Category: Music News


New Kendrick Lamar album leaked on Spotify

A new album by Compton rapper Kendrick Lamar has emerged unannounced on Spotify this week. The leak follows an announcement by Top Dawg Entertainment head Anthony Tiffith that the label would drop a new album this week.

The album, entitled untitled unmastered, is not yet available to stream, but the tracklisting as it appears on Spotify is as follows:

01 “untitled 01 08.19.2014″
02 “untitled 02 06.23.2014″
03 “untitled 03 05.28.2013″
04 “untitled 04 08.14.2014″
05 “untitled 05 09.21.2014″
06 “untitled 06 06.30.2014″
07 “untitled 07 2014 – 2016″
08 “untitled 08 09.06.2014″

The album is presumed to be a collection of Lamar’s “Untitled” series, a series of previously unreleased songs that the MC has been performing live on tour and in several televised appearances. The latest unveiling was at the 2016 Grammys, where K-Dot performed “Untitled 3” as a coda to his single “Alright”.

Lamar won five Grammys this year, including Best Rap Album for 2015’s landmark To Pimp a Butterfly and Best Rap Song for “Alright”.



Freddie Gibbs flips Kanye’s “No More Parties in L.A.”

Indiana MC Freddie Gibbs has released his own version of Kanye West‘s recently dropped “No More Parties in L.A.”.

The original track, a collaboration between West and L.A. producer Madlib and featuring a verse from Kendrick Lamar, is set to be released on Yeezy’s new album Waves, which will be launched worldwide on February 11 at Madison Square Garden in New York. The event is set to be broadcast at select cinemas in Melbourne and Sydney.

Gangsta Gibbs’ version, “Cocaine Parties in L.A.”, marks the first time since his collab album with the Loop Digga, 2014 standout Piñata, that Gibbs has rapped over a Madlib instrumental. His latest album,  Shadow of a Doubt, dropped late last year.

David Bowie Star

The David Bowie Effect; A Personal Account of One Fan’s Mourning

Some time has passed since I first heard of the passing of David Bowie. It’s one of those “where were you?” moments that many of us will reflect upon in the not so near future when one of his songs is played at a party or his name pops up in a pub trivia quiz.

For some of you reading, it may have been a Facebook article or post made by a friend on social media; for others, a tribute on the radio. It was Jennifer Keyte’s matter-of-fact voice reading the daily headlines on the 6 o’clock news that left me reeling. At first, I thought I’d heard wrong and it wasn’t until the story was dissected about 5 minutes into the show that I was hit with the sobering weight of it all.

Read more …


Uber Fest Interviews. part 2

Benj Axwel

Great set, how do you think it went?

Yeah, I think it went pretty well. This is the last of a run of shows that Matty [P, drummer] and I have been playing to support the EP. It’s been about 12 months and it’s been good to reacquaint myself with the live music scene, having been out of it for a few years with my previous band [Sleight of Hand]. We used to get around and tour with Karnivool, Dead Letter Circus, Cog… So I’m a bit of a seasoned musician in that sense, but with this stuff it’s a completely different sound and change of tack, so it’s really good just to see the response and see which people like the new sound and ah, people that are not so fond of it as the case may be.

At the start of your set you said you were missing a few bells and whistles, what is a full Benj Axwel experience generally like?

Basically on the CD there’s a lot of computer programming going on, so when we come out and play the live show we’ll bring the Novation and the laptop and there’ll be backing tracks going along with the live drums and myself on acoustic guitar. My favourite album of all time is Chris Cornell’s Euphoria Morning, and all of that you can hear is very programmed. That was done on purpose with this CD because I wanted songs to be at the forefront. So you get just me and the guitar as the live instrumentation and everything else is computerized. That’ll be different for the next CD. But normally a full production show involves pads and computer blips and blops and stuff, which fills it out a bit.

What would you consider your influences?

In terms of the acoustic stuff, I’ve always been a fan of singer-songwriters; Chris Cornell, Dashboard Confessional, City and Color, and classics like Crowded House. Oz rock. I’m a huge fan of bands like Sevendust and Periphery, people who do lots of big singing over heavy, chuggy riffs. You won’t necessarily hear that so much on this CD, but with the newer stuff you’ll start to hear more of those influences coming through.

What was the writing process like for this new EP?

I’ve always tinkered around on acoustic guitar, writing stuff on open chords, and I’ve always fleshed out around 75% of a song, never fully committed to it. I’m someone that thrives on collaboration, so I got together with [Chris Hoole] the lead singer of a band called Let the Number Be X from Newcastle and he does all the programming and all that kind of stuff. So he and I collaborated to finish the songs, but I didn’t decide to do a CD until I wrote the first song [“Design Flaws”], where I felt like I really wanted to put this out in the world and for people to hear it

Having been in Sleight of Hand, what made you decide to stake out on your own?

Sleight of Hand ended in ’07, and it was a really good time but after 10-12 years, if you’re always just sitting under the precipice… Like, Triple J will play you three times and then never again, Rage will play you three times and then never again… I’ve been really fortunate that friends of mine like Dead Letter Circus have really pushed through that and created success in the Oz music scene, but you never hear about the other bands that never quite make it.

I moved to Canada for a couple years and I played bass in a band over there, and I got to experience a whole new music scene in Toronto; they’ve got bands over there like Billy Talent, Alexisonfire, just amazing bands, and it really gives you an idea that it’s the same thing but in a different location and that they’re all struggling as well.

I came home for a few years to Newcastle, worked a day job for a few years. Then I had my baby boy with my wife, we’ve got two kids now, but as soon as he came I thought, ‘I should really be out there doing what I love, as a hobby if nothing else.’ After 10 or 12 years in a band you become a bit disgruntled and frustrated, but nobody owes you anything and if anyone gets something out of your songs, then… I think it was more that I felt the songs I had written were good enough to make people respond to it, so that’s all it’s about now.

Looking back now, what advice would you give to your younger self?

I don’t think I’d change anything. Maybe I would have traveled more, relocated myself a few times over a couple of years. You can’t really do that when you’re in a band with other people and they sort of want to stay put. As far as music goes, just be a sponge. I’m still a sponge; I still soak everything in and take something away from everything.

Thanks for talking to us.

I talked your arses off. Cheers.

Benj Axwel’s EP “Safety First” is available to purchase from Star Planet Records, iTunes and CDBaby, and to stream on Spotify. You can also find him on Facebook at


Tell us a bit about yourself.

Mudge [Guitar]: We started up about 18 months ago, we came out of one band and needed a new direction. It was just an idea at the time, just getting a few mates together and playing a bit of music, we all seemed to gel pretty well and just started working from that.

Vinny [Vocals]: Benji’s [drums] only been with us for about two months.

Mudge: Me and my brother [Benny, bass] have been playing together all our lives…

Benny: Most of the time.

Mudge: … so we know where each other are going and with some new direction with Vinny and Benji it’s worked out quite well.

Mudge: I was playing in a pretty full-on punk band for years and years, it was a pretty cool band but it didn’t give me enough drive, there wasn’t enough going on and that’s why I wanted to expand into this. Benny: He wanted to play more guitar, and with a punk band you’re very limited and with the rock and heavy stuff you can sort of experiment a bit more.

Vinny: I was in a cover band for five years, and you know how it’s like in a cover band, you never get to do your own stuff. Then I get a phone call from these guys and though it was the perfect opportunity to get my own stuff out there. Me and Benji play footy together and five years ago we were on a footy trip in Bali, and they had bands playing at the bar. Me and him took over the stage, he was on drums and I was on vocals. Five years later we’re looking for a drummer and I say “Benji can drum, we’ll give him a crack.”

What would you consider your influences? There’s a bit of early thrash, some 80’s metal…

Mudge: Yeah, 80’s metal, bit of that.

Vinny: These guys take care of the music side of things, I just write the lyrics. They just go “here’s some tunes, go and write something.”

Mudge: He’s the Jon, we’re the Bon Jovi.

What have you guys got lined up on the horizon?

Mudge: We’re about to do a single with Green Man Recording Studios down in Ocean Grove, just a one-off. But we’re probably looking at doing some recording somewhere around mid-2016.

Vinny: We’re playing on the 12th at the Black Cat in Geelong and on the 13th we’re supporting the Chantoozies if you can believe that. I think that’s going to line up a few other big ones as well.

Mudge: Hopefully we can use that as a bit of a stepladder towards playing other gigs of that calibre.

Thanks for talking to us.

Mudge: Cheers mate, have a good one.

Vinny: Thanks a lot mate.

Kopious are on Facebook at and Triple J Unearthed at

Brad Ellis, The Hunter Express

Tell us a bit about yourself.

My name’s Brad and this is Zack, and we’re part of a solo artist “group” called The Hunter Express. It was something I started and Zack’s been helping me out, I get other players in as well.

How did you get your start?

I was working full-time a few years back and at some point I just wanted to jump back into my music. It took a little bit of time to find my feet again but the past 10 months I’ve been working really hard on songwriting and trying to get opportunities to play, and out of that have come these songs. I kind of started the project and put it out there and nobody had really heard any of my stuff. It wasn’t until I put out Wish You Were Next to Me, people really dug the track.

Where did you get your name from?

It was actually my son; my son’s name is Hunter and he’s a whirlwind and that, so I thought that’d be a cool name for a band, “The Hunter Express”.

What would you consider your influences?

I think in the early days when I started learning how to play guitar, I had an old guitar teacher who was teaching me The Beatles and a whole heap of Dylan songs and that really set me on the path to the more folky, acoustic kind of style. And I guess just hanging out with Zack, he introduced me to an awesome duo called the Milk Carton Kids, who we saw a couple months ago. Courtney Barnett, bands like that.

You’ve got two singles out now, Wish You Were Next to Me and Caught Up in Love; what’s next?

The next step is to record an EP, it’ll have another four tracks along with the last two. We’ve also got a few gigs lined up, there’s a few on the list if you check out our Facebook page.

Thanks for talking to us.

Thanks man.

The Hunter Express is on Facebook at and Triple J Unearthed at

Hayden Oakley, Myself & Me

Tell us a bit about yourself.

I’m Myself and Me, from the Eastern suburbs of Melbourne. I just started teaching myself guitar and writing some songs a few years ago. I started off really crap but I’m finally at the point where I think I can go out and show my stuff, I’m getting pumped to actually take this thing kind of seriously.

Where did you get your name from?

I was trying to think of a name, and I figured it’s just me, so… Myself & Me.

You opened your set with an Underoath cover; what other influences do you have?

I come from a real metal background, most of the bands I listen to are in the post-hardcore, metalcore scene. Alexisonfire is actually my favourite band of all time. But I also like a lot of acoustic stuff like City and Color.

What gigs or releases have you got lined up?

I’m doing a show on the 11th at the Exford Hotel and the 22nd at Revolver Upstairs. I’ve got an album coming out later this year; the whole thing is going to be produced from my bedroom so that will be a fun experience.

Thanks for talking to us.

Thank you.

Myself & Me is on Facebook at

Miss Mikaila

You’ve just come off stage, how do you think it went?

It was fun, I’ve never played in Melbourne before but it was actually a pretty decent crowd, better than I was expecting. I liked it, it was good.

How did you get your start?

I’ve been writing and playing guitar since I was 10; I grew up watching my grandparents in a rock n’ roll band and I thought “I’m gonna be famous just like them”. So I’ve always had that dream of being the shit. But yeah, I do it because I like doing it. I’m not gonna be stuck working for the man in my whole life, I’d rather be doing something I love, so it’s like “shit, I can make money out of this one day.”

You’ve just released an EP, Destination Unknown, what have you got planned now?

I’ve got a tour planned for the first three months of 2016, hopefully touring the songs all around Australia. I’ve been on two tours already, I supported Michael Golham and Joel Sulman on their national tour last year and took part in Joel’s Crazy Lead the Crazy Tour this year.

How do you find live music vs working in a studio?

I prefer live; working in a studio’s fun and stuff but it’s long hours, it’s so draining and you can’t get the raw sound down in a studio, you have to really mix the sound the right way to get the sound as close to that as you can.

Thanks for talking to us.

Thank you very much.

Miss Mikaila’s EP Destination Unknown is available to purchase from CDBaby and iTunes. You can find her on Facebook at and YouTube at

Credit: Dazed Digital

Opinionated: Same Shit, Different Day; White Pop Star Derails Conversation

DISCLAIMER: As a white woman, I aim not to further divert the conversation from its core issues while amplifying the sentiment of various women of colour and their opinions of the matter which I have encountered via social media in the past day regarding Nicki Minaj’s misogynoir (or anti-black misogyny; a term coined by queer black feminist Moya Bailey) tweets, Taylor Swift’s derailment of this conversation and the media’s inaccurate portrayal of the call-out.

I’m not entirely sure where to begin. Dare I say I’m not surprised? Sadly, yes. This is yet another example of misogynoir within popular culture and the surrounding media. I think it’s worthwhile to recap the events before I launch into wider discussion.

Earlier yesterday, the 2015 MTV Video Music Awards nominations were announced. Nicki Minaj responded to her lack of nomination for Video of the Year for her Anaconda music video and Best Collaboration for her Feelin Myself music video with Beyoncé in a series of tweets which read as follows:



Taylor Swift interjected with the following tweet:


To which Nicki responded:


Firstly, I’d like to deconstruct some of the arguments surrounding this situation.

Regardless if you personally thought Anaconda (or 7/11 for that matter) was worthy of a nomination, Nicki is within her right to discuss her lack of nomination and criticise the VMAs and MTV as institutions.

Award ceremonies like these are notorious for snubbing artists of nominations and considering Anaconda was such a cultural phenomenon as pointed out by Nicki herself, I can understand why she was vexed. At last year’s VMAs, Nicki’s live performance of the song was a feature; the hypocrisy in commodifying its hype for ratings while leaving her off the nominations list is again, not surprising but gross nonetheless.

Earlier in the year, Taylor Swift was praised for her open letter criticising Apple Music. Macklemore even went as far as apologising to Kendrick Lamar for robbing him of a Grammy in 2014. And who could forget Beck inviting Kanye back on stage after he jokingly reminded the world of the events of the 2009 VMAs in defence of Beyoncé’s snub. Is Nicki not free to criticise the industry in a similar manner?

Too often I have witnessed the misrepresentation of black female artists in the tabloids. Recent exchanges between Iggy Azalea and Azaelia Banks as well as Kylie Jenner and Amandla Stenberg come to mind:

Azaelia and Iggy


Azaelia Banks and Amandla Stenberg are both portrayed as angry and irrational in order to dismiss valid criticism while those commodifying significant aspects of black culture are victimised. Unfortunately, similar headlines made their way around today (see Buzzfeed and Business Insider for example).

I personally can’t get enough of Anaconda. Sampling Sir Mix-a-Lot’s hit Baby Got Back, Nicki built an empowering anthem off the back of an iconic and equally as sexist one. The music video satirises hyper sexuality while celebrating sexual liberation on the artists own terms; not the mention that the banana chopping frame deserves an award in itself.

The video broke the 24 Hour Vevo Record, trumping Miley Cyrus’ Wrecking Ball which was also equally as provocative and culturally impactful. The only difference is that Wrecking Ball was not only nominated but also won the award in 2014.

Taylor was wrong to assume the tweet was directed towards her. Nicki was merely critiquing the lack of acknowledgement and blatant racism that black artists and black culture receive in all forms of media. Rock and roll, vogueing and twerking are accredited to Elvis, Madonna and Miley Cyrus respectively in mainstream culture, bastardised and popularised to the point that not many people are aware of their origins in black communities.

If it weren’t for Taylor’s interjections, the main focus of Nicki’s tweets would have been on the double standards of the industry as intended. When Nicki referred to the “other girls” in one of her tweets, it was clear that she was pointing out the privileges that come with whiteness and slimness in popular culture, an issue that desperately requires attention. Instead, click-bait media has fabricated a feud between the two artists.

Ariana and Nicki

“Pitting women against each other” is an overused and tired phrase that intends to silence those criticising misogynoir and wider racism amongst women, originally invented and perpetuated by men. Taylor’s knee-jerk response highlights her Introduction to Feminism 101 level of understanding of the issues that not only black female artists face but black women from all professions and walks of life have to deal with. Her, like so many other hyped white “feminist” celebrities (think Lena Dunham, Amy Schumer and Emma Watson) are perpetuating this introspective and exploitative brand of feminism that subjugates others and their deep-rooted struggles against white supremacy.

I also find irony in the fact that Taylor’s Bad Blood video (equally as hyped as her feminist-lite rhetoric packed full of celebrity cameos) is reportedly a rip off of KPOP 2E1’s Come Back Home video; her comments made even richer by the widely spread rumour that the song is about her feud with Katy Perry. She utterly misses the point on this and her final response was barely appropriate:



Nicki is so often slut-shamed and discredited because of her genre of music. Her brand of feminism may not be comfortable for everyone but it’s what the music industry needs. Nicki Minaj has taken Lil’ Kim’s legacy of empowerment and has run with it. It may be folly to read into this situation as much as I have but I truly do believe that the entertainment industry is a microcosm for greater society. Accurate representation of all people in widespread media is an essential aspect of addressing issues of discrimination as popular culture impacts all of us and has the ability to shape our behaviour more than we’d like to believe, especially for those more impressionable amongst us.

Again, while I’m not surprised, I’m still disappointed. It saddens me greatly that this situation has been derailed as much as it has. White women have never been innocent bystanders to racism and it’s important that we, myself included, acknowledge this in our everyday lives and learn from Taylor’s mistakes.


ALL KINGS AND QUEENS DEMO REVEAL; Gabriella Cilmi project with younger Brother kicks of

Local favorite from Dandenong North Gabriella Cilmi, has finally teamed up with her talented younger brother Joseph to form All Kings and Queens. Gabriella needs no introduction, her powerful deep seductive, yet tantalizing vocals are responsible for claiming six ARIAs, including single of the year, and best female artist.

Gabriella really needs no introduction, but if you’re unfamiliar with her, or her recent direction, here’s a summary. With her new and re-defined sound responsible for ‘Symmetry’ and ‘Sweeter in History’, delivering the best of young, strong beautiful and deep singing voice. The best way to describe the depth and soul of this Women’s voice is; if you were to mash Amy Winehouse and Macy Gray together and that being had a lovechild with Andrea Bocelli. That lovechild, being yours truly, Gabriella Cilmi and her vocals.

Before Warner, Joseph was responsible for recording Gabriella Cilmis demos. His not new to the game his has been involved in music since a very young age. He plays piano, guitar and drums. Joseph however, has been biding his time, learning and developing his own style of music. Recently he’s responsible for engineering the works of Ted Zed, on I’m Gold. For All Kings and Queens Joseph represents the mind and the brawn of writing, producing, and engineering.

All Kings and Queens haven’t just teased us with their newly announced arrival, but they’ve hit the ground running, dropping a demo single ‘Animals’ showcasing their new sound.


The first thing you’ll hear is a synthesizer sequence, blessing the track, because who doesn’t like analogue sequences? The huge delay,  mild echo fades out the sequencer, and Gabriella introduces her presence, with a soft vocal introduction. Big, no massive Piano chords fill the room to contrast the smooth vocal introduction. Utilizing out-of-this world trance pads and clever use of samples, sounding like they’re from a spaceship computer console, create a unique dreamy soundscape. Chimes complete, the mix, the introduction, and atmosphere.

A deep vibrating bass-line ensues, with a solid, not over the top kick drums, which complement the funky bass. Funky bass, really funk influenced bass. I can’t emphasis this enough, the track has some serious funk vibes. These intricate yet simplistic bass notes are to blame, giving this track its super smooth groove. Rick James would be proud. High in the mix you’ll find those spaceship trance pads, with big piano chords Gabriella’s voice gets deeper and more powerful, propelling the track, combining the funk, and old school sounding analogue snyths. It charges the listeners soul, man.

Bass gets deeper and fatter on the second hook. The Second hook comes in and it elevates the track, exploding in positive vibes. Animals ascends into big symphonic chords which touch the soul, accentuated by the piano motif.

Animals breaks nicely with the return of modular sequencers and new wave trance analogue pads. Guitars squeal deep in the depths of the mix, a strong kick drum pounds in the background continuing the build of energy. With a deep filter on the returning bassline, before the final reprise of the hook with Gabriella killing the lyrics.

Animals pays absurd attention to detail. The Echo on the vocals, pitch shifting vocals, ascending chimes, analogue modular sequencer scales, and solid kick-drums. There are many instances where samples fade in and out, chop, and echo within the track. Not to mention pitch up, add depth in the background of the mix, and ascend seamlessly to add another dimension to Animals.  This is a solid hallmark of a great production, and clever songwriting, thus you will find nothing lazy about ‘Animals’ from a songwriting or engineering standpoint.
The song progression is fantastic. Easy start that invites your ears to indulge, and elevates seamlessly throughout. Awesome trance pad synthesizers playing scales, big and small space samples and effects create a futuristic music vibe. Pleasant guitar tones, squealing in the background at times with chimes and other analogue samples. To finish the work, Gabriella sounds powerful as ever, completing the sound. This amazing showcase of the talent, sheer conglomerate of instruments and spectrum of tools used to come to such a conclusion, that conclusion being ‘All Kings and Queens’

Good luck Joesph and Gabriella, don’t forget about us down under!!


Ta-Ku to release ‘Songs To Make Up To’

Perth-based producer Ta-Ku is set to release a follow up EP to his acclaimed album ‘Songs To Break Up To’.

After a recent collaboration with Jaden Smith (which I reviewed), the genre-defying artist has announced a new set of tracks to help ease the pain away, with a brand new single from the EP ‘Love Again’.

Check it out right here:

‘Songs To Make Up To’ will be released on June 12th via Future Classic / Fool’s Gold.

You can get more Ta-ku goodness on his soundcloud, or purchase “Songs To Break Up To” on Bandcamp. Also give Ta-Ku and Gravez some love on this re-remix of the Flume/Chet Faker collab ‘Left Alone’:



Splendour in the Grass Line-up Announcement

Splendour in the Grass is back again for another year of camping out, good tunes, and good mates. Earlier in the week the playlist created by Splendour had been “accidentally” leaked and posted as a public playlist on the streaming service, Spotify. All though it has been believed to be a publicity stunt to create tension and hype for the newly announced line up revealed today at 8am.

The line-up for this 3 day camp out music festival is as follows:

Florence + The Machine
Mark Ronson
Of Monsters & Men
The Wombats
Tame Impala
Peking Duk
Ryan Adams
Flight Facilities
Royal Blood (only Aus show)
Death Cab For Cutie
Earl Sweatshirt
Boy & Bear
Porter Robinson (Live)
The Dandy Warhols (only Aus show)
Xavier Rudd & The United Nations
Azealia Banks
The Rubens
Jamie T
Spiritualized (only Aus show)
Alison Wonderland
Best Coast
Everything Everything
San Cisco
Jarryd James
Purity Ring
The Grates
The Smith Street Band
Tkay Maidza
Johnny Marr
Last Dinosaurs
Megan Washington
The Vaccines
#1 Dads
The Church
Kitty, Daisy & Lewis
The King Khan & The BBQ Show
Catfish and the Bottlemen
Paul Mac
Dustin Tebbutt

Years & Years
Jenny Lewis
C.W. Stoneking
George Maple
Client Liaison
Palma Violets
Hayden James
Dune Rats
Wolf Alice
Meg Mac
Cosmo’s Midnight
Oh Mercy
The Districts
Elizabeth Rose
The Delta Riggs
Circa Waves
Nancy Whang
Eves The Behaviour
Urban Cone
Art of Sleeping
Japanese Wallpaper
Ecca Vandal
Holy Holy
Vallis Alps
UV Boi
The Babe Rainbow
Young Franco
Mickey Kojak
Harvey Sutherland
Total Giovanni DJs
Dugong Jr
Noise In My Head
triple j Unearthed Winners

Plus …
Post Percy
Ara Koufax
Adi Toohey
Set Mo
Edd Fisher
Mike Who
Shantan Wantan Ichiban
With such big names
and acts, the tickets will sell out like hot cakes! Get your tickets first at Moshtix at 9am AEST, Thursday 23rd of April.
and for more information, head to the Official Splendour Website.


Kendrick Lamar Track “King Kunta” Leaks


A new track from Compton MC Kendrick Lamar‘s upcoming album To Pimp a Butterfly has been leaked and is making the rounds across the internet. “King Kunta” is the third album track to drop and follows the official release of two singles, “The Blacker the Berry” and “i”.

The track features Kendrick dropping Afrocentric verses over a G-Funk instrumental, name-dropping Richard Pryor and Kunta Kinte (he also calls out ghostwriters in hip-hop at one point, a pretty ballsy move when Dr Dre is the executive producer of your album).

K Dot revealed the tracklist, title and artwork of the massively hyped album earlier this month, as well as a March 23 release date.

The track is available for streaming via Rap-UpTo Pimp a Butterfly is available for pre-order on iTunes.

Graphic detailing Delonge's ousting

Stay Together For the Kids? Blink 182 Breakdown

Blink 182 have a brick wall with founding member Tom DeLonge saying he no longer ‘wants to participate in Blink 182 indefinitely.’

The news came to the members on the 27th of January in the form of an email from DeLonge’s personal manager stating that “DeLonge didn’t want to participate in any Blink-182 projects indefinitely, but would rather work on his other non-musical endeavors.” Which came as a relief to Mark Hoppus, as he described the news as “ [a] weight lifting off my shoulders.”

Tom DeLonge has rejected claims of having left the band saying, “I was on the phone discussing a possible Blink-182 event in New York City when I heard the ‘news’…the only truth here is, that I have commitments that limit my availability this year. I love Blink-182 and I’m not leaving.” Leaving Delonge’s position in the band remains unclear

Despite Delonge’s departure Alkaline Trio’s Matt Skiba is set to replace DeLonge on tours scheduled for this year.

“Although it’s not clear if DeLonge has been replaced permanently, the band’s remaining members have high hopes for the future of Blink 182, “No hard feelings, but the show must go on for our fans.” ”

Due to the legalities involved with Delonge’s departure his position in the band remains unknown, as pointed out by Delonge that he technically didn’t quit. Yet both Hoppus and Barker are accepting his departure, whether on his behalf or not.

Looks like it’s one member down in the much beloved trio Blink 182.

Babaganouj Can't Stop Cover

Babaganouj Release New Single ‘Can’t Stop’

Babaganouj are back in 2015 packing a colourful musical punch with their single Can’t Stop. Having released two tracks in 2014and toured with The Preatures and The Lemonheads, Babaganouj have returned bringing their infectious summer vibes with them.

Hailing from Brisbane, this four piece have blown out of the water after great amounts of airplay on Triple J in the past year as well as touring nationally with renowned artists and festivals alike. Babaganouj draw inspiration from Husker Du, and Smashing Pumpkins, but sound like a tamer version of the Western Australian band, San Sisco. Babaganouj bring young playful guitars and harmonies to young Australians this summer with Can’t Stop released early this February.

Can’t Stop opens with an infectious guitar riff, a simple beat, and harmonies that makes you think about driving along the seaside. The four members join together in harmony in a playful and young verse which transforms into a counter point sustained chord, where the front man “can’t deny / what [he] feel[s] inside”. Which is followed by a dissonant bridge, until the return to the summery melody hook refreshing you in the fun youthfulness of Can’t Stop.

Download the single here.

If you love the sound of Babaganouj and wish to see them in the flesh, they are playing shows right across the East Coast of Australia:

Friday, 13th March The Spotted Cow, Toowoomba
Tickets: The Spotted Cow
w/ Hound, The Basschanales

Saturday, 14th March  Old Bar, Melbourne
Tickets: $10 on the door
w/ The Spazzys, Velcro

Monday, 16th March – The Tote, Melbourne
Tickets: $8 on the door
w/ The Good Morrows, Skyways Are Highways

Friday, 20th March  The Foundry, Brisbane

Saturday, 21st March – World Bar, Sydney
Tickets: $15 on the door ($10 before 10pm)
w/ Chicks Who Love Guns, The Cathys

Sunday, 22nd March  Brighton Up Bar, Sydney
Tickets: Go Bookem
w/ A.D.K.O.B, Bell Weather Department

Saturday, 28th March  Black Bear Lodge, Brisbane
Tickets: $10 on the door
w/ The Good Spots, Love Sings

Saturday, 11th April  Oxford Art Factory, Sydney
w/ Bearhug, Black Zeros

Thursday, 16th April  The Bridge Hotel, Castlemaine
w/ ScotDrakula

Friday, 17th April  The Grace Darling, Melbourne
w/ ScotDrakula

Saturday, 18th April – The Barwon Club, Geelong
w/ ScotDrakula