COYLE GIRELLI SHARES NEW SINGLE ‘BETWEEN US’ LIFTED FROM NEW ALBUM ‘MUSEUM DAY’ SET FOR OCTOBER 27 RELEASE
A fresh and upbeat love letter to a harlequin romance, the new single Between Us out today from multi-platinum English troubadour Coye Girelli takes a charming step closer to the impending release of his third solo album, Museum Day, due out on October 27.
Set against the lyrical backdrop of the Big Apple, Between Us unfurls with Girelli’s trademark lush vocals, stirring intimacy and swooning indie pop wiles, complete with nostalgic 80s elements forged in a fire of modernity. Produced by Lorenzo Wolff, whose previous work spans Taylor Swift and Kanye West, Between Us is Girelli at his buoyant and easy going best, glowing with cinematic charm while lyrically traversing charged passion in his own adopted home of New York, as Girelli reveals, “Between Us is a love story in New York City. A love lost and found again. Distance and return. A love that persists. Yet fighting against it. The fear and curiosity. What awaits? Heartbreak or True Love?”
Taken from Girelli’s forthcoming new album, Museum Day, Between Us sits amongst 10 dazzling tracks lying in wait, including the album’s previous singles, the smooth and sentimental Museum Day and the hooky fuzz of So Predictable. Ultimately an immersive and affable journey, laden with authenticity and soulful reflection, Museum Day seamlessly extends the foundations laid out by its predecessor, 2022’s Funland, with a noticeably modern injection driving at the core of Girelli’s new outing amongst his signature trademarks. “It’s a more modern sound than Love Kills for sure,” shares Girelli. “In some way it feels like the next step on from Funland. It’s more indie and in a lot of ways more contemporary feeling. Upbeat and in the shadows. Half New York City, half Manchester, England. Stories of moments, stories about people. Stories about lovers.”
Inspired by love itself as much as Girelli’s own ardour for the likes of The Smiths, with smatterings of The National, The Drums, Big Thief, Japanese Breakfast and War On Drugs, Museum Day bustles with rosy-cheeked pop (Jane Tells A Lie), swooning ballads (Swim, Real Love) and ambient heart-breakers (Nobody), like a modern-day Roy Orbison strolling through a Hollywood romance. Tirelessly helmed by Girelli’s effervescent yet stirring vocals, soaring into the heavens on the outro for Between Us and diving into woozy calm on I Tried to Love You, Museum Day ultimately draws to a close on a stripped-back note, with New York Rain beautifully capturing the essence of Coyle Girelli’s magic: reflection, romance and riveting storytelling that places you directly into the moment alongside Girelli himself. And while the overall album is an elegant and expertly-crafted affair, the road to creating Museum Day was unexpectedly swift amongst other plans, as Girelli elaborates, “I wrote and recorded this album in a very short time, a matter of weeks really at the start of the year. I’d written what I thought was an album. Then I wrote Museum Day. I scrapped the album I had planned, and in the weeks following wrote and recorded a whole new one. Which is what I’m releasing. I purposely didn’t overthink or analyse it. I let it write itself. Tell its stories. My job was to not overcomplicate it or get in the way.”
Recently enamouring with his sophomore album, Funland, in 2022, Girelli’s musical magic as a solo artist first unveiled via his debut full length album, 2018’s Love Kills. A gifted songwriter, storyteller and creative cauldron, Girelli has also found himself hotly in demand over the years as both a songwriter and producer for multiple artists, including work with BTS, Macklemore, Robin Schulz, Westlife and more. A multi-instrumentalist who has also turned his hand and voice to musical theatre along the way, Girelli’s previous releases have been repeatedly hailed as masterpieces by the likes of Rolling Stone Australia and countless others; a fact that is witnessed once again on Museum Day and tantalisingly in the near future for Girelli’s upcoming projects.
Set to perform an immersive theatre musical show called True Love Forever in New York next year, Girelli’s star is set to boundlessly continue to rise, with the talented English-born, New York-based artist already working on a follow up to Museum Day to bless 2024’s timeline even further. And it’s ultimately the free-flowing approach that Girelli adapted while crafting Museum Day that is set to shape and solidify any and all of his future releases, as Girelli concludes, “It was very fulfilling creating in this space. In flow. I’m going to try do the same thing with my next album. Makes life easier as well when you’re not over-analysing every little detail. Let the songs do their thing. I really let my instinct lead the way on this one. It feels fresh and true.”
Between Us is out today.
Museum Day is due out Friday October 27.
ISLA NOON SHARES NEW SINGLE + VIDEO ‘BODY’
Lush, hypnotic and brimming with alt pop whimsy, the brand new single Body from Aotearoa New Zealand artist Isla Noon is an electrifying ode to growing up from one of the scene’s most exciting up-and-comers. A dynamic addition to Isla Noon’s ever-growing repertoire, Body is also accompanied by an enigmatic music video featuring the artist herself in a potent display against a fittingly eerie locale.
A single lathered in introspection and intelligent, dense pop sensibilities, Body was originally conceived by Isla Noon in her bedroom, with its early form veering towards ballad territory. Embracing inspiration from the likes of MUNA, Caroline Polachek, Wolf Alice and Troye Sivan, the end result for Body morphed from Isla Noon’s own private musings into a song with ricocheting relatability; and following Isla Noon teaming up with friend and collaborator Maude Morris, Body soon became a robust and vibrant affirmation for self-esteem, vulnerability and the ever-complex road to growing up, as she explains, “It was when I brought the song in to produce with Maude Morris that we realised we needed to embrace the chaos. We pushed the dynamics to the limit when it became clear that the song wanted to take up a lot of space – and so we let it. Growing up, it was always very important to me to be recognised for my ideas, for my creative work, for what I had to say. As I grew into a young woman, I became uncomfortable with the sense that my physical form was preceding those things, that the way I was perceived and treated seemed to hinge on how I looked, dressed, and carried my body. At times, this body felt like a risky vehicle to be in. From such an early age we are flooded with input and commentary on what is and isn’t ok about our bodies. It’s such an overwhelming intrusion on what is really a private relationship. Writing Body was a step toward excavating some of that unwelcome noise from my own mind and extending a quiet peace offering to myself. I think of Body as reclamation of self. I put it forward in all its messy self-contradiction and intensity, in all its cautious intimacy, in all its strength and light.”
With Morris on production and engineering duties, alongside Chris van de Geer, Body’s commanding holistic experience heightens further via its accompanying music video. Directed by Oshara Ardelean, a cinematographer and director also renowned for her work with fellow Kiwi indie artist Kiki Rockwell, the visual accompaniment to Body finds Noon’s raw lyricism and clever arrangement soaring to greater heights in one of the spookiest places Auckland has to offer, as Noon reveals, “I knew from the outset that I wanted to work with a female director for this video and approached Oshara Ardelean, who had co-directed the video for my previous single I Need To Go Home, with an idea for a follow-shot style video that I had in mind for Body. We heard through the grapevine about a mysterious location – a storeroom building at the now closed, and for the most part abandoned, Kingseat Hospital. It is considered the most haunted place in Auckland, and there’s a lot of history, so it was a pretty unforgettable experience shooting the video there. The building we shot in really shaped the final storyboard, which Oshara and I wrote together. Throughout the video, I wanted to play with the idea of making the psychological space physical. The camera functions as a reflection of self that I am at first curious about and questioning, then hesitant to trust, and later fearful of and trying to outrun. The building I travel through represents a headspace, a place where I am alone with myself and that doesn’t always feel safe. Ultimately, I find a way out of this place but instead of leaving, I turn back – thinking maybe it doesn’t have to be like this, maybe I don’t have to run from myself any longer.”
Emerging in 2020 with hit tracks Summer in August, Talk About Us and I Need To Go Home, Isla Noon has swiftly established herself as a dexterous and fresh songwriter. Weaving her unique, alt pop universe, Isla Noon’s releases have been described by Rolling Stone as “glistening dance-pop perfection”, while her musical journey itself stems back to listening to Boney M’s The Rivers of Babylon every night before bed; a core memory and key inspiration for this sharp and engaging artist. Embracing pop music as a vehicle for both physical and emotional release, Isla Noon’s foundational years saw her devouring her parents’ CD collection, with Boney M, Leonard Cohen and lashings of 80s pop morphing alongside her later influences, including Caroline Polachek, Muna, Wolf Alice, Lorde and Robyn. From starting guitar lessons at the age of 10 to studying music at university, Isla Noon’s pensive and vibrant style ultimately took full flight when she harnessed her post-graduate free fall into seeking creative fulfillment and breaking down her own walls as an artist and as a human. Thus, Islan Noon the artist truly arrived.
An avid lover of science and pop, Isla Noon’s carefully-crafted and crystal clear creations, alongside her seamless ongoing collaboration with producer Maude Morris, is now set to build towards a groundbreaking album on the horizon; and for Isla Noon, the continued transition from her solitary creating to sharing her creations with the world is one she is entirely ready for, with Body marking the perfect perpetuation of her incredible journey to date, as she concludes, “Writing Body was such a private experience but when I finished it I realised I just couldn’t leave it there. Almost like the song was saying “hey, I’ve turned into something so much bigger than just you! Release me!”. Playing early versions of it to friends, I realised very quickly that it took on a lot of varied meaning for different people. In that sense it feels like the song is already charting its own course in other lives beyond mine.”
Body is out today, Friday September 22.
PORTER ROBINSON ANNOUNCES NURTURE LIVE AUSTRALIA TOUR FOR NOVEMBER
Acclaimed vocalist, songwriter and producer Porter Robinson has announced details of his first Australian tour in over 6 years. The tour celebrates his critically acclaimed album Nurture, and will take place in November, with stops in Sydney and Melbourne – see full dates below. The Nurture Live show features Porter singing and playing the piano and an array of digital instruments, accompanied by a stunning, carefully crafted visual production.
Performing at Melbourne’s Margaret Court Arena on 6 November and Sydney’s Hordern Pavilion on 10 November, the shows will step into a world where music becomes an ethereal experience.
Artist pre-sale tickets will kick off on Tuesday 25 July at 11am AEST, with a What’s Lively pre-sale beginning on Wednesday 26 July at 10am AEST, and a TEG LIVE / Ticketek / Venue pre-sale beginning Thursday 27 July at 10am AEST. General public ticket on-sale is set for Friday 28 July at 10am AEST from premier.ticketek.com.au.
Supporting Porter Robinson is DJ and producer jamesjamesjames.
Also on the schedule for the Australian tour are performances on the This That festival stage in Sandstone Point and Newcastle.
TEG Group CEO Geoff Jones said: “TEG is delighted to bring genre defying producer and songwriter Porter Robinson to Australia this November. Porter’s Nurture Live tour has been impressing fans across the globe, which included a main stage Coachella set at this year’s festival. We are incredibly excited to be bringing this show to his Australians fans – they are in for a treat.”
Porter Robinson has expanded the universe of electronic music for over a decade. In April 2021, Robinson brought Nurture, his first album in seven years, to life. Nurture was a commercial hit, topping the US Top Dance/Electronic Albums chart and marking Robinson’s second number one debut after 2014’s genre-defining Worlds. Robinson’s own festival, Second Sky, welcomed a sold-out crowd of 45,000 fans to the Oakland Arena Grounds in the fall of 2021, followed by ‘The Nurture Live Tour 2021’ spanning 38 dates across the United States. The Australian tour follows on from sold out UK, EU and Asian tour dates.
He has over one billion streams across his catalogue and over one million YouTube subscribers. His most recent single, ‘Everything Goes On’, in collaboration with Riot Games and League of Legends, has amassed over 40 million streams and charted in 18 countries on iTunes.
General public tickets will go on-sale Friday 28 July at 10am AEST from premier.ticketek.com.au.
LIVE DATES
SATURDAY 4 NOVEMBER | THIS THAT FESTIVAL, SANDSTONE POINT, QLD
MONDAY 6 NOVEMBER (Melbourne Cup Eve) | MARGARET COURT ARENA, MELBOURNE VIC | AA | TICKETS
FRIDAY 10 NOVEMBER | HORDERN PAVILION, SYDNEY NSW | 18+ | TICKETS
SATURDAY 11 NOVEMBER | THIS THAT FESTIVAL, NEWCASTLE, NSW