JOSH PYKE ANNOUNCES NEW ALBUM, ‘BUT FOR ALL THESE SHRINKING HEARTS’ AVAILABLE JULY 31, ALONGSIDE FANS-FIRST ALBUM PRE-ORDERS
After months of teasing fans with snippets of new material, Josh Pyke today announced the release of his fifth studio album, But For All These Shrinking Hearts available on July 31. Pyke gave his fans the first real taste of the album this morning, circulating a fans-first video across his social media accounts for album track, There’s A Line, alongside a live link to pre-order the new album.
Always looking out for his fans, Pyke has also released an extremely limited number of fans-first album pre-order packages comprising the deluxe edition of the new record featuring two exclusive tracks, a collectors lyric magnet set and a ticket to one of his intimate fans first shows in Sydney at The Soda Factory on July 29, Melbourne at Bella Union on August 5, Adelaide at Grace Emily on August 6 and Brisbane at The Foundry on August 12. These shows will not be ticketed and are only available to those who pre-order the But For All These Shrinking Hearts package.
“I’ve loved doing the fans-first gigs in the past, and this round is no different, so make sure you sign up to my mailing list for first dibs on those tix at www.joshpyke.com,” explains Pyke.
Honouring his fans by sharing the title and release date of his anticipated new album, and a fans-first video via social media channels, Pyke said, “Writing and making this record has been one of the most pleasurable and creatively challenging things I’ve done, and I bloody well love the end result. After the making of the record, it’s pretty much up to you guys whether it travels and is shared and becomes part of peoples lives, so please share the news, the music, your thoughts. As always I owe any kind of continued success to you all, so thank you!”
The first official single, Hollering Hearts will be serviced to media on June 8.
Fans can pre-order the new album from today from http://www.joshpyke.com/store/
AUSSIE POP STARLET, MONTAIGNE RELEASES LIVE VIDEO
Off the back of her acclaimed debut EP, Life Of Montaigne and anticipated, sold out national headline tour in April, whimsical Aussie pop starlet, Montaigne has released a new live video for EP track, A Cinematic Plea For An End.
Montaigne, also known as Jess Cerro, showcases her exquisite songwriting ability, luring the listener in to her vast musical dreamscape with her intrepid song, A Cinematic Plea For An End. Beginning with a raw, vulnerable vocal and impeccably understated instrumentation, the song builds in to a work of art, bounding with fury and defiance, captured perfectly in the live setting that this video was recorded in.
The live video and audio recording for A Cinematic Plea for An End was filmed and produced by Masses Collective (Hungry Kids of Hungary, Something With Numbers, Ball Park Music), with audio recorded and mixed by Adrian Breakspear, and shot on the Sydney leg of Montaigne’s recent sold out headline tour at Brighton Up Bar.
“Cinematic the song basically expresses several issues with idealism, both in platonic and romantic relationships,” explains Montaigne. “It is pretty much a letter to myself which is me trying to ensure that I don’t create unreasonable and idealistic expectations of situations and relationships, so that I don’t hurt myself nor others.”
A regular on the national touring circuit, Montaigne was included in the line up at Groovin The Moo (Canberra), has recently supported Megan Washington and San Cisco, and is set to perform at Come Together Festival and open the Japanese Wallpaper national tour. “I love performing, I love the thrill of it, the challenge, the risk, and the result when you pull it off. And I just love singing. I always do it, and when I’m performing on stage I get to do it in a grander setting and on a grander scale. I also really love meeting fans. They’re always really lovely, very affirming, very effusive, which I like in a person,“ enthuses Montaigne.
And if you didn’t catch a show around the country, it’s likely you’d have heard her on Triple J, with recent singles, I’m A Fantastic Wreck and I Am Not An End both spun on high rotation. The video for Montaigne’s Sia Chandelier cover performed for Triple J’s Like A Version has now had over two hundred thousand views. Silverchair’s Straight Lines was the second song option, Montaigne clarifies, “I figured Straight Lines is already perfect the way it is and if one were to do it any other way, it wouldn’t be me doing it because I can’t envision it sounding any other way. Chandelier felt right because of the vocal of the song. I like pushing my limits a bit with vocals, and that song was perfect.”
HOLY HOLY ANNOUNCE NEW SINGLE ‘YOU CANNOT CALL FOR LOVE LIKE A DOG’ ALONGSIDE UK/EU TOUR DATES, PRIMAVERA FESTIVAL & SPLENDOUR IN THE GRASS
Nostalgic Aussie indie rockers, HOLY HOLY have treated us to a second taste of their anticipated debut record with the release of the exquisite new single, You Cannot Call For Love Like A Dog, alongside Splendour In The Grass and Primavera Festival announcements and UK/EU tour dates set for May, hitting London, Brighton, Manchester, Nottingham, Bristol, Liverpool, Amsterdam, Cologne, Berlin, Ghent and Barcelona.
Recorded in Brisbane with Matt Redlich (Emma Louise, Ball Park Music, The Trouble With Templeton) at the helm, You Cannot Call For Love Like A Dog unveils the band pushing in to a darker sound with atmospheric swells ebbing under sharp glassy guitar breaks, soaring vocal harmonies and driving bass. An extended instrumental outro has given space for guitarist Oscar Dawson to play in a way that has only been heard in a live setting, showcasing a developed sound that the band has embraced while on the road.
“I always imagined that I wouldn’t be allowed to play guitar in the way that I used to practice, in the privacy of my own room, as a spotted teenager. But somehow Tim, Matt Redlich and the other guys not only allowed me, but encouraged it as well. So, I figured, better give it to them. And that’s why there is a two minute guitar solo at the end of the song,” explains Dawson. “And yet still there is a part of me that thinks – ‘is this allowed…? Surely, guitar solos aren’t the done thing these days…’. But, I actually don’t believe that. I hope that we can hear more of this sort of thing; people really playing their instruments.”
The fundamental premise of the song is that love is fickle. “We try in our lives to do all kinds of things to control it and manage it and bend it to our wills, but sometimes you just wake up one day and it’s gone…and that’s that. Like ice melted,” says lead vocalist Tim Carroll. “And the point of that is, if you do find yourself in the enviable position of being ‘in love’ and feeling love – fucking enjoy it. Treat it like a good scotch. Breathe it in deep and wash it round your mouth and take in the bath and get drunk.”
A true visual masterpiece from beginning to end, the video clip was directed by Charlie Ford and Ford Sarhan from Wildchild Pictures (Courtney Barnett, Vance Joy) and shot over four days near Carroll’s home in picturesque North East Tasmania. “The landscape in Tasmania is really striking and powerful. Even living there, you never get used to it and we were keen to allow as much of that as possible to come through in the clip,” explains Carroll. “We shot footage in an abandoned miners shack that lies in a valley at the foot of Mount Arthur. We ran a generator for power, cranked the amps, set up the kit, and played for a couple of hours as the sun disappeared below the horizon… Being in the middle of nowhere, playing with a full band to a crowd of four people was strangely enjoyable.”
The band is fronted by the songwriting team, vocalist/composer Timothy Carroll and guitarist/composer Oscar Dawson. They are joined on the road by permanent drummer Ryan Strathie (Hungry Kids Of Hungary, Andy Bull), touring bassist Graham Ritchie (Airling, Emma Louise), and Brisbane-based producer Matt Redlich as their touring keys player.
Offering some insight in to the band’s long awaited debut LP and most comprehensive national tour yet, due to be announced mid-2015, Carroll radiates, “It’s pretty diverse… there’s laid back piano, heavy slow jams and long 70’s guitar breaks. There are some psychy bits and some sing-alongs. It’s also meant to be coming out on vinyl and that is going to be a real moment for us.”
UK / EU TOUR DATES
May 14 Daytime | The Great Escape (Komedia) | Brighton UK
May 14 Evening | The Great Escape (Spiegel Tent) | Brighton UK
May 17 | London Calling Festival | Amsterdam NL
May 18 | MTC Club | Cologne GER
May 19 | Cafe Video | Ghent BEL
May 20 | Comet Club | Berlin GER
May 22 | Dot to Dot Festival | Manchester UK
May 23 Daytime | Liverpool Sound City | Liverpool UK
May 23 Evening | Dot to Dot Festival | Bristol UK
May 24 | Dot to Dot Festival | Nottingham UK
May 26 | Old Blue Last | London UK
May 29 | Primavera Pro (The Aussie BBQ) | Barcelona SPN
May 30 | Primavera Sound (H&M Stage) | Barcelona SPN
What the media are saying about You Cannot Call For Love Like A Dog::
“A banger of a tune.” NME
“Urgent and epic is the only way I can describe the killer new single from Holy Holy.” Dom Alessio, Triple J
“…Confusion, aggression, frustration; that’s the vibe pulsing through the unrelenting rhythm of the song. Lead singer Timothy Carroll’s vocal, usually so warm, sounds perfectly cutting and snide. So searing and scorching, this track makes dog lovers want to take puppies by the collar and kick them to the curb.” Semplesize
“You Cannot Call For Love Like A Dog, is their latest mastery dropped that is a full paced track that has you begging for more. Opening with a groovy bass drive and catchy riff on the electric guitar, this one is a beautiful crescendo that shows off just how well the band work together. Layering piece and piece of each other onto each other, they mesh together drums, guitar, vocals and some produced elements to create a seamless creation. But watch yourself at the end, as the piercing electric guitar solo comes flying through.” AAA Backstage
“…one of the best songs to emerge from the Australian music industry so far in 2015.” Aphra Magazine
“With driving drums and distinct vocals the track sits on the long side, at five and a half minutes, but it could easily run twice as long and I doubt many would complain. I’ve got to be perfectly honest, this one has been on rotation since its release and all we want to do is hear it again.” Casual Band Blogger
“Whatever bar they had set for themselves last year has not just been raised by this track, but completely obliterated and rebuilt miles above.” Howl & Echoes
“The real highlight of this single — the moment that made me stop in my tracks — kicks off at 3:50. Oscar Dawson’s guitar solo just roars. It climbs and climbs, with a totally Pink Floyd vibe.” Indie Shuffle