La Felix – Drops Smooth Disco-Infused Jam ‘Real Thing’ ft. Becca Krueger


Fresh off the release of ‘Drama’ (featuring KOLE), Melbourne-based New Zealand born producer La Felix has just unveiled new single ‘Real Thing’ featuring New York-based singer/songwriter Becca Krueger.

‘Real Thing’ opens with a sprinkle of meticulously composed synths and the mesmerising vocals of Krueger, which float elegantly above. An infectious funk-laden bass line weaves its way into the mix and acts as the backbone carrying the song from start-to-finish.   

Recalling the vibe of Chromeo and Cosmos Midnight, the track glides along effortlessly and never overcompensates; each layer feels well thought out and placed.

“Recently, I’ve really been vibing to the minimalistic approach to songs,” says La Felix. “Instead of layering elements I tried to keep it simple but interesting at the same time. Also, this allowed some space for the vocalist to do the heavy lifting which Becca did perfectly.” 

Through utilisation of charismatic guitars, upbeat percussion, and swagger in the bass, the artist creates the perfect foundation for Krueger’s voice that shines a light on the start of a relationship.

Krueger said she fell in love with the positive energy encapsulated in the track from the first moment she heard it, inspiring her to describe the magic of falling in love.

“The lyrics came from a warm and happy place and the song always takes me back to those feelings. I hope it can inspire a little love in listeners!” explains Krueger

The love-based tune includes some contemplative yet harmonious moments, the most prominent being around the 20-second mark where the song clicks into gear with its groove-infused bass tune and subtle yet apt vocal.

The impressively rhythmic, chilled style of La Felix is one we can’t wait to see more of in 2019. ‘Real Thing’ is out now on all major streaming services, give it a listen now!

Album Premiere - Pearl The Girl gives an exclusive walk through her debut record ‘Just A Phase’


Sydney-based indie-rock artist, Pearl The Girl, is set to release her impressive debut album ‘Just A Phase’ on Monday April 15. Today, we’re fortunate enough to offer up the first listen ahead of its official unveil, accompanied by an exclusive track-by-track put together by the songstress herself.

The records ten emotively charged and sass-infused tracks explore a raw and honest account of various themes, which span across love, loss, sex and challenging the conventional; all inspired by Pearl’s real life experiences. ‘Just A Phase’ offers up moments of solemn melancholic power-pop ballads to explosions of upbeat indie-pop sunshine, led by infectious jangly guitars and a steadfast rhythmic section.   

Dive into the below as Pearl walks you through the record and gives you the low down on each track:

Charms is a funny song. I wrote it about someone who had their head shoved so far up their own ass that they couldn't see the impact of their actions.  

Fuck Up is about challenging traditions. I wrote this song in Scotland after experiencing a very suppressed house hold, where parents enforced opinions and ways on those younger than them. Nothing was open for conversation. It was their way or the highway. 

Dead End Rd is about impulse dating, following your heart instead of your head. It was inspired by a conversation I had with Deena Lynch (Jaguar Jonze) for her Spectator Jonze art project expressing states of mental health in society.

Flaws & All is about cutting the crap and diving right in. 

Little Animal is about a one night stand. It aims to normalise one night stands for women, liberating them of emotional attachment. 

Take Off Your Shoes and Ode To Warrick were written in a similar vein. They represent expiration dating. Giving it your all knowing that the moment will pass. I wrote them while I was in New Zealand indulging in a holiday romance. 

I Hate You is not as obvious as it seems. It's about wanting something you can't have. It's hating that you love someone. 

She's Fine Now is about a child of divorce. Specifically mine. Your ideals and values change when everything you know does too. As a child of divorce it's easy to be selfish and when you're in the initial moment you think about how it affects you rather than what’s really going on for your parents. This song is about recognising that in hindsight, parents are human, we all make the same mistake, and it was for the best.

Mr Informative is an anthem for people who have been stuck in a relationship with a hopeless sack of meat. It's the song I wish I could scream in my ex-lovers face.



Househats Debut LP ‘Running Out Of Time’ Cements Their Position As Official Spokes-Punks For Aussie Post-Millennial Angst


It’s been over a year since Househats exploded onto the scene with their infectious debut single ‘All Together’ and now the Melbourne indie punk trio have given the jangly bop a well-deserved home in their debut long-player Running Out Of Time.

From raucous disc opener ‘STOP’ to the jerky Beck-like post-punk riffage of 2018 single ‘I’ve Been Broken’, Househats’ maiden LP cements their position as the official spokes-punks for Aussie post-millennial angst.

‘Running Out Of Time’ is ten juicy tracks dripping with wry, witty lyrical malaise and pub-punk ‘tude, delivered with singer Freddy Fostvedt’s unmistakable deadpan drawl.

Produced by Alex Markwell (The Delta Riggs, Kita Alexander, Elliphant) and mixed by Michael Badger (King Gizzard & The Lizard Wizard, IV League, Amyl & The Sniffers), the album also f*cks with the chemist-brand formula and wears its influences on its sleeve, evoking everything from the sonic simplicity of Eddy Current Suppression Ring to the hook-laden production of Parquet Courts.  

To coincide with the big release, Househats will be performing at The Hills Are Alive festival in South Gippsland, as well as a special one-off album launch at The Old Bar in Melbourne (dates below).

Get their winning debut Running Out Of Time into your ears right now.




Jamie Lane Expertly Blends R&B And Electro On Effortlessly Cool New Track 'Say It Again' (ft. Naji)

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R&B is a genre that has become something of the zeitgeist of this decade, surfacing across many other genres and trends. Nowhere is this more the case than with it’s blend with electronic music. With that comes a risk of over-saturation, which means it often takes something unique to stand out in the R&B crowd.

Enter, Jamie Lane. Recently turning heads with his first single, ‘Sink’, the Queensland artist has brought an eclectic style when it comes to crafting electronic R&B. The guy has a fantastic command of production, with this first single serving as a daring example of his sampling talents, as well as a unique, quivering vocal style.

Now, Lane has heads turning again with his latest effort, ‘Say It Again’ feat. Naji. While this follow up isn’t as experimental or as sample focussed as ‘Sink’, it makes up for it by being an effortlessly cool piece of music.

The track starts with a crisp beat, with some piano keys at the beginning adding a lot of colour. The production choices are consistently fire, with the choice of drones and nice, sparkling keyboards at the song’s climax giving the song a nocturnal, sensual feel.

Lane’s vocals add a unique quality to the track, especially when he multitracks them in the chorus. However, Naji’s efforts in the second verse almost steal the show, with his more chilled-out style blending so nicely with the production and adding the crowning touch.

This is a really smooth, sensual piece of electronic R&B, and while not as experimental, confirms that Jamie Lane is a talent we should be keeping an eye on.

Brendan Maclean’s Debut Album ‘And The Boyfriends’ Is A Bold And Brilliant Groove Imaginarium


Submit your body to the throws of the heartfelt groove kaleidoscope that is Sydney solo artist Brendan Maclean’s stunning and multifaceted debut album, And The Boyfriends.

Ainslie Wills-featuring flagship single ‘Hibernia’ opens the record with furious funk fever, hurling us headlong into Maclean’s sonic imaginarium, which keeps our toes tapping through the slinky basslines of ‘Where’s The Miracle’, drunken retro synth of the wry ‘Not Too Stoned’ and infectious discoteque stylings of ‘Ghost’.

The record was named after a fictional backing band dreamed up by the ARIA-nominated vocalist and media personality (titular ensemble,The Boyfriends), but it’s far more than just a dancefloor reverie.

And The Boyfriends also delivers more than its fair share of emphatic, goosebump-inducing moments, with the crooning soul-pop balladry of tracks like ‘Goes Without Saying’, ‘Tenderness’ and ‘Layer on The Love’ plucking at our heartstrings with their raw and direct lyrical honesty.

Buoyed by the talents of co-writer and producer Sarah Belkner as well as Aussie vocal darlings Wills, Kira Puru, Montaigne, Donny Benét and Paul Mac -- all of whom feature -- Maclean uses his poetic words to paint poignant pictures of greened-out kids in ambulances in the Soho rain and heartbroken lovers hunched over atlases searching for their lost loves across Europe.

The openly queer artist, who was infamously banned by YouTube for his sexually explicit 2015 video ‘House of Air’, is more fearlessly self-reflective here than we’ve ever seen him. Nowhere is this more evident than in percussive disc closer ‘Wolf Run’, which was inspired by Maclean’s own experience with domestic violence and sees him reflect on the failures of his own masculinity. As he explains to Billboard:

“‘And The Boyfriends’ was always about reflecting on and empathising with the women in my life and also the lack of true femininity in myself. I’ve always been ‘camp’ but that’s an affectation not something real and powerful like femininity.

It was this or nothing. It is in some part a concept album if only to keep my mind focussed on the subject. The themes are so heavy and not easy to talk about, but musically captures an energy like nothing I’ve made before, not even close.”

We couldn’t have said it better ourselves.

After releasing five EPs, Brendan Maclean’s bold and brilliant debut album And The Boyfriends is out now, and it was worth the wait.

Georgia June Exude Undeniable Pop-Rock Charm On New Jam 'Prove Myself'

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Sydney-based outfit Georgia June are back with a brand new single, ‘Prove Myself’, the first taster from their forthcoming debut record. 

The outfit had an exciting 2018, releasing indie rock jams ‘Cool’ and ‘Broke’, and hitting it big on triple j Unearthed. If you’ve heard these singles, then you’ll know why: with a sound reminiscent of Blondie and Pink, the secret to June and her band’s success is the straight-to-the-point nature of their tracks. While the lyrics often touch on June’s insecurities and struggles growing up, every song crackles with an undeniable pop-rock charm; sounding like the band had a blast recording it. 

Of all the tracks the group has dropped so far, ‘Prove Myself’ sees them at their most commercial, and wearing their influences most obviously on their sleeves. Starting with a tight bass and drum groove, eponymous singer June’s delivery quivers with a sense of anticipation as she sings about needing to motivate and prove to herself that she’s got what it takes.

The song really launches in the chorus, when sugary synthesisers and warm acoustic guitar introduce themselves, sounding like something Debbie Harry would ride with much pride. 

At first glance, this track is their most pop-influenced release, but the band pulls out all the stops at its climax, introducing a stunning rock guitar solo to balance out the pop elements and bring this song out with a bang.

This is the band’s most commercial sounding track, but it is no less charming. Gone is the feelings of insecurity: ‘Prove Myself’ sees June and her band sounding like a band wanting to take on the world, and win.