SLEATER-KINNEY The Center Won't Hold

Sleater-Kinney release their eagerly awaited 10th album, The Center Won’t Hold, via Milk! Records / Remote Control. Produced by the Grammy Award-winning St. Vincent, the record is their first since 2015’s No Cities to Love.
One of the most influential female bands of the last two decades, Sleater-Kinney continue to evolve and push boundaries. Critics agree; they just graced the cover of The New York Times “Arts & Leisure,”who declared they are “one of rock’s most enduring and respected acts” - read the story here. The FADER said The Center Won’t Hold is “one of the most furious, dynamic records of their career,”and Entertainment Weekly raved, “While their feminist punk ethos and electric, nervy tension are still well intact, Center pushes Sleater-Kinney into all sorts of new sonic territory…The album also features some of the most fragile, expansive songwriting of the band’s career.”
On release day, the band also shared a new music video for the track 'Love' – watch it here. Sleater-Kinney enlisted fans to submit photos with friends, collaborators and mentors, inclusive of duos, trios and groups. The band also asked fans to submit photos that “celebrate your body as a means of resistance”as well as photos that simply “celebrate your body, in whatever that means to you.”

Purchase / Stream The Center Won't Hold:

Sui Zhen's new album Losing, Linda out Friday 27 September

About Losing, Linda:

Pre-order Sui Zhen - Losing, Linda:

Throughout Melbourne-based artist Sui Zhen's discography and performances, the experimental pop and performance artist has zoomed in on the intersections between human life and technology - how to exist in the digital age, as well as the ways in which we risk losing true sight of ourselves in the process.

Losing, Linda pairs her signature inquisitiveness with a surreal electronic pop that possesses a dreamlike quality: vivid, uncanny, and upon close examination, revealing of deep emotional and personal truths. It's an album that examines loss on multiple levels - from the death of our loved ones to our widespread societal tendency to disappear within the ones and zeroes of modern life's tech-driven rush.

Losing, Linda's creation began back in 2016 when she took up an artistic residency in Sapporo, Japan. Zhen originally came to the residency equipped with demos conceived in the wake of her preceding breakout record, Secretly Susan - but real-life tragedy intervened, as her mother was diagnosed with cancer. In the process, a sense of overall mortality was unmistakably infused into the thematic structure of Losing, Linda. The video for the lead single, 'Perfect Place' introduces the character Linda, a ghostly apparition, representing the fragments of self, the avatars we leave behind after one dies in the physical realm -- but do our digital selves ever fully disappear?

After the residency came to a close, Sui Zhen's band members - instrumentalists Ashley Bundang(Zone Out, Hot Palms, Ciggie Witch) and Alec Marshall (Hot Palms, Emma Russack) - joined her in the Tokyo-adjacent city of Matsudo to track full-band demos for the material she'd written back in Sapporo. Eventually, she returned to Australia to be with her family, with work on the album becoming more sporadic as her mother's health declined, leading up to her passing in February 2018. "Looking back it was pretty intense," Sui Zhen says. "There's moments that occurred that haunt me still. And some of those moments have been recreated in my video project - turned into art, memories of memories."

After some time away from the album, Losing, Linda was completed near the end of 2018. The resulting record pushes the fascinating sounds and ideas of Secretly Susan further and deeper, drawing equally from the plush realms of Sade, Japanese city pop, the early electronic music of the 1980s, and the mournful swing of Tracey Thorn's early work. Sui Zhen cites a range of forward-thinking artists from past and present as inspiration, from Lizzy Mercier and Laurie Anderson to Holly Herndon and Suzanne Ciani.

On Losing, Linda, Sui Zhen takes the theoretical form of Linda, a digital doppelgänger and avatar invoking the e-learning channel Lynda and its founder Lynda Weinman, as well as the humanoid robot BINA48. The character of Linda is personified on the album's cover by choreographer and colleague Megan Payne, whose literal embodiment of Linda interrogates the disembodiment of online life, and calls into question the possibility of death in the digital age.


With special guest Jade Imagine
Supported by triple j
General On Sale: Fri 12 Jul, 9am AEST

Thu 19 September - Theatre Royal, Castlemaine 

Fri 20 September - Karova Lounge, Ballarat 

Sat 21 September - Corner Hotel, Melbourne 

Fri 27 September - Freo Social, Fremantle 

Sat 28 September - The River, Margaret River 

Sun 29 September - Wave Rock Weekender, Hyden

Fri 4 October - Lion Arts Factory, Adelaide (LIC/AA) 

Sat 5 October - Republic Bar, Hobart 

Fri 11 October - The Triffid, Brisbane  (LIC/AA)

Sat 12 October - Sol Bar, Maroochydore

Thu 17 October - UC Hub, Canberra 

Fri 18 October - UOW Unibar, Wollongong 

Sat 19 October - The Factory, Sydney (LIC/AA)

Sun 20 October - The Cambridge, Newcastle 


New Zealand reggae-soul legends, The Black Seeds, are pleased to release REFABRICATED: Fabric Remixes & Rarities- a tasty selection of unreleased tracks, remixes & versions from their 2017Fabric album.   

The 6-track companion EP features 3 new, unreleased tracks from the Fabric sessions, as well as album re-workings from the likes of  DJ Mu  (Fat Freddy's Drop)MC Gardna  (UK),  Israel Starr (NZ)  &  Deep Fried Dub  (AUS). 

The Black Seeds have earned a reputation for rocking dance floors around the world, including main stage slots at the UK’s Boomtown Fair and Beautiful Days Festivals. 

 With 140,000 albums sold worldwide, and multi-platinum selling albums to their name, The Black Seedshave gone from humble beginnings to take their boundary crossing reggae fusion to the world, becoming one of New Zealand’s most loved bands in the process and spearheading New Zealand’s internationally renowned roots movement alongside acts such as Fat Freddy's Drop and Katchafire.  

Firmly rooted in the bass-heavy Jamaican sounds that inspired the birth of the band, over the past two decades The Black Seeds have continued to push the boundaries of reggae without compromising the music’s heart. Seamlessly blending funk, soul, dub and Afrobeat into their reggae foundation, the result is a  Black Seeds  sound that stays true to their own South Pacific roots. 

The band’s progressive 6th studio album Fabric was released successfully in 2017, reaching #3 on the U.S Billboard Reggae Album chart & NZ album charts, and #3 on UK & German iTunes Reggae charts. 

REFABRICATED: Fabric Remixes & Rarities is out now on all digital platforms.

Stream / Download:



After making an impressive debut last year with the launch of his first single Solitude, JXN followed up with the release of Red Lightsa collaboration with another US rapper, A Boogie Wit da Hoodie in March this year, with the tracks accumulating over 5.3 million worldwide streams.

Catch JXN at his first live shows in August, as he supports ALLDAY, Mallrat and E^ST at venues around the country.


Saturday, 17th August
Metro City, Perth (18+)

Friday, 23rd August
Fortitude Music Hall, Brisbane (AA)

Saturday, 24th August
Hordern Pavilion, Sydney (AA)

Friday, 30th August
HQ Complex, Adelaide (AA)

Saturday, 31st August
Festival Hall, Melbourne

Liam Gallagher’s Why Me? Why Not OUT September 20th

His debut solo single Wall of Glass put him back where he belongs, but Liam Gallagher’s new single Shockwave is already powering towards a much bigger launch. Competing for a Top 10 position on the Official Singles Chart in his UK homeland, now Liam builds on that flying start by sharing the track’s official video. Directed by the award-winning François Rousselet, the video sets Liam’s swaggering charisma to some striking, cinematic-scale photography. It takes him on a voyage through America’s Deep South, from desolate wastelands to train tracks and large-scale protests. Watch it HERE.

The video comes as Liam confirms that his eagerly anticipated second album Why Me? Why Not. will be released on September 20th on Warner Records. The album is now available to pre-order and will be available on a variety of CD, vinyl, download and streaming formats. There will also be a special D2C package which compiles a deluxe CD, a sun yellow vinyl album and a one-sided etched 12” which features three deluxe bonus tracks along with a demo recording that’s exclusive to this format – all packaged in a hardcover book. Pre-order HERE.  

Why Me? Why Not. was written by Liam with producers Andrew Wyatt and Greg Kurstin, and recorded in Los Angeles and at RAK Studios in London. Wyatt and Kurstin previously contributed writing and production to Liam’s all-conquering debut solo album As You Were, and Liam was keen to get even deeper with them this time. As a result, Why Me? Why Not. is a clear upgrade on As You Were but not a radical departure.

Liam explains: “I wrote some songs on my own for the last album, but this time it’s all co-writes. Reason being is I want it to be even better than ‘As You Were’. I know my strengths and I know my limitations. I’m an ok songwriter, but I’m a great singer and frontman. I want the second album to be a step-up because the hardest thing to do is to make something the same, only better. So that’s what we’ve done.”

Shockwave has seen Liam Gallagher make a typically full-throttle return. Super intimate sold-out show at Hackney Round Chapel? Biblical. Premiere and release of the long-awaited As It Was’ documentary? Completed. Featured on the cover of Q, who described him as “rock’s finest frontman”? Naturally.

Liam Gallagher’s debut solo album As You Were was a critical and commercial smash. It debuted at #1 in the Uk and top 10 in Australia. Liam was back where he belonged, selling out huge outdoor shows and earning major awards from QNME and GQ.

Liam’s next double-bill of huge UK shows comes at the end of the month. He’ll play a sold-out Eden Sessions show on the 26th before hitting Glastonbury’s Pyramid Stage on the 29th.


The National album - I Am Easy To Find

The National have released their eighth studio album - I Am Easy To Find. The Mike Mills directed film of the same name, inspired by the band's record, is now available to watch via

On September 3, 2017, director Mike Mills emailed Matt Berninger to introduce himself and in very short order, the most ambitious project of the National’s 20-year career was born and plans for a hard-earned vacation died. The Los Angeles-based filmmaker was coming off his third feature, 20th Century Women, and was interested in working with the band on...something. A video maybe. Berninger, already a fan of Mills’ films, not only agreed to collaborate, he essentially handed over the keys to the band’s creative process.

The two projects are, as Mills calls them, “Playfully hostile siblings that love to steal from each other”—they share music and words and DNA and impulses and a vision about what it means to be human in 2019, but don’t necessarily need one another.

The result is I Am Easy To Find, a 24-minute film by Mills starring Alicia Vikander, and I Am Easy To Find, a 68-minute album by The National. The former is not the video for the latter; the latter is not the soundtrack to the former. The movie was composed like a piece of music; the music was assembled like a film, by a film director. The frontman and natural focal point was deliberately and dramatically sidestaged in favour of a variety of female voices, nearly all of whom have long been in the group’s orbit. It is unlike anything either artist has ever attempted and also totally in line with how they’ve created for much of their careers.  The film shot all on location near Pomoma, CA, took only 5 days to shoot but is comprised of 164 scenes.  The production design is sparse and minimal, consisting only of one chair, a bed, rug, and couch used over and over in the film. Beautifully shot by Daniel Voldheim and edited for about 8 months by Aaron Beckum.

I Am Easy To Find was produced by Mike Mills and The National at Long Pond, Hudson Valley, NY.

Stream/download the album I Am Easy To Find via


A coalition of groups representing the live music industry has welcomed the motion in the NSW Upper House to disallow the Berejiklian government's poorly designed music festival license regulations.

We applaud Labor's delivery on its promise to move a disallowance motion to enable proper industry consultation on measures to improve safety at music festivals and ensure a bright and sustainable future for music festivals in NSW.

The Australian Festival Association, in alliance with Live Performance Australia, Music NSW and the Association of Artist Managers, have pledged to continue their campaign for meaningful consultation with industry on festival safety.

The industry want to sit down with the NSW Government and develop a more workable and sensible regulatory approach to safety at festivals. The Government has again been presented with the opportunity to properly consult with industry groups and festival organisers on safety issues.

If Premier Berejiklian is serious about festival safety, she will acknowledge the original regulations were rushed through without industry consultation and only achieved a dramatic increase in costs to festivalorganisers and fans and forced the cancellation or relocation of events without delivering a meaningful safety improvement.

Music festivals are a vital contributor to the economic and cultural vibrancy of NSW, especially in regional and rural areas. The Premier now has another opportunity to get it right on festival safety. The live music industry also calls on all members of the Upper House to support the motion. 

BIG THIEF New album U.F.O.F. out now.

Adrianne Lenker (guitar, vocals), Buck Meek (guitar), Max Oleartchik (bass), and James Krivchenia(drums) have spent the last 4 years on an incessant world tour, winning the devotion of an enthusiastic and rapidly expanding audience. Their first two back-to-back releases, Masterpiece (2016) and Capacity (2017), have been analysed, wept to, danced to, critically applauded, imitated, hummed idly, and shouted out loud. They have sound-tracked crowded restaurants, difficult conversations, cowboy bars, yoga classes, night drives and lonely bedrooms.