ELLA HOOPER SHARES STOMPING NEW SINGLE ‘I GOT EYES (ON YOU)’
Ella Hooper delivers a bold, barroom banger in new single, I Got Eyes (On You). An upbeat, finger-wagging, foot-stomping anthem that swaps heartbreak for hard-won clarity. Released today, the single is packed with jumping zydeco squeezebox and an earworm chorus that lets Hooper rip into a classic ‘fool me twice’ tale. This track feels like beer spilling on pub floorboards while the band plays on. Landing like an Americana response to Robyn’s Dancing On My Own – but Hooper’s not crying in the corner, she’s walking out the door.
I Got Eyes (On You) follows last year’s Springsteen flavored coming of age track – Growing Up Is Hard To Do.
“I Got Eyes (On You) is the next step in sharing this new era. I’m pushing the boundaries of what Americana means to me.. including more of the diverse flavours I love like the Cajun and Zydeco elements here. From the crazy playing on it, to the production, to the cheeky lyrics – I’m really proud of it”
Written and recorded in Nashville with a who’s who of players, the track was born from a modern day music-industry meet-cute. After becoming obsessed with the work of East Nashville songwriter Melody Walker, co-writer of Sierra Ferrell’s Dollar Bill Bar and the Grammy Award-winning American Dreaming, Hooper slid into Walker’s DMs to heap praise on the songs she couldn’t stop spinning. A connection sparked and months later, Walker was assembling the backing band for Hooper’s Americanafest appearance (Americana’s answer to SXSW) and the pair found time for a co-write in Walker’s living room.
Following a long walk-and-talk around Radnor Lake where both women unpacked a helluva few years and wondered whether they (and maybe the world) were ready for a little cheek and levity, they set out to write something with grit, smarts and heart. The result: a relatable, no-BS “I’m done with you” anthem for anyone who’s chosen a swift exit over being the ‘pick me’ girl.
The studio band reads like a Nashville honour roll: Sheryl Crow’s drummer Fred Eltringham, Tom “Uncle Larry” Bukovac on guitar, Rachel Loy (Willie Nelson, Vince Gill) on bass, not to mention bringing Linda Ronstadt and James Taylor’s pedal steel player – the iconic Dan Dugmore – out of semi-retirement to feature on the track. The sound is loose, live and electric, capturing the joy of seasoned players in a room chasing the same spark. A notable Melbourne based addition is Flora Smith, squeeze box virtuoso and granddaughter in law of Australian music pioneers, Slim Dusty and Joy McKean. Stacked is an understatement.
“I’ve wanted to record in Nashville since I was a kid reading my parents’ record liner notes, seeing the city’s name pop up again and again,” says Hooper. “Seems like every great singer-songwriter from Dylan to CMAT has their Nashville record, and I felt ready for mine. Being there so much these last few years I feel plugged into a community — especially in East Nashville — that feels like a perfect chrysalis for my musical evolution.”
Accompanying the release is Hooper’s wildest, most joyfully unfiltered music video yet, a high-octane live-performance romp shot in her beloved North East Victoria, in and around the iconic North Eastern Hotel in Euroa. Directed by long-time photographic collaborator Laura May Grogan and shot by Indigo Tait-Atkin, the all-female crew captured the countrified patina of the late-1880s watering hole where Hooper genuinely plays and hangs out. It’s Hooper being fully, unapologetically herself – boots on boards, eyes wide open.
“I’ve been wanting to do a live performance clip for ages, as playing with my band is such a big part of what I do,” beams Hooper. “Laura and Indi encouraged me to bring my authentic energy and yes, my silliness to the fore. Working with a tight crew of young female creatives on something so bad ass was honestly pretty special. Everyone burned the midnight oil to get it done, including calling in favours from my country friends for catering and cameos. This a window into my actual reality. Just add dancing on top of cars, being a bar-wench and bringing the razzle dazzle to a 1880s Victorian era pub – which I definitely don’t do every weekend!”
Hooper’s origin story of exploding on to the scene with the band Killing Heidi is well documented. Scoring No. 1 albums, Rolling Stone covers, a stack of ARIA’s and pop culture phenom status as the millennium broke, she is a well loved and respected veteran of the Aus music scene.
Branching out into a solo career, Hooper has continued to surprise and dazzle with her dexterous musical flair, trading in everything from pop rock to synth folk, her evolving craft as a writer has been clocked and celebrated by critics. Her most recent solo album, 2023’s Small Town Temple, was nominated for the Australian Music Prize. The record shared deeply personal narratives over warm acoustic sounds and debuted at #1 on the Australian Country chart. Firmly in her country era and splitting her time between Nashville and Melbourne, Hooper’s sonic shapeshifting continues to transfix both on airwaves and in a live setting.
Hooper has captured the energetic rock chick energy she is known for and blended it with a whole lot of twang on this new single.
I Got Eyes (On You) is out today.
Hooper is also hitting the road with legendary Celtic country innovators, The Waterboys on their tour of Australia and New Zealand throughout May.
MOLER SHARE PROPULSIVE NEW SINGLE + VIDEO ‘AI’ + ANNOUNCE SINGLE LAUNCH SHOW THIS NOVEMBER
Aussie indie rock trio Moler today swipe right on raw energy and nostalgic punk with AI, the group’s first new music since 2019 and a deliciously raucous ride elevated by its accompanying music video. Detailing artificial intelligence and its surrounds soundtracked by fuzzy guitars and punchy 70s and 80s pop punk energy, Moler are also set to christen AI in a live setting on Saturday 8 November, today announcing a single launch show at Thornbury’s Shotkickers, joining additional performances later next month at River Rocks Festival in Geelong and at the Tote.
Marking Moler’s first new single since their 2019 cover of the legendary Velvet Underground drummer Moe Tucker’s 1989 song Work, AI balances throwback edges, potent energy and compelling vocals alongside its futuristic subject matter. A bustling lovechild of influences, spanning The Lemonheads, The Saints, The Stooges, Blondie, The Runaways, Mudhoney, Sex Pistols and beyond, AI also brandishes Moler’s trademark, and globally recognised, sound: “it’s riot grrrl, it’s challenging, but always fun,” explains bassist and lead vocalist Helen Cattanach.
Composed by all three members, Helen alongside new writer and guitarist James (JJ) McCann and drummer David Peacock, AI came to life in Moler’s rehearsal room, as Helen elaborates, “We recorded the musical bed track at Sound Park Studios with Andre (Idge) Hehir. I called out all the changes in the music ….One, two, three, four. There was no solid lyrical content yet, just an idea. The full lyrics came together a little later at Caution Horses Recording studio with Miguel Alonso engineering; recording the vocals and mixing it for the album. James & Dave added the “AI” backing vocals and hey presto, done!”
A propulsive masterclass in raw punk and alternative rock, AI also unsurprisingly snapshots the real-world evolution and obsession with all things artificial intelligence. “Everyone, I mean everyone, is talking about AI,” shares Helen. “I thought it would be a great topic to write about. There are so many elements to AI that relate directly to music and to all of our lives. The theme of the song was about our possible futuristic, personal relationship to AI….AI as our therapist, our organiser of thoughts, our tool, our emotional relationships. There are so many questions.”
Mastering their brand new track with returning Moler collaborator Lindsay Gravina (Magic Dirt, The Birthday Party) at Birdland Studios, the group also teamed up with a longtime friend and creative compadre Ian White to bring AI’s accompanying music video to vivid and colourful life, “There was no real storyboard or concept for the clip,” explains Helen. “It was, “Can you film something or come to a live show to film? Ian has a long-term connection with Moler, having cut a few videos for the band in the past. The latest, ‘AI’, was mainly cut from live footage from a live show at the Espy, where we showcased our new songs for the first time in front of an audience. Ian asked, “Do you want footage from AI?” I said, “Well, that would be apt.”
Forming in St Kilda in the early-to-mid 1990s, Moler unveiled their debut full length ARIA nominated album Golden Duck in 1997, showcasing their eclectic craftsmanship and dexterity, flitting effortlessly between rock, punk, post punk and power pop over the years. Disbanding in the early 2000s following the release of multiple EPs, Moler ultimately reformed back in 2018 for a show-stopping performance at The Curtin Hotel, before releasing a new EP Work in 2019. A band who have garnered success and acclaim at home and abroad, spanning international tours, radio play in Japan and America, including Little Steven’s Underground Garage on SiriusXM, hosted by Steven Van Zandt, Moler have also previously shared stages with the likes of Weezer, Regurgitator, Custard and Magic Dirt, and now sit poised on an insatiable new chapter kickstarted today via their brand new single AI, which will be witnessed in full flight at a special launch show next month.
“There has been a very long time between shows,” says Helen. “Moler was kinda put on ice or defunct for 19 years. We got together initially just for a celebration of our 25 years since our first single. Then Covid hit. After that Helen was invited to do bass playing for a 90’s super group, Ash Naylor, Kram and Adalita, for a ‘Spicks & Specks’ television spot and since then Moler got on a bit of a roll with a 90’s resurgence in the live scene. Moler took off on a bit of a ride and then decided, with new guitarist and writer JJ McCann, let’s get some new material out, like an album and let’s see where that takes us next.”
JJ McCann steps seamlessly into the role of guitarist, taking over from founding member Julian Poulson, who now lives in Cambodia. Known for his work with Nunchukka Superfly, The Drones, and an extensive solo career, JJ brings his own flair and energy to the band while staying true to Moler’s unmistakable sound. Originally joining as a fill-in when Julian couldn’t make a show, JJ recalls, “When Helen asked me to join and learn 16 songs in two weeks, I thought I couldn’t do it. So, I asked my good friend and late-night conversationalist Patrick Emery, and he said, ‘do it.’” The rest, as they say, is history — JJ has well and truly cemented his place in the iconic trio.
While their long-awaited follow-up to 1997’s Golden Duck is as yet unannounced, a sophomore Moler album is absolutely on the cards; and if AI is any indication, it will be undeniably worth the wait.
AI is out today through Proper Remote Records & MGM.
MOLER – UPCOMING 2025 TOUR DATES:
SAT 8 NOV | SINGLE LAUNCH | SHOTKICKER, THORNBURY VIC | 18+
Tickets available from www.moshtix.com.au | 1300 GET TIX | All Moshtix Outlets
SUN 16 NOV | RIVER ROCKS FESTIVAL BARWON CLUB, GEELONG VIC | 18+
Tickets available from www.oztix.com.au
SAT 29 NOV | THE TOTE, COLLINGWOOD VIC | 18+
3pm FREE www.thetotehotel.com/gig-guide
ATLAS FRANKLIN ALEXANDER SHARES ETHEREAL NEW SINGLE + VIDEO ‘DOLPHINS’
Painting a sonic universe equal parts dreamy, ethereal and fluid, the new single Dolphins out today from Tasmanian-based psych pop artist Atlas Franklin Alexander also takes full flight with an elusive accompanying music video, and will equally enamour at a run of special single launch shows in Newcastle, Sydney, Melbourne and Wollongong this October.
Straddling immersive nostalgia and dreamy soundscapes, Dolphins finds Atlas channelling elements of iconic sonic dream-weavers Massive Attack, Radiohead, The Smiths and Brian Eno, with his new single also seamlessly capturing a rare moment of connection that transcends time and space in a modern setting, as he elaborates, “Dolphins is about the rare, eerie sensation that you’ve known someone longer than your life allows. Like their presence kinda predates your birth. Like you borrowed each other’s names in a past timeline and forgot to give them back. Dolphins is a hazy fragment – a song about a rare kind of bond. Some connections aren’t meant to be understood, they arrive, they shimmer, and disappear again.”
An entirely DIY affair as always, with Atlas producing, engineering, mixing and mastering in his home studio, Dolphins further burrows into your soul via its accompanying music video, with long-time collaborators and friends Harri Gilbert and David Fulham joining forces with Atlas to weave storytelling with compelling imagery, and balancing a fever dream quality with real-world relatability. “I directed the video, Harri was DOP, and Dave managed the lighting department as the project’s gaffer,” shares Atlas of the music video. “Those boys always help me bring my concepts to life.”
“The video is like the song’s visual counterpart,” Atlas continues. “It’s fragmented, elusive, and a little unsettling. I wanted it to feel like you’re watching something familiar but distorted – kind of like how you remember a face you haven’t seen in years.”
A purveyor of kaleidoscopic hues and exhilarating sonic landscapes, Atlas Franklin Alexander has spent the past few years expanding his compelling and entirely DIY trademark sound. Capturing attention performing at BIGSOUND in 2018, Atlas went on to release his debut EP Enter Echo in 2022, going on to command triple j and triple j Unearthed airplay, community radio support and coverage across the likes of Rolling Stone Australia, Pilerats, Life Without Andy, Tone Deaf, The Music and VICE. A gifted musical alchemist, Atlas has also had music videos air on MTV and ABC’s RAGE, and his magnetic live presence has led to him sharing stages with the likes of Boo Seeka, Art VS Science, Surely Shirley, Velvet Trip and Raave Tapes. Releasing his sophomore EP Flexible New Replica earlier this year, Atlas continues to push his sound into new and ever-engaging new heights, woven with modern yet nostalgic sensibilities, hooks, vocoder-laced vocals, angular guitar riffs and syncopated rhythms, ultimately leading to his style being perfectly dubbed as “the love child of New Order and Daft Punk”.
Ticking off a string of East Coast performances to accompany the earlier release of Flexible New Replica, Atlas is set to bring the magic to stages in Newcastle, Sydney, Melbourne and Wollongong this October, and, as Atlas reveals, fans can expect evenings of pure magic. “We are touring in October in support of the new Dolphins video release,” shares Atlas, “and the live shows will focus on atmosphere—lots of layers, both sonically and visually. We’ve been working on creating something that feels immersive, like stepping into the world of the music itself.”
“Dolphins” has always been one of those songs that felt intangible to me, like a fleeting moment,” Atlas concludes of his brand new single. “Releasing it feels like finally sharing a wacko weird lucid dream. The whole vibe of it is similar to a misremembered memory — not quite real, but familiar in the way certain dreams echo long after you wake.
Dolphins is out today.
ATLAS FRANKLIN ALEXANDER – UPCOMING TOUR DATES:
Tickets available from http://www.instagram.com/atlasfranklinalexander
SUN 05 OCT | WESTBEST BLOCFEST, NEWCASTLE NSW
THUR 09 OCT | PLEASURE CLUB, SYDNEY NSW
FRI 17 OCT | CHERRY BAR, MELBOURNE VIC
FRI 31 OCT | TBH FRIDAYS TOWRADGI HOTEL, WOLLONGONG NSW