A bio tells the story of you as an artist, establishes your credentials and distinctly defines your sound to it’s reader. For a fan it provides a point of deeper engagement. For a music professional it provides an essential piece of content from which they can work.
In this article, I'll be breaking down what a database is, why it is important, how to build one, and why it is the foundational piece of any marketing strategy.
With each of These New South Whales’ latest singles, it feels like the band are only just getting started. Each single from the upcoming third album TNSW, releasing Friday 18 November, has revealed an evolved, matured, and undeniably authentic sound.
Some artists create soundscapes so endlessly interesting that it’s hard to walk away from a song without a second, third or fourth listen. Eora/Sydney artist Angelo Saxon is one of those artists.
St Jacques latest single Secondhand Car is a delightful exploration of soft and distorted sounds twisted tightly around each other to create a cyclone of a song; considered, clever and captivating.
Kaurna/Adelaide quintet Twine’s Same Old Problems is a sprawling and explosive exploration of the reality of life after losing a loved one.
Sometimes a song comes along that is so stunning it makes you revive your music blog and start writing again. Phoebe Go’s ‘We Don’t Talk’ is one of them.
I ran 5km the other day and my mixed netball team is top of the table. So that’s good. Other things that are good are these incredible new music releases from the first month of 2021.
For Australian music, November was an explosion. As Melbourne shook loose of its tiresome second lockdown the industry seemed to come alive once more.
If you told me this song was featured on Pitchfork tomorrow, or made BBC Radio 1’s track of the week I wouldn’t blink. It deserves to be held in the highest regards on the biggest platforms available.
The Game, the debut single from Perth’s RinRin manages to lasso together an unlikely menagerie of influences and ride high into the sunset on a pop metal monster.
Wherever we gather in Australia, we gather on Country. In doing so we must acknowledge, respect and pay our dues to those past, present and emerging to whom the Country belongs, the Traditional Custodians of the land. Whether this be a show in your living room to 10 people or a music festival of 10,000 people a Welcome to Country or Acknowledgment of Country is essential.
An anthemic love letter that embraces insecurity, anxiety, loneliness and the complexity of managing your mental health; elevating it to a space of joyous and cathartic release.
19-year old Perth songwriter Julia Wallace has done something incredible on her debut single Warm Light. In an entirely entrancing track of self orchestration the multi-instrumentalist will devour you.
Streaming exists, Spotify exists and has market dominance Yes, Spotify destroying one of the few revenue streams musicians have access to is awful, but unfortunately it will continue to exist. It will operate however it chooses until a new technology comes along and makes it obsolete. Like CDs did to cassettes and downloading MP3s did to CDs. Progress will always do just that, progress.
What matters is how artists exist within the framework of the market they are operating in.
As we hit the backend of a bell-end year, it feels like new singles are flooding in. Jump in the life raft and let me take you through my favourite tracks of October 2020.
Deceptive in its surface sound of simplicity, Edie is a masterclass in entirely sublime composition.
Richard Cory by Edwin Arlington Robinson in perhaps its most poignant, beautiful and powerful reimagining to date from Melbourne’s Tiny Little Houses.
With the film clip for Presto acting as an introduction to each member of No Money Enterprise, setting up a narrative mimicking a Guy Ritchie film and teasing a part two, it feels like now is as good a time as ever to give No Money Enterprise all your attention if you weren’t listening already.
