and visual graphics to create an immersive experience.
There is still a lot of debate around how successful Apple Music will be, as we are dealing with such a new method of generating revenue from creative property. Some people say that once the free trial period is over and users start being prompted to pay, the numbers will drop and Apple Musics will slump. That being said, statistically they seem to be off to a roaring good start, and its hard to fault their market strategy.
Disclosure: Jaded
As the days get ever fewer before the release of Disclosure’s second studio album Caracal, which comes out officially on September 25, they seem to almost be dropping a track a day. Today we have Jaded, the only song so far which doesn’t feature vocals from another artist. Instead it boasts lyrics sung by none other than younger half of the brother duo, Howard Lawrence. Lawrence also features heavily in the film, which comprises part four of a series of music videos set in an eerie, dystopian future. The story follows main character Mariella in a futuristic world where a group of men are stifling music and party culture of the youth. They attempt to hypnotise her but instead of revealing secrets she begins to flicker and transform into different people.
Caracal has already revealed tracks with vocals by Sam Smith, Gregory Porter and Kwabs, and promises the likes of Lorde, Miguel and the Weeknd. They may have been a little quiet for a while, but Disclosure are making one hell of a comeback.
Meg Mac: Never Be
Despite currently traveling Australia on her sold-out headline tour, Meg Mac has just released a powerful music video for track Never Be. Taking place on the side of a rocky ocean, the film emphasises the songs’ thumping beat and captures her incredible presence as an artist. Mac spoke about how the chant-like repetition of the song came about because she was driving. Since her phone had run out of battery she was compelled to keep singing it over and over to herself to remember it.
“And that’s my favourite thing about the song, how it feels like a chant you tell yourself over and over.”
Mac still has performances to go in Adelaide, Melbourne and Brisbane, and is then set to take part in the Gentlemen of the Road tour, which will also feature Jake Bugg and Mumford & Sons. After that, if her vocal chords haven’t fallen out by then she’s straight off to Falls Festival to perform over NYE.
Montaigne: Clip My Wings
Montaigne has released an awesome music video for Clip My Wings, featuring the Sydney artist being pulled and tugged by invisible forces. Co-written, produced and mixed by Tony Buchen, who has also worked on tracks by The Preatures and Andy Bull, the song has a force, and an unrelenting beat to it that isn’t un-similar to Meg Mac’s. Montaigne spoke about how the idea to have her be jolted around in the video didn’t just come from the title ‘wings’, but also from her love for a video game called Kingdom Hearts.
“I didn’t come up with the plot-line, but I did drive the inspiration behind it visually as I had the very distinct idea of falling and flying in my head, not because of the ‘wings’ metaphor, but because I am obsessed with this video game called Kingdom Hearts – a game which formed much of my creative style.”
Montaigne’s performance is surprisingly agile, and well-filmed, throwing into question whether they used an invisible harness for the entire thing or if she just managed to make it look that way.
Banoffee: With Her
Banoffee’s music video for With Her, the feature song of her forthcoming self-titled EP is remarkably vulnerable. The action takes place in a swimming pool, where the Melbourne artist stands immersed in water. Behind her, synchronised swimmers sway to the rhythm. The utilitarian swimming pool combined with a faded, warm-tinged colour scale gives clip a nostalgic, timeless quality. Shrouded in dripping pink clothing, Banoffee stares at the camera and gives a raw and honest performance of a song that obviously brings up memories of pain. Lyrics like;
“Every time I heard your voice on the phone, I thought I had you to myself,
That we were alone
Every time I saw your face on the screen I thought you were with me,
You with her, her, her”
Bare Banoffee’s soul, and tap into a feeling of rejection that so many of us can relate to.
Lana Del Rey has released another track from her forthcoming album Honeymoon, which is due to come out September 18 this year. Salvatore is remarkable, evoking a sweet, otherworldly sense of nostalgia for times passed. Del Rey spoke to Huw Stephens on BBC Radio 1 show yesterday about how the song stands out against other tracks on the album, saying, “I guess it has a little bit of an old world Italian feel. It’s kind of a weirder song.”
Combining simple lyrics with gentle, slow building strings, Salvatore could be a soundtrack straight out of a film from the previous century. Del Rey adores working with film directors, and has done music for some incredible movies, including two tracks for Tim Burton’s recent feature Big Eyes, and of course Baz Luhrmann’s adaption of The Great Gatsby. Right now however she is in London, anticipating the release of Honeymoon on Friday, which she will be doing album signings for in London, LA and New York.
Despite her hectic schedule, Del Rey has also managed to squeeze in an awesome collaboration with fellow artist and long time friend The Weeknd, which is featured on his freshly dropped album Beauty Behind the Madness. Slickly edited and intrinsically modern, Prisoner stands in complete contrast to Salvator. Its a testament to both artists that they can collaborate to make song that is both natural, and incorporating of their own incredibly unique sounds. The Weeknd spoke about working with Del Rey;
“Me and Lana have been friends for a long time. I’ve inspired her, she’s inspired me. I feel like we’ve always been talking to each other through our music. She is the girl in my music, and I am the guy in her music. It’s just this ghostly collaboration that feels the most natural on the whole album.”
They say that there are three industries that will always sell: food, death and sex.
I guess that was the mentality that Mötorhead had in mind when they launched their own line of branded sex toys.
The heavy metal icons have teamed up with Lovehoney to create a range of rather intimidating bullet and torpedo shaped items for their lady fans. In a press release Lemmy reminded us that, “one of our songs on our debut album was called Vibrator, so we had to have our own one day, right?… Apparently it was worth the wait!”
Dubbed the Official Pleasure Collection, the range has been lauded as having “the loudest buzz in the world” by Lovehoney. Their PR promises the line “delivers the sort of power and pleasure you’d expect from the ‘loudest band on Earth”. Very in keeping with their metal origins, but perhaps not the best asset for a person who wants some private time.
Lovehoney’s co-founder Neal Slateford went on to assert that “We designed these classic vibes for both fans of Mötorhead and rock lovers, as well as those who just want a cool looking toy to add to their collection…. The range captures the rock and roll lifestyle of the band perfectly, and offers a unique counterpoint to the traditionally pink and purple toys that currently dominate the market.”
Well, let’s just say that ‘these classic vibes’ may not be for everyone, but they have personality and they sure as hell have originality. If you’re into loud thrashing metal music then who knows, you may well be into loud thrashing other things.
Check out their range, along with other merchandise and of course music at their website.
Too often these days, ‘remix’ entails a version of the original song with some sick new synths, maybe an effect on the vocals and a tropical summer house beat running underneath (we explore this in detail here). Thankfully this is not that. Soulwax’s remix of Tame Impala’s Let it Happen is a creative masterpiece in its own right.
Leaving the vocals relatively untouched, Soulwax completely reinvents the instrumental layers and the overall structure, creating a completely different atmosphere. What was four minutes of bubbly psych-synth, is now nine minutes of intense, incredibly expansive electronica. As the vocals fade in and out the beat builds, becoming deeper and heavier at about two minutes in. Despite lasting over nine minutes, the song goes through so many subtle transitions that it is electrifying the entire way through. Soulwax has done what a remix should do, respecting the integrity of the original track at the same time as giving it a completely new feel. Allowing the signature sounds of each artist to merge and complement each other.
Tame Impala have had an incredible year, performing at Splendour in the Grass, being accused of inappropriate sampling and released a stunning new album just to name a few. They’ve also been remixed by Haim and released some amazing new music videos for the tracks on their album. The band is set to tour around Australia and some if its most iconic venues this November, including the Sydney Opera House, Riverstage in Brisbane and Sidney Myer Music Bowl in Melbourne. Unfortunately these shows are booked out, but you can check out their upcoming international tours on their website.