EDGECLIFF SHARE NEW SINGLE ‘RUNNING ON EMPTY’ NEW EP ‘UPROAR’ OUT DECEMBER 2
Get your motor running with the classic rock stylings of Sydney’s Edgecliff and their brand new tune Running On Empty. Officially dropping into the world today, Running On Empty is a raw and riveting peek into the band’s forthcoming debut EP Uproar, which will officially thunder into the world on Friday December 2. The band will also christen their new single with two shows in Cobar on Saturday 5 November, with an official EP launch party set to take place on Friday 7 January 2023 at Sydney’s Factory Theatre.
Channelling Aussie greats like AC/DC and The Angels, Running On Empty finds Edgecliff firing on all rock’n’roll cylinders, with the track boasting swaggering grooves, fiery guitars and raspy vocals dialled up to 11. A track that has been in the works for the band for a fair while now, Running On Empty may ultimately owe its sonic soul to classic rock, but it also itself evolved after Edgecliff were approached to write a song about the eponymous Running On Empty festival which took place in Cobar, also honouring the 1982 film of the same name. “We were asked to write a song to honour the Running On Empty festival, which took place in Cobar, a town that holds great history within the band,” shares keyboardist Nick Murace. “The festival took place in September for the 40th anniversary of the 1982 Australian film, Running On Empty. We were honoured to be given the opportunity to write this track and to play the festival!”. And of the track’s deliciously rowdy-yet-familiar flair, drummer Jacob Lock explains, “For this one we really wanted to go for an old school rock n’ roll belter to get the people dancin! It’s got that dirty rock groove that you can feel in your bones and reminds you of the old school Aussie rock we grew up on”.
Working alongside Callum Howell on producing and mixing duties, as well as the Grammy Award-nominated Mike Tucci mastering the new tune, Running On Empty is a track brimming with high octane energy and catchy melodies, while also offering an electric follow up to previous singles I’ll Be Gone and Calling For More, which will also feature on the band’s forthcoming EP Uproar. Covering everything from chest-bumping anthems amid prowling basslines (Running Out Of Luck), swooning rock ballads (Broken), galloping singalongs (Blackout) and balls-to-the-wall viscosity complete with sizzling guitar solos and infectious choruses (Who Are We To Be Silenced), Uproar is a genuine and ferociously fun collection of tracks that powerfully run the gamut of human experience. “We recorded six out of seven songs at the beautiful Grove Studios over a week,” shares bassist Kai Stackhouse. “After many tweaks in the studio and Callum Howell’s touch, we were able to bring these songs to life. The EP is mostly about average human experiences, one of the tracks talks about heartbreak and another track explores protest and outrage. We think there is at least one song in the EP that people will find themselves attracted to as it could summarise a certain time in their lives or the world around them.”
Edgecliff will be busting out their brand new track live in action this Saturday 5 November, with a special all ages show at the Cobar Youth Centre, as well as an 18+ event the same day at the Cobar Golf Club. And that’s not all the live Edgecliff goodness on the cards, with the band locked and loaded to officially launch their new EP Uproar early in the new year on Saturday 7 January at Sydney’s Factory Theatre. As to what fans can expect at these upcoming shows, lead guitarist and vocalist Will Howell reveals, “Anyone that catches one of our shows can expect a loud and energetic performance. We strive to make live shows an experience for everyone. We want everyone to leave our shows craving more.”
Bringing together five best mates hailing from Sydney’s Northern Beaches, the beating Edgecliff heart ultimately thrives on a love for songwriting, hard edge rock and the desire to create original music. With all band members currently completing apprenticeships in their respective trades, Edgecliff have creatively continued to turn heads via their upbeat and modern take on more vintage rock territory. Influenced by the likes of Powderfinger, Wolfmother and the Foo Fighters, Edgecliff have been hard at work in the studio and the jam room to ultimately deliver Running On Empty, which also marks the final single fans will hear before the release of the debut EP Uproar. And all signs are pointing to pure rock, as Will concludes “Rock’n’roll is our passion and we want to share that energy with as many people as we can!”.
Running On Empty is out today, Friday November 4.
Uproar is out Friday December 2.
EDGECLIFF – UPCOMING TOUR DATES:
SAT 5 NOV | COBAR YOUTH CENTRE, COBAR NSW | ALL AGES
SAT 5 NOV | COBAR GOLF CLUB | 18+
SAT 7 JAN | FACTORY THEATRE, SYDNEY NSW | 18+
JACK PANTHER SHARES NEW SINGLE ‘WEEKEND AT BERNIES’
Tāmaki Makaurau-based queer artist Jack Panther has unveiled his latest single, with Weekend At Bernies arriving as an equally quirky and anthemic piece of summery pop. The first taste of new music from Jack since the release of his why don’t you come over? EP back in June, Weekend At Bernies sees him leaning heavily into refreshingly honest territory, while harnessing influences from energetic pop names such as Remi Wolf, Dora Jar, and Omar Apollo.
Beginning life during a visit to friends in Wellington, Jack met up with producer Tarn PK for an impromptu writing session. Before long, the pair gelled creatively, with the demo of the track being crafted in just a matter of hours. The result is a track that looks at some of the harsh realities that occur during relationships, but ruminates upon the topic in a way that the enigmatic pop stylings of Jack Panther can.
“Weekend At Bernies is a fun, playful track about the panic moment when a relationship is fizzling out,” he explains. “It all sort of just poured out of me, something I never set out to write about. As Tarn and I were writing it I began to realise that in order to grow with people sometimes you’ve got to have the conversations you don’t want to have. The chorus bursts out with a dilemma begging, ‘How are we going to address this? Are we going to address this?’ with the lyrics ‘How you gonna break it down for me?’. However, the tangy, sweet vocals lie perfectly with the quirky, bright production suggesting that if we’re as bad as each perhaps in some twisted way we belong together.”
Mixed by Nathan Phillips (Remi Wolf, Omar Apollo, spill tab, Jean Dawson) and mastered by Hector Vega (Doja Cat, Justin Bieber), Weekend At Bernies sits alongside Jack Panther’s already-strong discography as a powerful example of his slick songwriting skills, and his inimitable pop sensibilities. “Having Nathan Phillips on to mix is huge, he works with some of the biggest alt-pop artists around, making some of the strongest new-wave alt-pop coming through,” he explains. “Honestly I’m really really excited to have Weekend At Bernies out. It’s a song still so fresh to me and probably my strongest track to date. It’s a relief but more importantly I feel so ready to have this track out. Writing this felt like a breakthrough, the chorus just poured out of me so organically, I think we ended up using parts of my very first vocal take.”
With a three-date New Zealand tour scheduled to take place with his full band throughout November and December, Jack Panther is looking to close out 2022 at the top of his game, before launching into dazzling new heights next year. Having just wrapped up a writing trip to Melbourne, Sydney and London, he’s eagerly looking forward to what next year holds in terms of both new experiences, new surroundings, and most importantly, new music.
Weekend At Bernies is out today, October 28.
GEORGIA FIELDS SHARES NEW SINGLE ‘IN MY BLOOD’ + NEW ALBUM ‘HIRAETH’ DUE OUT NOVEMBER 17
Throbbing with an alluring undercurrent of hypnotic textures, the brand new track In My Blood from Naarm/ Melbourne art-pop alchemist Georgia Fields is a meditation on the wine-dark waters that lie between desire and compulsion. A corroded synth line flickers like a detuned radio, cutting Georgia’s singular grace with an unsettling sense of menace. Pulsing with warm and wondrous undulations, the tension throughout In My Blood’s intricate – yet ultimately restrained – production builds steadily towards a beautiful, almost joyous sense of release. Georgia’s distinctive vocal brings to mind the piercing, understated clarity of Metals-era Feist, and the shoulders-back power-stance of Sharon van Etten.
Officially dropping today, In My Blood is the fifth and final single from Georgia’s third full-length album Hiraeth, due Thursday November 17. Pronounced “hee-raith”, the album takes its title from a Welsh word with no direct translation, referring to a profound longing for a home you can’t return to as it no longer exists, a sense of nostalgia or grief for the lost places of your past. Fans can also catch Hiraeth live, with Georgia set to tour the album nationally – kicking off with a hometown show on Saturday November 19 at Brunswick Ballroom in Melbourne, before traversing Daylesford, Sydney, Brisbane, Adelaide, Creswick, and then finishing up in regional Victoria at Theatre Royal in Castlemaine on Sunday December 18. Tickets are on sale now.
In My Blood arrives hot on the heels of Georgia’s previously released singles: Tigress, Persuasion, and Holding My Hands Out – each track offering a unique insight into the forthcoming album’s bold melodics, visceral arrangements, and intimate yet assured vocal delivery. In My Blood invites the listener into a world of sonic beauty, while also grappling with themes of addiction, trauma and recovery. Conceived against the backdrop of Melbourne’s claustrophobic lockdowns and the collective anxiety of the global pandemic, Georgia elaborates: “I wrote In My Blood during the 2020 lockdowns. A few months prior to the pandemic, I had been diagnosed with acute postnatal depression and anxiety which saw me struggle to leave the house. Trapped in my own home like a lost sparrow in a shopping mall, I returned to some, let’s say, not-so-healthy coping strategies. Drinking too much. Eating too little. Wanting to numb some sensations and make others painfully loud. I started to question these old habits. Is it nature? Is it nurture? Am I broken? Maybe it’s in my blood.”
Produced by Josh Barber, who has previously worked with the likes of Gotye and Gretta Ray, In My Blood is a riveting and raw journey, gloriously nuanced, showcasing Georgia’s razor-sharp songwriting craft as well as the symbiotic creative partnership between the pair, which spans the broader album. “Collaborating with Josh was a dream, because he brings a huge breadth of skills to the table. He’s a world-class drummer, a highly creative multi-instrumentalist, and a meticulous sound nerd. And like me, Josh has an appreciation for kooky sounds. We built the sonic world for In My Blood around the glitchy synth loop, incorporating live drums played with soft mallets, as well as a rusty old nylon string guitar, programmed beats, and a Juno HS60”, Georgia explains.
From stories of motherhood, infidelity, and death to rapturous anthems of healing and home – at its core, Hiraeth is an ode to the many languages of longing. Album opener Find Your Way Back depicts a childhood characterised by constant moving, where a sense of belonging is perpetually out of reach. Georgia’s percussive “shk-shk-shk” vocal loop was a demo placeholder intended to mimic a tambourine, but when Josh came on board to produce, he convinced Georgia that it should remain. This collaborative and experimental crafting of sounds became a signature palette of the album.
Persuasion follows with its smouldering, soulful slow-burn and Wilco-inspired fuzz guitar. Strident synth flourishes further elevate the warm, rich, and rock-solid rhythm section. The band provides a sense of gravity, anchoring Georgia’ insouciant sense of mischief as she sings – with tongue planted firmly in cheek – “I’m looking at him but I’m thinking of you”. Georgia’s vocal consistently steals the show, sashaying from a smokey, velveteen purr to a powerfully commanding wail. “I have plenty of songs about getting my heart broken, but I’ve done my fair share of misbehaving”, the singer-songwriter explains. “I wanted to write an anti-hero pop song.”
Thanks to funding support from Australia Council for the Arts, Hiraeth was recorded over a 6-month period in Josh’s own studio – a 1930s converted church at the back of his rural property in Mollongghip, Victoria. Georgia and Josh performed almost all the instrumentation across the album, with Jules Pascoe (Jazz Party; Husky) contributing bass guitar, and the Andromeda String Quartet making an appearance on three tracks. “Because we were working out of Josh’s workspace rather than hiring an external studio, we had daily access to his entire cache of drum sets and percussion.” That playful approach to crafting sounds and layering rhythms can be heard right across Hiraeth – from Persuasion’s odd-ball castanets to the ghostly terracotta garden pots on Holding My Hands Out. Otherworldly, immersive, and lush, Holding My Hands Out explores the primal desire we all have to be held. In Georgia’ own words: “it’s about reaching your hands out for comfort but grasping at shadows.”
Shadow and light, blood and water, are recurring motifs. Water to Water details Georgia’ experience of miscarriage with astonishing candour, inspired by Mizuko Kuyo – a Japanese Buddhist ceremony to mourn deceased foetuses. How A Girl Becomes A Puddle is an evocative vignette of relationship breakdown, bristling with tin-pan percussion and gritty saxophones. When To Leave The Party is a love letter to a lost friend, rippling with an emphatic beat and wistful woodwind. Album closer I Saw It Coming depicts the mesmerising nature of grief. Here, Georgia describes heartbreak “like a car crash in slow motion”. Simultaneously horrified and enthralled by the impending anguish, she sings: “I couldn’t tear my eyes away, I didn’t want to miss the display”.
While many of Hiraeth’s songs peer unflinchingly into darker pockets of the psyche, there is also humour and light. Write it on the Sky is a glistening, neon-lit anthem. Tigress is a fierce-hearted love song, with punchy drum-pad samples that evoke more than a hint of buoyant 90s nostalgia. An album to heal a broken heart, inspire new beginnings and ignite joy, Hiraeth is laden with light and shade. It’s been a labour of love that extends beyond the uncertainty of the past few years, as Georgia shares: “Hiraeth feels like a homecoming. These songs have been in my head and heart since the pandemic began, some even earlier. I spent a long time dreaming of this album and realising the sound with my incredible producer Josh… I listened to a vinyl test pressing last week and I had goosebumps – my whole body was zinging! But strangely, I also felt very grounded at the same time. I just get this sense that Hiraeth is arriving at exactly the right time. And I’m ready.”
A true artist in every sense of the word, Georgia Fields first emerged onto the local music scene in 2007 with her debut EP Drama on the High Seas of Emotion, before solidifying her reputation as one of Melbourne’s most beloved singer-songwriters with the arrival of her debut 2010 self-titled album. Landing Album Of The Week for both ABC Radio National and Beat Magazine, plus an appearance on SBS’ Rockwiz and the Queenscliff Music Festival main stage, Georgia went on to release her critically-acclaimed album Astral Debris in 2016, shortly after her first daughter was born. In 2017, she revealed a retrospective EP Afloat, Adrift, recorded live with the Andromeda String Quartet, and in 2020, after the birth of her son, Georgia launched Mother Lode: an online community for musicians who are mothers.
With performances spanning Melbourne Recital Centre, ACMI, State Library Victoria, Melbourne Fashion Week, Festival of Voices Tasmania, Brisbane Powerhouse, National Gallery of Victoria and Mullum Music Festival, Georgia’s chameleonic live prowess must be seen to be believed. Her captivating solo show sees the sonic shapeshifter move deftly between electric guitar to vintage keyboards and textural live looping, “painting entire worlds with her tunes” (Frankie Magazine). Georgia equally enamours when joined by her four-piece band of multi-instrumentalists. And on Saturday November 19, fans can catch Georgia and her stunning new album live – with some special surprises – as Georgia reveals: “For Melbourne, I’ll have my full band! It’s a matinee at the Brunswick Ballroom, which means parents can bring their kids. For the other dates on the tour, I’m reimagining the album songs in solo mode – switching it up between guitar, keyboard and live loops”.
In My Blood is out today, Wednesday October 19.
Hiraeth is set for release on Thursday November 17.
GEORGIA FIELDS – UPCOMING TOUR DATES:
SAT 19 NOV | BRUNSWICK BALLROOM, MELBOURNE VIC | ALL AGES
Tickets available from www.moshtix.com.au | 1300 GET TIX | All Moshtix Outlets
SUN 20 NOV | DAYLESFORD HOTEL, DAYLESFORD VIC | ALL AGES
Tickets available from daylesfordhotel.com.au
THU 24 NOV | LAZYBONES, SYDNEY NSW | 18+
Tickets available from www.moshtix.com.au | 1300 GET TIX | All Moshtix Outlets
SUN 27 NOV | IT’S STILL A SECRET, BRISBANE QLD | 18+
Tickets available from tickets.oztix.com.au
SUN 11 DEC | WHEATSHEAF HOTEL, ADELAIDE SA | 18+
Tickets available from tickets.oztix.com.au
SAT 17 DEC | ODESSA WINE BAR, CRESWICK VIC | 18+
Free show | info via www.facebook.com
SUN 18 DEC | THEATRE ROYAL, CASTLEMAINE VIC | ALL AGES
Free show | info via www.facebook.com
HIRAETH TRACKLIST
- Find Your Way Back
- Persuasion
- Holding My Hands Out
- When To Leave The Party
- Water to Water
- In My Blood
- Tigress
- Write It On The Sky
- How A Girl Becomes A Puddle
- I Saw it Coming