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MEGADETH’S KIKO JOINS DV MARK

Posted in Blog    //    Post Date - December 16, 2016

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DV Mark is proud to announce that world renowned guitarist, Kiko Louriero of Megadeth, has joined the DV Mark family.

Loureiro needs no introduction. Even before being invited to join Megadeth last year, he was already renowned for his guitar work with Angra and enjoyed a high profile solo career that featured breakout releases like “No Gravity”, Fullblast” and “Sounds of Innocence”, where his exceptional technique, musicality and Brazilian roots were highlighted.

On trialling the DV Mark Multiamp, Kiko was floored by its tone, dynamic response, effects and 500w power stage. Kiko’s sonic versatility requires a platform that can deliver outstanding tone across not just one genre, but a wide range of musical landscapes, and it’s Kiko’s opinion that the Multiamp is truly unbeatable in this area.

DV Mark are honoured to welcome a great artist such as Kiko Loureiro to the DV Mark family.

DV Mark distributed in Australia by www.cmcmusic.com.au

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REVIEW: KEITH URBAN – ROD LAVER ARENA MELBOURNE

Posted in Blog    //    Post Date - December 11, 2016

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Review by Garry Chapman. Photos by Jason Rosewarne. December 2016

Country music fans were treated to a double dose of star quality at Rod Laver Arena on two evenings this week when Nashville-based headline acts Carrie Underwood and Keith Urban brought the Oceania leg of Urban’s Ripcord World Tour to Melbourne.

Urban has been on the road with this tour for the past six months, playing over sixty shows in North America, with another ten scheduled for Australia and New Zealand. Underwood joined him for the shows Down Under. The tour winds up on December 17 in Brisbane.

The opening act was Melbourne indie rockers, Buchanan, led by hard working lead vocalist Josh Simons. The band led off with its current single, ‘The Beep Test’, as patrons continued to file into the arena. The short set was well received by the crowd and Simons and his band mates appeared to relish the opportunity to perform on the big stage.

Carrie Underwood’s career has gone from strength to strength since she achieved fame as the winner of American Idol back in 2005. Since then she has released five acclaimed studio albums, won seven Grammy Awards and received many other accolades. Billboard magazine has called her the ‘reigning queen of Country Music’.

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As the band kicked off the opening number, ‘Good Girl’, and Underwood emerged into the lights on the elevated riser platform, the fans welcomed her with rapturous applause. Well known for her expansive vocal range, she didn’t disappoint. Underwood has a big, big voice, and appears to put everything she has into the impassioned delivery of every song.

carrie2Underwood treated the fans to fourteen of her best songs in her hour-long performance. She worked tirelessly throughout, regularly using the steps to move from the riser to the front of stage and back again, always captivating in the way she moved. The driving rhythms of the band and excellent stage lighting seemed to fuel Underwood’s energy as she sang and danced her way through current hits from her ‘Storyteller’ album, including ‘Smoke Break’, ‘Church Bells’ and ‘Dirty Laundry’, plus crowd favourites from her earlier releases.

‘Jesus, Take the Wheel’ was an emotional highlight of Underwood’s set. Her first single from her debut album, it tells the story of a woman who loses control of her car on an icy road and implores her saviour to take the wheel. The car stops safely, sparing the lives of the driver and her sleeping child. If music has the capacity to move people, few songs could tug at the heartstrings more than this one did, and Underwood’s powerful vocals must have shivers down the spines of many in the audience.

The mood was mellowed when Underwood sat down to pay tribute to Dolly Parton before she performed a cover version of Parton’s ‘I Will Always Love You’. Around the arena, the fans sang along. The pace soon picked up and the driving beat returned as the band joined in on ‘Flat on the Floor’. The set finished soon after with ‘Something in the Water’. Underwood left the stage to prolonged applause. The fans were loving it, and eager for their hero, Keith Urban, to take the stage.

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Urban may have been born in New Zealand and may now reside in Nashville, but there’s no doubt that Australian fans regard him as a home grown talent, one of our finest musical exports, and their cheers almost lifted the roof off Rod Laver Arena as he strode to the front of the stage. Urban wore a grin from ear to ear and the smile never left his face for the next two hours. It was like he had come home to visit family and he was delighted to be there.

Urban’s four-piece band launched straight into ‘Gone Tomorrow (Here Today)’, the opening song on his latest album, ‘Ripcord’. Urban played the ganjo, one of his favourite instruments, essentially a banjo with the neck of a guitar. He moved constantly, rarely standing still, often dancing or swaying or expressively thrusting an arm skyward as he sang.

Already, the crowd was engaged. People in the seats were mouthing every word as Urban sang. The patrons in the moshpit were dancing and singing. The house was well and truly rocking. A massive cheer greeted the end of the opening number.

“On your feet, Melbourne!” Urban urged the audience. They were only too happy to oblige. The tone for the night had been set before the second song began. Young and old rose to their feet as Urban’s guitar tech made the first of many visits to the stage with a new instrument. It became a regular sight throughout the show. ‘Long Hot Summer’ was followed by the slower ‘Break on Me’ with Urban now on acoustic guitar. Many of the dancers around the arena took their seats once more, but before long they were up on their feet dancing again as the three driving guitars of Urban, Nathan Barlowe and Danny Rader brought ‘Where the Blacktop Ends’ to a dynamic finish.

Urban looked every inch the guitar hero. He wore a black Johnny Cash t-shirt. From front and centre of the stage, his fast fingers and nimble footwork held the rapt attention of every fan in the audience. His guitar artistry, flawless vocals and charismatic showmanship was captivating. He knelt down and touched the many hands reaching out to him from the front of the moshpit.

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Urban never fails to acknowledge his fans. Reports of his shows include interludes where he invites audience members on to the stage for a few minutes of fun and light-hearted banter. It often begins with Urban reading out some of the messages on handmade signs that people hold up. On Friday night, he brought two sisters from Geelong on to the stage for a selfie. When one of them mentioned that their Dad was babysitting her kids so she could come to the show, he asked her to ring him and pass the phone over. To the delight of the cheering audience, Urban proceeded to chat to the rather surprised guy on the other end of the call, asking him how the babysitting was going.

The band was soon back working hard on ‘Somewhere in My Car’ and ‘Worry ‘Bout Nothing’ before Urban brought the mood back down with the mellow ‘Blue Ain’t Your Colour’. Dancers sat down and some couples swayed slowly from side to side. Urban’s sublime vocals were as good as they sounded all night as an atmospheric carpet of blue spots of light swirled back and forth across the seated patrons.

Urban was the consummate entertainer in ‘You Gonna Fly’, working the front of the stage, every eye watching his every move. The band came in tight behind him again.

The band was solid all night, never missing a beat. Nathan Barlowe was on guitar, vocals and a sampling instrument he designed named The Phantom. It consisted of a box containing four iPads and a mixing desk. Danny Rader played guitar and vocals. The rhythm section consisted of Seth Rausch on drums and Jerry Flowers, a bandmate from Urban’s days with The Ranch, on bass and vocals.

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‘Days Go By’ opened with a ghostly spotlight on Urban, Barlowe and Rader singing a few a capella lines. ‘Sweet Thing’ followed. Then ‘Cop Car’, dedicated by Urban to ‘anyone who ever fell in love in the back of a cop car’. His playing was exceptional throughout all the instrument changes. Undoubtedly there would have been numerous guitarists in the crowd who came along primarily to watch a master craftsman at work and marvel at how easy he made it look.

‘Sun Don’t Let Me Down’ was introduced with an explanation of the meaning behind the song. It was recorded in collaboration with Nile Rodgers and Pitbull. Pitbull’s vocal track was played as the song began, and soon the audience was in full voice singing along with the chorus. A highlight was the three guitarists coming together in the centre of the stage, bringing cries of delight and whistles from the fans.

More joy for the fans came when Carrie Underwood reappeared on stage to reprise ‘The Fighter’, the duet she recorded with Urban on the ‘Ripcord’ album. The intensity of their shared voices providing one of the high points of the entire evening. The chemistry between Underwood and Urban continued with a cover of Tom Petty and Stevie Nicks’ hit ‘Stop Dragging My Heart Around’. Petty’s wailing guitar paid homage to Petty’s original playing and Underwood’s dancing with long tassles swirling was eerily reminiscent of Nicks.

Urban eyeballed the audience at the far end of the arena. “It’s time we came down there to say Hi!” he announced. He left the stage and made his way through the crowd to a second, smaller stage at the back of the floor section, behind the mixing desk. He took his time, high fiving patrons as he walked. The fans clapped and hailed him all the way. Facing the seats at the back of the auditorium, he asked “Who’s got the good seats now?” They responded with rapturous cheers.

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Accompanied by drums and bass, Urban launched into ‘You Look Good in My Shirt’ from the small stage. He picked up a drumstick for a spot of improvisation on the drums, guitar neck and microphone. The crowd loved it. The song concluded and Urban said “This guitar’s getting super heavy.” He lifted it from his shoulders, picked up a gold sharpie and signed it. Then he leaned over and handed it to a young lady in the audience. The smile on her face said it all. It was a moment she’ll never forget. You can bet that’s going ‘straight to the pool room’.

During ‘Somebody Like You’, Urban and his bandmates headed back to the big stage. Everyone was on their feet, clapping and dancing, and Urban kept singing as he walked, once more high fiving as many people as he possibly could along the way. Once back at the front of the arena, he asked everyone to jump. Thousands jumped in unison with him. This led into ‘Little Bit of Everything’. ‘John Cougar, John Deere and John 3:16’ followed. The song became a medley as Urban moved easily into John Cougar Mellencamp’s ‘Jack and Diane’ and then Bob Marley’s ‘No Woman, No Cry’ as the band switched to a reggae beat and the stage lights turned to yellow, red and green. A few lines from The Police’s ‘So Lonely’ brought the medley to an end.

‘Wasted Time’, another single from Ripcord, brought the set to an end. Urban was still moving about the stage, animated, engaging the crowd. The fans in the moshpit were dancing and singing, and almost everyone else in the arena was also on their feet. Showers of confetti rained down as Urban and the band waved and left the stage to long and loud applause.

Urban returned alone with his acoustic guitar for the encore. He stood atop the riser, illuminated in the spotlight, and dedicated the song, ‘Memories of Us’ to his wife Nicole. It is a beautiful, emotional love song and he sang every heartfelt word as though he really meant it. All around the stadium, a sea of lights, courtesy of mobile phones held aloft, swayed gently in time with his strumming. ‘Stupid Boy’ on solo acoustic guitar retained the mood set by the previous song. For the final number, the band returned to the stage. ‘Raise ‘Em Up’ from the ‘Fuse’ album, with its message of positivity, was the perfect finish to an evening of pure entertainment and quality musicianship where the spirits of every person in the arena had been raised high from the first number to the last.

Urban stepped up to the microphone and thanked everyone for coming along. He left the stage to thunderous applause. He had certainly given his fans what they came for on this occasion. As the house lights came on and the aisles filled with queues of people leaving the stadium, Urban strolled back onto the stage. He knelt down to the people in the moshpit and began shaking hands and signing autographs, making sure this would be a night to remember. There is no doubt that when he tours again, most of them will be first in line to buy tickets. Keith Urban is a world class entertainer, a guitar wizard, a top notch songwriter and a genuine Aussie superstar.

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http://keithurban.net/

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SYDNEY DRUM & PERCUSSION SHOW 2017 ANNOUNCED

Posted in Blog, Sydney Drum Show News    //    Post Date - December 8, 2016

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BEAT IT TO THE SYDNEY DRUM & PERCUSSION SHOW!
From the team that brings you the exciting, annual Melbourne Guitar Show comes the inaugural Sydney Drum & Percussion Show on May 27 & 28, 2017 at Rosehill Gardens Grand Pavilion.  Proudly presented by Australian Musician, the massive exhibition will feature an unbeatable variety of drums, hardware, sticks, percussion, accessories, sheet music and more.

In addition to this, the Sydney Drum & Percussion Show will host information seminars, demonstrations, and live performances from Australia’s most talented drummers and percussion players. Although artists won’t be announced until the new year, you can bet there will be anything from speed metal, double-kick drummers, groove and touch drummers and jazz stylists, to exotic percussion players, orchestral percussionists, and hard hittin’ rock n rollers. This is a hands-on show so come and be a part of it. Never been behind a kit before? Here’s your chance. Participate in a drum circle. Experience the latest electronic drum technology and meet the drummers behind some of your favourite bands. Get a free lesson. Win stuff! Learn stuff!

The voice of the Australian music products industry, the Australian Music Association (AMA) will be teaming up with Australian Musician and other media partners such as Drumscene magazine to present an amazing drum-centric weekend.  Based on the successful model of the Melbourne Guitar Show, the SD&PS will showcase all that is new and exciting in drums and percussion. The show is dedicated solely to all things percussion and its associated technologies and published materials, the exhibition will showcase all the biggest brands in this fiercely loyal product category, plus names and instruments you don’t see every day in your local music store. Plus there will be some special one-off SD&PS deals available over the weekend.

Describing the exciting developments, AMA CEO, Rob Walker says, “”We are excited to be able to present the inaugural Sydney Drum & Percussion Show. We believe it will be a hit if our guitar show in Melbourne is any guide.  We are excited to showcase our industry’s products and the wealth of local talent that Sydney and Australia has to offer and we think that some international guests are not out of the question – we seek to grow our drum & percussion community, educate and entertain.”

If you can hit it, ring it, shake rattle and roll it, it’ll be at the Sydney Drum & Percussion Show

The Sydney Drum & Percussion Show will be held at Rosehill Gardens Grand Pavilion on May 27 & 28, 2017.
Standby for ticket information

SYDNEY DRUM & PERCUSSION SHOW DETAILS
SATURDAY MAY 27 10.00am – 6.00pm
SUNDAY MAY 28 10.00am – 6.00pm

WEBSITE        FACEBOOK     #SD&PS

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FENDER HOSTS DEALERS TO SYDNEY

Posted in Blog    //    Post Date - December 8, 2016
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New Australian GM Mark Amory (pictured left), new models and Bud Cole (Fender Asia)

The new management team of Fender Australia was on show November 30, as well as plenty of new products. Asia Chief, Bud Cole and Mark Van Vleet from FMC were in attendance along with new Australian GM, Mark Amory and some 170 dealers and their staff.  In keeping with Fender’s ontime global release objectives, (and there were some products being shown for the first in the world to local dealers), there’s was plenty of interest. An impressive array of custom shop guitars and basses drew particular attention. The night rounded out with a lively Jam featuring dealers proving they’re not just selling the stuff.

The following day Fender gave dealers of preview of new 2017 product, ahead of their public unveiling at the NAMM show in the US. The star of the day was the new American Professional Series guitars which are finding their way into Australian stores as we speak in preparation for a global launch in January.

http://www.fender.com.au/

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JOSH PYKE AND BOB EVANS ON HOME STRAIGHT

Posted in Blog    //    Post Date - December 7, 2016

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Beloved Aussie troubadours Josh Pyke and Bob Evans have been entertaining audiences in South Australia, WA and Queensland on their massive national co-headline tour and now head for home with NSW, ACT and Victorian dates to come, including a couple of massive nights at the legendary Corner Hotel.  Having embarked on the first ‘Evening with Josh and Bob’ a decade ago this year, fans can expect a finely honed performance and a varied, reminiscent repertoire of knockout songs from two of Australia’s best.  Evans, also well renowned as the frontman of Jebediah, enthuses, “That first Evening with Josh and Bob ten years ago was a fairly rudimental affair in retrospect.  We were both very much still finding our feet.  Now, we have higher professional standards to which we hold ourselves and those bawdy jokes of a burgeoning bromance have developed in to, well, bawdy dad jokes.  Bah, who am I kidding?  We’re not that different ten years on.”

Gold Coast last week

Gold Coast last week

It’s been a huge couple of years for Josh and Bob, with Josh’s fifth studio album But For All These Shrinking Hearts dropping in 2015, and Bob’s new album Car Boot Sale coming out in June this year, both to widespread critical acclaim.  The seasoned performers both set out on enormously successful solo tours over the last twelve months, but are thrilled to be coming back together for another jaunt around the country, as Josh Pyke says, “Ten years ago, I was working at a record store, had one song on the radio and was getting ready to record my first album.  Next thing I knew I was organising a tour with a guy who (though I couldn’t tell him this) was a total hero of mine.  Kev and I met, hung out, got drunk together and then set off on what was my first proper Australian tour.  I learned a lot on that tour about how to do it right, how to perform, how to keep a relationship going back at home.  I can’t wait to hit the road with Kev again, have some fun and play some songs!”

Tickets for the much-anticipated tour are on sale now.  Every ticket purchased, will receive a free download of the exclusively recorded tracks, What The Future Holds and Desperate, performed by Josh Pyke and Bob Evans.

Tickets available from www.joshpyke.com or www.bobevans.com.au

THU 08 DEC | 48 WATT ST, NEWCASTLE NSW. SOLD OUT

FRI 09 DEC | THE FACTORY, SYDNEY NSW. SELLING FAST

SAT 10 DEC | THE STREET THEATRE, CANBERRA ACT. SOLD OUT

 WED 14 DEC | CORNER HOTEL, MELBOURNE VIC. SELLING FAST

THU 15 DEC | SOOKI LOUNGE, BELGRAVE VIC. SELLING FAST

FRI 16 DEC | CORNER HOTEL, MELBOURNE VIC. SOLD OUT

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IT’S OFFICIAL. ANALOGUE SYNTHS ARE BACK!

Posted in Blog    //    Post Date - December 6, 2016
Keith Emerson

Keith Emerson

There’s a good reason why you’ve been hearing those classic, warm synth sounds on the radio over the last year or so. Following three decades of digital interfaces and sampler dominance, a new generation of musicians desiring a return to warm, pure sounds are fuelling a resurgence in analog synthesizer retail sales. In the past five years alone, Moog Inc., Korg USA Inc., WMD and other brands who will present their synths and electronic products at the 2017 global music products NAMM Show, have helped drive the analog synth market to a 19.9% growth in total retail sales.

The data, provided by 2016 NAMM Global Report, underscores a re-emergence of players captivated by the tactile playing experience of analog control surfaces as musicians favor working knobs, faders and other features in lieu of digital displays and computer interfaces.

“Players are realizing that an analog synth is much more of a real, honest-to-goodness musical instrument,” says Dave Smith, founder of San Francisco-based Dave Smith Instruments. Nate Tschetter, Manager of Music Product Marketing at Yamaha adds, “Many are choosing analog because it’s immediate, and while analog is definitely ‘in,’ it’s more about the ability to create unique sound and having it sound good.”

Tatsuya Takahashi, Korg Synthesis Chief Engineer and designer of the company’s minilogue synth, understands the importance of unparalleled usability and musicality. “Whenever I design a synth I try to break down barriers between man and machine – the musician needs to be inspired physically and emotionally to create their own music. It’s evident that this thinking has resonated with current trends that turn away from difficult and complicated systems, often inside of computers, in favour for dedicated hardware that often do less functionally, but are great at what they do in a musical way.”

With professional-grade analog synths ranging from the low-hundreds to several thousands of dollars, Korg and several other makers of electronic instruments are also continuing to meet the demand by releasing new and redesigned synths at price points that are very accessible to a variety of musicians of wide-ranging backgrounds. “The power-to-affordability ratio is also phenomenally-favorable to the synth enthusiast,” says James Sajeva, director of technology brands at Korg’s Melville, NY headquarters. “In the case of a reissue [synth] you can get ‘the’ sound and workflow for a fraction of what an original – in even remotely good condition – would fetch.”

For synth pioneer Moog, Inc., the boom in sales at retail is no surprise. The company’s list of legendary synth music-makers have included The Beatles, Keith Emerson and Led Zeppelin, who utilized Moog’s music machines designed for a “particular sound and feel that hasn’t been duplicated and is musically-desirable.” In a departure from the typical trade show approach, Moog Music will use their booth space at NAMM 2017 to honor the staggering number of guiding lights the synth community has lost in 2016.Through a unique digital interactive experience,  Moog will encourage reflection and celebration of artists like Pauline Oliveros, Keith Emerson, Bernie Worrell, Jean Jacques Perrey, Isao Tomita, and Don Buchla.

On the whole, electronic music products were one of the strongest performing music product segments in 2015, posting near double-digit retail growth in 2015 at 9.9%. The electronic music products category, comprised of keyboard synthesizers, controller keyboards, electronic pianos, rhythm machines and electronic drums, touted a retail value of $238.3 million in 2015, and this year, the category has already reached more than $155 million through Q3. Additionally, digital pianos are enjoying a renaissance and are up 24.38% in retail sales and 13.1% in units sold over the past 10 years.

The NAMM 2016 Global Report is designed to offer the music products industry discerning industry trends and opportunities for businesses to shape their vision, business strategies, and seek out new markets. The report is compiled from independent data sources from around the world including The Music Trades magazine and the U.S. Census Bureau. This year’s Global Report compiled data from 24 countries, including Argentina, Australia, Austria, Brazil, Canada, China, the Czech Republic, Finland, France, Germany, Hungary, India, Italy, Japan, Mexico, the Netherlands, Norway, Russia, South Korea, Spain, Sweden, Switzerland, the United Kingdom and the United States.

Dave Smith Instruments, Yamaha, Roland, Korg USA, Inc. Moog Inc., Verbos Electronics, Make Noise and other multiline product manufacturers will be among the more than 75 exhibitors presenting 260 different synthesizers and related equipment at The NAMM Show, being held in Anaheim, California, January 19-22.

Australian Musician will be at NAMM in January presenting, news, interviews and all of the action as it happens.

Learn more about the NAMM Show at https://www.namm.org/thenammshow/2017.

 

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DIO & LEMMY: HEAVY METAL HALL OF FAME INDUCTEES

Posted in Blog    //    Post Date - December 6, 2016

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Legendary Musicians and Music Industry Executives will join together to be inducted into the Annual Hall of Heavy Metal History Induction Ceremony on Wednesday, January 18, 2017 at the Anaheim Expo Center, Anaheim CA. Television and Radio Icon Eddie Trunk will host the event.

Proceeds from the event are being donated to the Ronnie James Dio Stand Up And Shout Cancer Fund. Sponsors include: Pepsi, TD Bank, Promark Drumsticks, D.A.D.  Evans, and Modern Drummer Magazine.

The 2017 Hall of Heavy Metal History Inductees Include:

Ronnie James Dio, “Rainbow,” “Black Sabbath,” “Dio,” (With Wendy Dio accepting the induction)

Rudy Sarzo, formerly of “Ozzy Osbourne” and “Whitesnake.”

Frankie Banali, of “Quiet Riot,” (Along with a special 33rd Anniversary Induction of Quiet Riot, as the first band to achieve the #1 Heavy Metal Album status).

Lemmy Kilmister, “MotorHead” (With special guest accepting the nomination)

Ross “The Boss” Friedman, formerly of “Manowar”

Vinny Appice, formerly of “Black Sabbath” and “Dio.”

Don Airey of “Deep Purple”

Andy Zildjian, President/CEO of “Sabian Cymbals”

Randy Rhoads, “Ozzy Osbourne,” (With the Rhoads family members accepting the Induction)

Additional artists and music industry executives to be announced.

“The Hall of Heavy Metal History is dedicated to preserving the legacy of those Legendary metal musicians who are often forgotten,” says Hall of Heavy Metal History President/CEO Pat Gesualdo. “This event is something the fans have been wanting for a long, long, time. As a non-profit organization, we are also dedicated to working with Wendy Dio and the “Ronnie James Dio Stand Up And Shout Cancer Fund.”

A press conference and General Admission entrance will commence at 6:30 PM from 7:00PM to 8:00PM. The Induction Ceremony will take place from 8:00 PM to 9:00 PM. A VIP Meet and Greet with the celebrity Inductees will take place after the Induction Ceremony. Live bands will perform throughout the night.

Music fans can be a part of the most important night in Heavy Metal!! Tickets are $25.00 for General Admission, and $75.00 for The “Meet And Greet” with the Celebrity Inductees. A General Admission ticket is required to attend the “Meet And Greet” event, which includes Pictures and Autographs with the Celebrity Inductees, and gift bag with an official VIP Pass, a limited edition autographed poster, an official Event T-Shirt, an official Event Program, and additional sponsor items. Tickets are available at www.thehallofheavymetalhistory.org/store

The Hall of Heavy Metal History is a non-profit organization dedicated to enshrining forever, those Legendary musicians, music industry executives, DJ’s, journalists, and Producers who are often overlooked, but responsible for making Heavy Metal music what it is today. Their contribution to the genre is invaluable, and they keep inspiring Heavy Metal fans throughout the world, from generation to generation.

Official Hall of Heavy Metal History Website: www.thehallofheavymetalhistory.org

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CAMIKAZE DROPS THOUSANDS

Posted in Blog    //    Post Date - December 2, 2016

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Local producer Camikaze has dropped a tidy radio edit of title track ‘Thousands’, featuring New Zealand up-and-comer Maya Payne, from his debut EP which was released in late October.

If you have heard Camikaze’s debut release, you’ll know Camikaze doesn’t play by the rules! Obliterating genres and minds, Camikaze gives the world another taste of his crazy-twisted world, employing the help of Maya Payne’s powerful and ever-so-angsty vocals on ‘Thousands’. Soaring in and out of intense loops and synthesized drops, the single creates a soundtrack for running through alternate dimensions on a quest for beauty, rawness and honesty – the three foundations of Camikaze’s work.

Camikaze explains the initial concept & lyrics for the single:
“From what I can remember it’s not really about anything in particular, I just imagine a pretty view of a city skyline & added two people into the equation. I really like the uplifting & almost loose airy feeling it gives, it makes me feel good.”

2016 started in full throttle, with Camikaze dropping his beautifully emotive debut single ‘Shadows (feat. Zoe A’dore)’, which, following a premiere by YouTube channel MrSuicideSheep, clocked up a whopping 100k plays in less than 24 hours of going live. Following on from his debut single, Camikaze released his debut EP Thousands, premiering earlier this month on The Music. The EP gained local and international pick-up from tastemakers Pilerats, EDM Monsters and EDM.co, as well as lead single ‘This Burden’ being added to high-rotation on triple j Unearthed.

Camikaze dives head first into the current wave of electronic music with a distinctly beautiful, eclectic and empowering futuristic soundscape. Harnessing incredibly emotive and lyrically engaging vocals, that drift through carefully crafted percussive loops and dreamy synthesized melodies… the long journey for Camikaze has only just begun.

You can purchase Thousands here

Check out Camikaze’s social media links here

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THE HIDING REVEAL DREAM CATCHER’S LIFE

Posted in Blog    //    Post Date - December 2, 2016

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The Hiding (Anthony Salce, Chris Salce and Ryan Di Cecco) recently released a new single Dream Catcher’s Life, an ode to those who chose to chase their goals regardless of what society might say.  To accompany the track, the group have also revealed a visually stunning clip (see below), directed by Damian McLindon of Shoot films and featuring aerial artists Didj Wentworth and Phoebe Carlson.  To celebrate the release, The Hiding will be playing an exclusive set at The Grace Darling on December 10 as a part of the renowned local festival Pennyfest.

Dream Catcher’s Life is an inspiring tune, characterised by The Hiding’s unique blend of ambient electronic, rock and pop influences and hurled into a new dimension by guest vocalist, Stewart Winchester.  Acoustic guitar and percussive rhythms propel the song forward towards the soaring chorus, prompting the listener to seek out a dream catcher’s life; that is, to live a life pursuing your deepest aspirations.  Anthony Salce, lyricist and lead guitarist for The Hiding, reflects on the writing process, “The song came about after we returned from New York City…it’s really just about living your dreams, not settling for the mediocre, and hoping that you have that special someone to share it with, someone who wants to share the journey with you.”

The clip for Dream Catcher’s Life follows the charming story of two industrial workers, and features a breathtaking aerial routine from the two lead actors.  Expertly shot, with a spectacular use of light and darkness within the cramped, dusty environment, the clip encompasses the pensive, hopeful nature of the song.  On the making of the clip, Salce enthuses, “Damian( McLindon) and I thought that aerial artists would just add to the story perfectly, and we searched high and low for the perfect team who could capture the storyline.  We found that in Didj Wentworth and Phoebe Carlson.”

With their previous single Bonfire Lights being signed by Brooklyn Fire Records, notching up over 20,000 plays on Spotify and their Soundcloud playcount not far behind, it’s been a busy year for The Hiding.  The band are thrilled to be back up on stage in December to celebrate the release of Dream Catcher’s Life, as Salce reflects on the last twelve months, “We’ve really pushed ourselves in terms of writing new songs.  The Bonfire Lights collaboration (with producer Designer Drugs & vocalist Stewart Winchester) really opened our eyes to new possibilities, both in the studio and in our performances.  We’ve aimed to create that ‘party’ vibe with every single show so that we’re achieving a connection with everyone!”

http://www.thehidingmusic.com/

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VALE ALLAN ZAVOD

Posted in Blog    //    Post Date - November 29, 2016

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It’s with a heavy heart that we report the death of legendary Australian musician Dr. Allan Zavod, who had been battling brain cancer for some time.

Allan’s contribution to music both locally and on an international level is immense. As a pianist, composer, arranger, producer, and conductor, there was little in music he didn’t achieve.

Allan was helping to break down music barriers in the 70s and 80s, pioneering classical jazz fusion with Jean Luc Ponty and also spent a year touring and recording with the great Frank Zappa.

Esteemed USA jazz magazine Downbeat named Zavod one of the top 10 keyboardists of the 80s. From studying at the prestigious Berklee School of Music in Boston, he later became a Professor there.

Allan wrote for theatre and orchestras worldwide and composed film scores, one with rock legend Eric Clapton.

He performed with superstars like George Benson, Sting, Nigel Kennedy and so many more.

In December last year the Melbourne Symphony Orchestra paid tribute to Allan with a performance of his extraordinary work, The Environmental Symphony, which was narrated by acting icon Jack Thompson.

Allan  contributed to Australian Musician magazine from the very first issue and continued to write a regular jazz piano lesson and conducted many interviews with his international music legend friends for us.

On a personal note, I’ll never forget the many phone calls spent editing his regular jazz piano lessons he prepared for the magazine. Until we could hook him up with Sibelius software, Allan used to supply hand written music notation for his Australian Musician lessons. As someone who cannot read music, I’ll never forget the many humorous phone conversations with him, as I’d try to decipher his written genius and arrive at some kind of graphic representation of his work that I could understand before publishing.

Our thoughts are with Allan’s wife Chris and son Zak. Rest in peace Allan … thank you for the music … you’ll be truly missed.

Greg Phillips – Editor, Australian Musician

Here’s a clip of Allan playing keys for Jean-Luc Ponty at the Montreal Jazz Festival in 1982

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