Following the success of its debut earlier this year, boutique music and food event Peninsula Picnic is set to return to Victoria’s Mornington Racecourse for seconds in March 2016. Along with gourmet foods and wines, the festival is also set to serve up an impressive musical programme. The recently announced line up features some good Australian talent, including a headline slot from Missy Higgins and new solo material from Powderfinger guitarist Darren Middleton.

Blues talent Kim Churchill is also in tow, getting set to bring his stomping, feel good anthems to the event. Picnickers will also be treated to some emerging talent. With the roots infused folk musings of Adelaide’s Timberwolf, and Shoreham local singer-songrwiter Ruby Whiting.

[youtube http://www.youtube.com/watch?v=eJYjcJCAKH8]

Taking place on the stunning Mornington Peninsula, just an hour from Melbourne, 2016 festival goers can expect a bigger line-up, a larger site, plus even more gourmet restaurants, decadent wineries, fresh local produce and quality artisan wares. How’s that for a day out? Sounds pretty amazing to us!

Click right here to scoop up those golden tickets. The event will be announcing more artists in the coming months, so stay tuned for more!

Details:
When: Sunday 20th March, 2016
Where: Mornington Racecourse, VIC
How much? Adult Admission – $77.00
Child Admission – $19.00

Many of us have often joked that a particular band or song is tortuous to listen to, driving us crazy and comparable to a dentist’s drill on our ears. And no offence to Westlife, but some of their music probably falls into this category for a lot of people – myself included. But to purposefully use their music as a torture device? Suddenly the joke falls a bit flat.

Especially since that is exactly what the American Civil Liberties Union have accused the CIA of doing. Citing songs such as the Irish boy band’s My Love, along with unspecified heavy metal music as being appropriated for use for this purpose. In a new report, Out Of The Darkness, ACLU have outlined the case of Suleiman Abdullah, a fisherman from Tanzania, and the suffering he endured while held at a military prison in Afghanistan. Abducted from his home and his new wife, Abdullah spent over five years in U.S custody.

Suleiman Abdullah

Suleiman Abdullah, torture survivor and plaintiff in lawsuit against the psychologists behind the CIA torture program.

Upon his removal from Somalia, Abdullah was first interred in the prison that the U.S government refer to as “COBALT”. Abdullah apparently refers to it as “the darkness”. There he was subjected to physical and psychological pain and torture, all in total pitch black surroundings. The report outlines an “incessant barrage of torture techniques designed to psychologically destroy him,” including dousing, beatings, starvation and sleep deprivation. And while this disgusting litany of suffering sounds appalling compared to a constant stream of music that Abdullah was forced to endure – music that is enjoyed by fans the world over – torture by music should not be underestimated.

Attacking the senses and the mind, the damage caused is invisible to the eye but is well documented as extremely harrowing. As part of the methods employed to “break” prisoners, these methods are reportedly used to drive detainees to extreme mental stress, attempted self-harm and, as in Abdullah’s case, attempted suicide. With similar practices reported in the notorious, and also CIA operated, Guantánamo Bay, an interview with an inmate there by the Guardian in 2008 examines why psychological torture is more terrifying than physical pain. Put simply, the article quotes inmate Binyam Mohamed as saying, “Imagine you are given a choice, lose your sight or lose your mind.” And that is the exact intent of torture by music – to cause inmates to slip into madness. Not exactly the optimum state from which to retrieve reliable intelligence…

The list of artists whose music have been linked to torture practices in the Middle East is gradually growing, as more reports like Out Of The Darkness emerge. As well as Westlife, previous reports mention Eminem, Dr Dre, Metallica and Red Hot Chili Peppers. Reactions to these revelations from the music industry itself have been somewhat varied. From a disappointingly flippant response from Metallica’s James Hetfield, and Westlife also taking a somewhat unconcerned view, joking that “it probably only took about two hours to actually crack the poor guy with that one.”

Skinny Puppy filed a claim against the U.S Defence Department for using their music without permission

Skinny Puppy filed a claim against the U.S Defence Department for using their music without permission

But a number of musicians have fought back, notably Canadian electro-rock band Skinny Puppy, who actually filed a claim against the U.S government. While on the surface this might look like an appalling scramble to make some cash, actually the band have a point. Not only is it a gross liberty to take an artistic endeavour and use it as a weapon, twisting the purpose of a musician’s art and their livelihood. But it is also technically illegal. The use of music by organisations is strictly governed by law, requiring permission from the artist, their label and publisher. And if the sheer morality of the situation is out of the music industry’s control, then at least the legality of using music as torture can be raised.

Having previously steered clear of the spotlight, London-based producer and writer Dom Zilla has been making music since the age of twelve. The beating heart behind a number of releases, including Lulu James’ hit Be Safe, Dom Zilla has now stepped forward with his own debut release.

The first track from Dom Zilla, Take Home, dropped earlier this year – a gorgeous sun-drenched track melding laid back beats and dream pop, all topped off with Dom Zilla’s soulful vocal. Now onto the second single from his upcoming EP, Cold is another stunning offering from Dom Zilla. Riding on a slow metronomic beat, that cuts through like Massive Attack’s Teardrop, the production is gloriously sparse. Pulsating synths and whispering cascades round out the sonic textures, however the real stand out is the vocal line.

Not having his lent his voice to a release previously, Dom Zilla is soulful without crooning. More human than smooth, it has nothing to do with the “new soul’ artists spinning out of Spotify at an alarming rate. Treating the vocals more like instrumentation than the main event, his light falsetto stretches out over the track in place of an instrumental top line. Luxuriously layering vocals as the track builds, the interjections washed through with effects hook you right from the start.

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Cold is an evocative and sensual track, and one that rekindles a mesmerising trip-hop feel. Dom Zilla’s talents as a writer and producer come to the fore in this beautifully crafted release, a certain hesitancy to take the limelight is nearly tangible in his music, but it translates as an appealing modesty and earnestness. With both Take Home and Cold under his belt, Dom Zilla has proved that he is more than deserving of that spotlight.

The debut EP from Dom Zilla, Chasing Days, is scheduled for release this November.

Once quoted as saying “I hate Paul McCartney”, it may come as a surprise that Kurt Cobain once recorded a cover of McCartney’s Beatles song And I Love Her. The track featured on the soundtrack to Brett Morgen’s recent documentary Kurt Cobain: Montage of Heck, discovered by Morgen on one of the hundreds of random audiotapes that he was given access to during the making of the film.

Coinciding with the documentary’s DVD release will be a complete solo album of previously unheard material from Cobain. The cover of And I Love Her is the first track to be unleashed.

Unsurprisingly, Cobain transposes the tiki-tinged original to a suitably grunge, melancholic dirge. A gritty, DIY  tape recording, and set against a somber key, the croaking vocals feel like the precursor to tracks like Heart Shaped Box and Something In The Way. But even Cobain’s inherent angst can’t quite smother the pop glitter of McCartney’s original, the sentiment creeping through in a slightly eery melding of grunge and a good old fashioned love song.

According to Morgen “Nobody in Kurt’s life — not his management, wife, bandmates — had ever heard his Beatles thing,”  The latest artefact to fuel the unabated fascination with Kurt Cobain, And I Love Her is just one more piece of the puzzle. Listen to the track in full, available to stream on Spotify.

With his new album just around the corner, Neon Indian has now dropped the third single from imminent VEGA INTL. Night School. Following on from the funk-filled singles Slumlord and Annie, this latest track, The Glitzy Hive, sparkles with a poptastic disco reinvention.

Grounded in a smooth 70’s groove, with laser style synths firing off in the background, The Glitzy Hive combines the dance floor with a washed out Venice Beach feel. Making you want to strap on a pair of roller-skates and pull the kind of moves for which dolphin shorts and an afro are compulsory.

[youtube http://www.youtube.com/watch?v=c0WtwtOCC1g]

Neon Indian attributes his new album’s diversity to the various locations in which is was conceived, including the cabin of a cruise ship. Whether that was in fact the setting for the birth of The Glitzy Hive, we don’t know, but it could well account for the kind of rundown, tropical feel that drifts through the track. In both the sparkling synths and beach party vibes, which play out through a kind of sepia filter that tones down the glitter.

Channelling artists like Prince in the disco falsetto vocal, The Glitzy Hive is clearly one to dance to and doesn’t take itself too seriously. The slightly breathless chorus pulsates with a floor filler beat and sounds like summer anthem – possibly to be played on a yacht? – even descending into a crowd chorused rendition as the track fades away.

Colourful and groove-drenched, The Glitzy Hive holds all the promise of summer fun. And is another promising teaser for VEGA INTL. Night School.

The album is set for release 10/16 on Mom + Pop / Transgressive.

Rock and roll to the last, or a media savvy move? How you perceive Tom Petty’s refusal to authorise the latest biography to be published about him probably depends on how cynical you’re feeling. Petty: A Biography by Warren Zanes came out of the historic friendship between Zanes and Petty, but also some frank admissions on Petty’s part. One such admission is that Petty was actively using heroin back in the ‘90s.

Petty: A Biography

Petty is hardly the first rock star to admit to drug use, and he definitely won’t be the last. However, turning junkie as you hit 50 is slightly more unusual. And given the highly publicised departure of The Heartbreakers’ bassist Howie Epstein in the early 2000’s (Epstein was reputedly kicked out due to heroin addiction), the revelation certainly demands some explanation.

In an interview with The Washington Post, Zanes attributes Petty’s turn to heroin to a certain type of midlife crisis. An escape from the pain of life, and heroin being the rockstar’s painkiller of choice. Regarding his reluctance to speak about this before, Petty is quoted as saying that “I am very concerned that talking about this is putting a bad example out there for young people. If anyone is going to think heroin is an option because they know my story of using heroin, I can’t do this.”  And in answer to the inevitable questions about the hypocrisy of Epstein’s departure from The Heartbreakers, Zanes recounts how the band tried to help Epstein. Sent to rehab, but failing to kick the habit, stopped by police whilst in possession of black star heroin days before touring; in Zanes’ words “They held on trying to keep that band together… But it got untenable.”

Even though Zanes’ information clearly comes from Petty himself, Petty: A Biography remains “unauthorised”. Petty apparently taking the attitude that he couldn’t tell Zanes what to write and that“authorised is bull sh*t”. At the age of 65, and with an illustrious musical career behind him, it’s doubtful that an admission of heroin use will damage Petty. But if it does… well he never actually admitted to the admission, did he?

This week saw the release of the first new material from Matt Corby in nearly two years. Along with new track, Monday, also came the announcement of a national tour in Australia this November. Corby may have been holed up in a backwater bunker getting his head together, but it seems that he has now emerged to take on the next stage in his career.

“I needed to spend that time learning how to practically play, on each instrument, what I would regularly hear in my head. Enough time has now passed now for me to clear my head of everything that I’ve done before, reboot and have the balls to do it again.”

That’s a pretty honest confession from a musician, and a refreshing one at that. If Monday is anything to go by, then Corby is back in the game with not so much a reinvention, but a considered next move. Instantly recognisable with those melting vocals, his honey-toned voice takes on a soulful vibe, effortlessly skirting through octaves. Fleshed out with gospel-style vocals and hand claps, there is a new sparsity to his sound that feels like a slight nod to contemporary electronica, and producers like James Blake.

Shaking off the weary label of “singer-songwriter”, Monday is a stunning return from Matt Corby, and is also the first offering from Corby’s long awaited debut album (due for release on Mercury Records in early 2016). Have a listen to the track below.

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Matt Corby National Tour Dates:

2nd November: The Tivoli, Brisbane

4th November: HQ, Adelaide

6th November: Metropolis, Fremantle

9th November: Forum Theatre, Melbourne

16th November: Metro Theatre, Sydney

As one fierce woman to another, Chvrches’ Lauren Mayberry sat down with Sleater-Kinney’s Corin Tucker for Interview Magazine. Discussing the recent release of Chvrches’ much anticipated sophomore album, Every Eye Open, as well as feminism, writer’s block and coming of age as a band – this is one conversation that was never going to be dull.

Exchanging comments on the lead-up to releasing an album, Mayberry is clearly aware of the expectation riding on this second album. Traditionally this is the difficult one, and it seems that a lot of people have been at pains to remind her of that fact, “People ask us in every single interview if you feel like there’s a lot of pressure. I feel like I’d explode from answering another question about pressure.” Something that Tucker clearly sympathises with, concurring that removal from the industry spotlight is sometimes no bad thing.

“Sometimes it’s useful to have that element of people not knowing what you’re doing and not paying attention.”

Touching on the writing process, Mayberry confesses to keeping a notebook full of phrases and half formed lyrics, or “nonsense”. Though the music comes first, it’s clear that writing is Mayberry’s passion. Asked about her favourite writers and poets, the fact that she is currently re-reading Jesscia Valenti’s Full Frontal Feminism seems fitting. Advocating non-fiction for on tour, when it comes to narrative writing she says “Anne Carson and Angela Carter are folks I hold close to my heart because they have such unique ways of telling stories. I think in reading a few sentences of text you can just tell the tone, and that’s something I love in prose writers, but in lyricists as well.”

In terms of her own lyric writing, it does’t always come easily; “I remember at the start, there was a two-week period where I couldn’t get anything done. I would start writing something and then I’d be like, “I don’t like this.” It was two steps forward and one step back… Then, finally, the writing came really quickly, the record came thematically together, I hope. It just took ages to get started. I think I was over-thinking it.” She goes on to talk about her own stance as a writer, and writing from a personal stand point, feeling like she has found a more “assertive character” and the confidence to try new things on Every Eye Open. 

Already recognised as an assertive character, the interview touches on Mayberry’s outspoken response to sexism and online bullying. It’s a graceful and level headed conversation, but one that touches on the infuriating remnants of blatant sexism within the industry. And you get the feeling that although Mayberry won’t be losing her temper, she will not take it lying down. The same goes for online trolls. Torn between appreciation of the internet as the platform that launched Chvrches, and frustrated by the opportunities to blast and bully from behind its protective anonymity.

“Seeing people communicate about the band online has been amazing, but I think a lot of people spend a lot of time talking about what they hate rather than what they love. I don’t want to get trapped in that.”

What comes across most from Mayberry is a real sense of positivity. Though she is far from naive, she isn’t angry or angst-ridden. Discussing the new album she comments that “I’d convinced myself that I’d written some sadder songs on the record, which is some of the darker stuff we’ve written, but it’s also some of the most hopeful… I hope that’s what people take away.”

[youtube http://www.youtube.com/watch?v=4Eo84jDIMKI]

Read the full interview here.