Perfume Genius on confidence, rage & hateful tweets


Seattle-born Mike Hadreas, most commonly known by his stage moniker Perfume Genius, is not your regular entertainer. After making an impressive debut in 2010 with his LP, Learning, Hadreas returned two years later with Put Your Back N 2 It, cementing his place as a revolutionary, emotionally-affecting showman. Delicate, yet emotionally intense in both their nature and delivery, these two albums were a beguiling introduction to the man that is Perfume Genius.

Two years down the track, and a controversial YouTube rejection in between, the singer/songwriter has made a bold comeback with the stunning new record, Too Bright. Its grandiosity and assertiveness a stark contrast from his previous works, Hadreas’ latest offering generates a figure that is a far cry from the reserved, vulnerable artist that first entered the music scene four years ago. Confidently delving into topics such as gender, race and sexual orientation, Too Bright is a bewitching, emotionally intense journey that is sure to delve into the inner psyche of any unsuspecting listener.

Upon his return from a three week touring stint across Europe, Hadreas and I had a chat about the new album, negative feedback, his influences and everything in between.

You’ve just returned home from your first tour of performing songs from Too Bright. How did everything go?

It was good, although I’m not really used to it anymore. I didn’t really feel clicked into the whole routine- waking up really early, going to bed really late. There’d be a lot going on and then I’d have to do a photo shoot and try to look, like, cute while I’m sweating. I gotta up my game perhaps and have a beauty regimen. I feel like I need handy wipes or something.

Was it mainly new material that you were touring with?

It was a pretty equal mix from all three albums. I guess I didn’t want to play too many new songs because I didn’t want people to hear them first in a YouTube video. Not that I think anyone cares enough to put them on YouTube but sometimes they do that. Also, my drummer lives in Paris and my guitar player lives in the UK, and we now live in Seattle so we have really limited rehearsal time. I wanted to make sure we had time to rehearse the new stuff before we play it, especially since there’s more elements now.

quote4Yeah, you have a lot more instrumentation this time around as opposed to your other records. Is it exciting to have a backing band on stage with you?

It is! I guess now it’s just naturally a little more complicated. I didn’t grow up in other bands so I’m not really used to it. It’s a little nerve-wracking because it’s not just me singing behind a piano anymore, keeping things really minimal. I feel like I know how to do that, whereas this is risky and new. As much as it’s nerve-wracking, it’s also fun.

There’s obviously a lot of difference in the stage set-up for your previous, piano-based material, compared to your new material that requires the inclusion of a backing band. How do you find it, alternating between such contrasting materials when you’re performing?

I kind of have to map the setlist out a little differently so none of the songs are mean to each other. I’m a fairly crazy person so it’s not that hard for me to go between moods. I can get there pretty quickly but I guess there are some songs that are similar in subject matter and mood to some of the louder songs so I try to pair them together. I don’t want it to be too manic-depressive for anybody. Or maybe that’s cool, I dunno.

How did the audience respond to the new material that you played?

The first time I ever played the song, My Body, I played it in Tokyo, and nobody clapped or anything afterwards…but maybe it was just because they didn’t know the song. It was the first time we had performed anything like that and it was pretty loud and dark and everyone was a bit freaked out and shaken up afterwards and when nobody responded I was like…erm…But then I played it over in a few other countries and it seemed to go well.

I guess some of the songs from the album have the ability to leave the listener a bit unsettled.

Yeah, one of my friends said that when I play that song they just put their hands over their face and look in between their fingers, freaked out.

I feel that songs from this album can shake up something from within, enabling people to kind of draw references from their own lives.

I really hope that’s what it is. I hope it’s not like, “who is this screeching weirdo on stage!” Like when they played My Body on the radio, somebody tweeted, “Just heard the worst song I’ve ever heard in my life,” probably hearing just a bunch of disgusting noises with just a screech over it…which I guess essentially is kind of what that song is.

quote3So how do you deal with that kind of negative feedback?

With this music it’s very different. I’m really proud of this album so if people talk about the music and they don’t like it, it doesn’t really bother me. If people talk about how I look, however, like rude, grossly weird vain things like that, then I get really upset. It’s just really personal. Whereas when it’s about my music, it doesn’t really bother me that much. I’m kind of lying a bit because it essentially does bother me but not as bad as it used to.

I guess it’s quite confronting putting yourself out there creatively. Do you find you’ve become better at dealing with the feedback over the years?

I think so. And I think I feel really confident, beyond just the lyrics or what the songs are about. I’m confident the music is really good and this is the first time that’s happened. Not that I thought the music was bad in the other two albums, I really still think it was pretty and nice, it’s just that I was a lot more considerate and thoughtful about the sound on Too Bright, as much as the lyrical content.

quote5Too Bright definitely does sound a lot more confident, a bit more grandiose. You’ve also described it as “an underlying rage that has slowly been growing since ten and has just begun to bubble up.” What made you draw upon these references of your past in this album?

I’ve always made music to process things, so if something was bothering me, or something needed healing or a relationship in my life was screwed up, writing was a way I could deal. But I kind of used up all the memories that I needed to heal on the first couple of albums and this one’s a lot more about how I’m feeling now and almost a projection of how I want to be, not so much looking into the past. That anger was kind of some of the more immediate things that I needed to process.

With your songs and the visual representations in your music videos, I feel that you’re drawing upon not only this anger, but also some of the other deadly sins; greed, lust, gluttony. Was this intentional?  

No, but I like that. It perhaps wasn’t intentional but I like showing things that maybe I’ve been ashamed of or things I think are gross about myself. Or that I’m scared that other people think I’m gross or too ‘faggy’ or too feminine. I kind of like doing it defiantly and pushing it into people’s faces.

It seems you’ve managed to achieve this in the videos; kind of pushing it into people’s faces, providing an amount of intensity at times but then you manage to draw it back at just the right moments. You’ve carefully oscillated between the two ends of the spectrum.

Yeah, I never want the videos to be just pure rebellion, I want there to be a purpose to them, or have it be empowering or have some sort of importance. More than just giving someone the middle finger.

Do you have a lot of input of the content for the videos?

Yeah, especially this last one. Both of them are collaborations, but I feel like Queen was almost equal measure me and Cody Critcheloe (SSION), the director. I really trusted him and I guess that’s why I didn’t mind meeting in the middle more. I didn’t mind patchworking of all our zany ideas into one dream. I can come up with the ideas but I sometimes don’t know how to make it cool, you know? And the director I was working with was very cool.

It must be nice to tell people your ideas and have them filter it out into whatever you picture in your head.

Exactly, and that’s what she did. I sent her a bunch of weird, run-off sentences and words and then she sent me back this storyboard complete with pictures and visual references. Everything she had was exactly what I was thinking.

Speaking of collaborations, Too Bright was co-produced by Portishead’s Adrian Utley. What kind of influence do you think he had on the album?

Technically, he’s more capable than I am. When I gave him emotional descriptive words, he’d know what instruments to use, what knobs to twiddle and what cord to plug in where to make that sound. He understood emotionally where I was coming from and he wasn’t nervous about going too far or being too dark and serious, while also not being scared of being too patient or gentle or sensitive about the quieter moments. We’re pretty open and light-hearted while we’re talking but creatively, we’re kind of dark and wild so it was like a perfect relationship to be in the studio.

You wrote your first album while living at your Mother’s house. Where did you write your music this time?

This last one I wrote in a thick-walled apartment, so I could write when I felt like it and I could scream and be as loud as I wanted and I think that was the big help for expanding what I do. I could experiment with my voice in ways that could have potentially been really embarrassing or goofy, but I wasn’t scared of being overheard; I was screeching and screaming and squealing.

quote6Your boyfriend sings and plays with you on stage. Does he contribute to the songwriting process?

Oh yeah. I come from an emotional place and he’s more musical. He went to school for music so his way of thinking is completely different. He would come home after I’d been writing and would listen to the actual song. Whereas I would only look into what the song meant, he would hear what it really sounded like, so that was really valuable.

Do you find he inspires you artistically?

Yeah, I would either take his advice or I would get rebellious and pissed off. If he said he didn’t like the song, I’d make it even worse.

How is it touring and being on stage with your partner? I can imagine there’d be friction at times?

It’s good, you’ve got to learn how to fight and we’ve learnt to fight really well because if you’re around each other 24 hours a day, it’s inevitable. But we’ve learnt how to fight and almost laugh immediately afterwards. I can’t imagine leaving and being gone for all those months without seeing him.

Perfume Genius’ Too Bright is out today in Australia, released via Matador Records / Remote Control. You can stream it here


alison wonderland cold

Alison Wonderland drops warehouse-inspired video for ‘Cold’

Following up from the clips for I Want U and Lies, Alison Wonderland has now released the accompanying visuals to her latest single and Lido collab, Cold. Drawing inspirations from her recent Warehouse Project, the Prad Senanayake-directed video features Alison wandering around a mass of semi-naked fighting, kissing & vomiting bodies on constant loop whilst she meanders around in real time.



10 Songs You Need To Hear This Week


It’s Friday and we know what you’re thinking- “gotta go downstairs, gotta have my cereal”. You’re completely right for thinking this; breakfast is without a doubt one of the most important meals of the day, but we’ve got one more piece of sustenance to prepare you for the weekend- new music. While you’re slurping down your high-in-sugar healthy muesli, taste some of these tunes that you might have missed during another busy week of Big Brother, The Bachelor and David & Margaret at the Movies (sigh).

Kero Kero Bonito- Sick Beat (Danny L Harle Remix)

You know we love a lil’ bit of PC Music here at the interns and this week we were delivered some more from the honey-nest of their Soundcloud. Danny Harle, who’s part of the PC Music bunch has remixed this super kawaii track by London group, Kero Kero Bonito. The band have already done a lot of PC Music’s work by creating a song that is incredible kitsch but Harle adds more bubblegum synths, shooting it further into the realm of video games. With Harle on board, the title holds even more relevance.

[soundcloud width=”750″ height=”200″]https://soundcloud.com/kerokerobonito/sick-beat-danny-l-harle-remix[/soundcloud]

RL Grime- Reminder (Feat. How To Dress Well)

RL Grime’s last track, Core, was a minefield of alarms and abrasive sounds, but he’s taken it down a notch on Reminder including our ultimate bae, How To Dress Well. As such, RL Grime happily obliges in making a moody RnB track that suits Tom Krell’s vocals down to the ground. If RL Grime’s latest album, Core, is meant to represent some sort of war, then this is the calm before the storm. It’s beautiful melodic, textured and probably the most gentle thing this LA producer has churned out.

Lapalux- Movement I, II & III

Lapalux is the ultimate purveyor of smooth electronica. Guuurl off his debut album Nostalchic was one of the best songs of last year and this one doesn’t slip on quality whatsoever. As the title suggests, it’s really split up into three distinct parts. The first is gentle and atmospheric, the second features vocals and is much denser while the third lays down the beat and jitters along. I suppose you could call it the Bohemian Rhapsody of contemporary electronica. Galileo!

[soundcloud width=”750″ height=”200″]https://soundcloud.com/lapalux/movement-i-ii-iii[/soundcloud]

Shay Lia- 3 Months

As well as serving up brilliant solo material (have YOU heard Leave Me Alone?), Kaytranada has been making a name as a formidable producer. Here here puts together a smooth, pulsating beat to lay beneath Montreal Shay Lia’s 3 Months. In many ways the track returns the favour. Shay Lia featured on Kaytranada’s Leave Me Alone. On that one, the producers future RnB beat took centre-stage but here it’s Lia’s vocals that steal the show. They are addictively sulky, sounding like the end of a burning cigarette.

[soundcloud width=”750″ height=”200″]https://soundcloud.com/shay-lia/3-months-prod-by-kaytranada-1[/soundcloud]

Made In Heights- Ghosts

If you haven’t heard Made In Heights, Death, yet we’ll give you a moment to go and right your wrongs.

Right, now you’ve done so, here’s the latest track from the American duo, Ghosts. Much like Death, the track is a masterful display of ambient, RnB with the vocal of Kelsey Bulkin sounding like candy clouds. The whole affair is completely effortless with melodies that will blow your mind without you even knowing it. If it all floats over you, give it another chance. The unobtrusive nature of it is part of its eventual charm.

[soundcloud width=”750″ height=”200″]https://soundcloud.com/madeinheights/ghosts[/soundcloud]

Jack U- Take U There (Feat. Kiesza)

Skrillex and Diplo’s Jack U’s collaboration has been teased for a number of weeks now and finally they’ve bestowed upon us the golden collaboration. Along for the ride is throwback vocalist, Kiesza who lays down a crystalline vocal alongside Skrill and Dip’s bipolar beat. The chorus is like a rush of blood to the head with Kiesza’s flighty vocals meeting the trap-based beat.

[soundcloud width=”750″ height=”200″]https://soundcloud.com/shitnew/jack-u-take-u-there-ft-kiesza-1[/soundcloud]

Frames & Elizabeth Rose- Intentions

This is our Australia-represent inclusion to 10 Songs this week and what a doozy it is. All-round cool chick, Elizabeth Rose has teamed up with fellow Aussie producer Frames for a double A-side single that features this tune and another one titled Anywhere. The two go together like spilt red wine and bicarb soda, with Rose sounding completely at home over Frame’s four-to-the-floor, late-night beat.

[soundcloud width=”750″ height=”200″]https://soundcloud.com/octoberrecords/frames-elizabethrose-intentions[/soundcloud]

Jessie Ware- Kind of…Sometimes…Maybe

Jessie Ware’s, Tough Love, is shaping up to be one cracker of a record. Kind of…Sometimes…Maybe is the fourth track we’ve heard from the able and it’s penned by Miguel, meaning that it’s destined to become a bedroom anthem. Not in the late night, dirrrttttyyy way though- it’s a sweet, love song that plods along with Ware’s whispy coos. She tweeted saying, “Enjoy and have a whisky with it”. Well we’ve had seven and it’s getting better and better.

Zola Jesus- Go (Blank Sea)

Big-ass ballad alert. If Dangerous Days taught us anything, it’s that Zola Jesus would be embracing big pop melodies on her forthcoming album, Taiga, and her new track Go (Black Sea) completely confirms that. It’s an unashamedly huge ballad in the way that I Wanna Know What Love Is , but with far less ‘80s-bizarre and a little more emotional finesse. There’s beautifully layered vocals, hard-hitting beats and a chorus that will smack you right in the stomach. Get ready for Taiga, it’s going to be more exciting than the upcoming Ninja Turtles movie and that we can guarantee.

[soundcloud width=”750″ height=”200″]https://soundcloud.com/zolajesus/goblanksea[/soundcloud]

Tinashe- Feels Like Vegas

On first thought, Vegas feels like bright lights, lost money and too many drinks which inevitably ends with a horror morning. You can rest easy though, Tinashe’s Feels Like Vegas sounds nothing like that. It’s effortlessly smooth and classy and gives us plenty of time to revel in her unbelievable vocals. Schoolboy Q is along for the ride but he really does nothing but adds another name to a song that Tinahse owns. Give us the album now, thanks.

fkatwigs copy

Watch FKA Twigs’ breath-taking performance of ‘Two Weeks’ on Jools Holland

Mercury Prize nominee, FKA Twigs performed the hauntingly beautiful Two Weeks on Later With Jools Holland earlier in the week, proving her oscillation between fragility and soul-rendering, sexually-charged confidence further transcends onto the stage. Carefully filtering words such as ‘mother fucker’ with breathy vocals that would have us none the wiser about its M-rated content, while simultaneously pulling off the bleached eyebrows look, Twigs has once again achieved a dazzling performance. Fingers crossed the wild rumours regarding her upcoming appearance at next year’s Laneway Festival aren’t so wild.

Read our review of FKA Twigs’ LP1 here. 


Zola Jesus releases a bold anthem, ‘Go (Blank Sea)’


Zola Jesus is really embracing big, pop melodies and anthemic instrumentation in the lead up to her forthcoming album, Taiga. First we heard the grandiose, Dangerous Days and now we’ve been served up an equally big pop song in the way of Go (Blank Sea). While all the big popstars are seemingly turning towards an RnB aesthetic, Jesus gives us a power-ballad for the ages with huge vocals, a thudding beat and brooding synths. It’s in-line with her usual dark vibe but it seems she’s stepping it up a notch for Taiga. Pretty phenomenal stuff. Taiga is out 3 October.

Listen here. 



Hear Jessie Ware’s, Miguel-penned, ‘Kind of…Sometimes…Maybe”


We’re not far off hearing Jessie Ware’s sophomore album, Tough Love and today she’s dropped the fourth offering from the album Kind of…Sometimes…Maybe. The track was penned by BenZel and Miguel and has an old-school, throwback vibe that we’re yet to hear from Ware. She coos over a laid-back melody sounding the most relaxed she ever has, comfortable in the brilliant melody. On Twitter she wrote, “Enjoy & have a whiskey with it” and we think we just might. Once again, here’s proof that there ain’t nothing tough about falling in love with Jessie Ware.


RL Grime recruits How To Dress Well for ‘Reminder’

RL GRIME_how to dress well

Los Angeles producer RL Grime (aka Henry Steinway) has teamed up with How To Dress Well (aka Tom Krell) for Reminder, the latest track to be released from the former’s upcoming debut album, Void. Grimes has said the single was inspired by a doomed relationship, labelling it as “incredibly meaningful” to him. Premiering on Zane Lowe’s BBC 1 show earlier today, it’s a subdued number compared to RL Grime’s usual trap-heavy palate. Bathed in sleek production, Krell’s crooning falsetto is flawless as usual, paired effortlessly over a sexy, downtempo R&B beat.

You can stream from Zane Lowe’s show on BBC Radio 1 here (skip ahead to the 43-minute mark) or listen to a radio rip below:

[soundcloud width=”750″height=”200″]https://soundcloud.com/neighbors-hate-us-future/rl-grime-reminder-feat-how-to-dress-well[/soundcloud]

Void is out in November via WeDidIt.


6 new remixers you should be listening to


The age of the internet has given way to a flood of unofficial remixes like never before. The Hype Machine charts pile up each week with remixes of commercial music, blog favourites and emerging artists. Once upon a time, the remix was use to convert a track to the club but nowadays it seems just as legitimate way of getting your sound heard as releasing an original. From the deep-house to the atmospheric and the musically challenging, Soundcloud is bursting at the seams with young producers doing spectacular things with songs. This week we’re prying into the Soundclouds of the best new remixers around right now. Come and join us, we promise Xtina and Fergie are mentioned at least once.

et aliae

‘Your kawaii feels remixer’

Enigmatic, London producer who is not really making remixes. Yeah, I’ve started an article about the best remixers right now with a producer, who doesn’t really make remixes, but hear me out. et aliae has taken on songs from artists like Rita Ora and Nicki Minaj, rebranding them as his/her own, skewing it so far from the original that it is almost unrecognisable, apart from the odd, melodic hook. His remix/complete re-working of Rita Ora’s I Will Never Let You Down is a PC Music-like joint, born on bubble-gum synths and a high-pitched vocal sample. He does the same for Nicki Minaj’s Your Love making the untraceable to Minaj for those who haven’t heard the original before. The vocal in the rap part sits somewhere between Big Sean and Hannah Diamond and it’s glorious.

The Stats:

Soundcloud Followers: 2,914

Most played remix: His remake of Rita Ora’s Never Let You Down, Never Let U Down (30,514 plays)

[soundcloud width=”750″ height=”200″]https://soundcloud.com/svnsetwaves/et-aliae-never-let-u-down[/soundcloud]

[soundcloud width=”750″ height=”200″]https://soundcloud.com/et_aliae/your-love[/soundcloud]

Hotel Garuda

‘Your sunshine-beats remixer’

We gushed about the Moving Castle collective last week and we’re not about to stop now. Hotel Garuda is made from Moving Castle co-founder, Manila Killa and LA via Singapore producer, Candle Weather. They’re churning out sunshine-induced remixes layered with chimes, deep-house stylings and in-tact pop vocals. Their remix of Corona’s Rhythm Of The Night is one of the most joyous things you’ll hear all year, with a sax line that will put a huge smile on your dial. Their take on Lana Del Rey’s Summertime Sadness, juxtaposes the title presenting a perky redo that provides a much better alternative to the Cedric Gervais white-wash that brought LDR to the airwaves. More recently, they’ve taken to Anna Lunoe’s All Out and kicked it back two decades into the ‘90s.

The Stats:

Soundcloud Follows: 10,580

Most played remix: Lana Del Rey- Summertime Sadness (933,000 plays)

[soundcloud width=”750″ height=”200″]https://soundcloud.com/lana-del-rey/ultraviolence-hotel-garuda-remix-1[/soundcloud]

[soundcloud width=”750″ height=”200″]https://soundcloud.com/hotelgarudamusic/rhythm-of-the-night-hotel[/soundcloud]

Matt DiMona

‘Your afternoon pool-party remixer’

This LA producer has obviously soaked in some serious sun in his life. All his remixes embody this tropical vibe that is infectious and uplifting. He’s remixed the likes of Drake, Asher Roth and Cashmere Cat but best of all he’s remixed Fergie Ferg’s Glamorous which, back in the day, took Fergie out of the gym and into the classroom teaching every how to spell its tricky title. While sounding refreshed, DiMona’s remix still sounds glamorous. The beats are crystalline and the synths wisp through like a summer breeze. His genre of choice is feel good house and it’s a prominent thread between his remixes. His “get naked” remix of Cashmere Cat and Jeremih’s Party Girls oscillates between RnB-trap and glistening house, doing the same thing with Drake’s Girls Love Beyonce. Of course, we know everybody loves Beyonce and maybe with a bit of luck, everybody may just love DiMona too.

The Stats:

Soundcloud Followers: 9,240

Most played remix: Fergie- Glamorous (352,000 plays)

[soundcloud width=”750″ height=”200″]https://soundcloud.com/mattdimona/fergie-glamorous-matt-dimona-remix[/soundcloud]

[soundcloud width=”750″ height=”200″]https://soundcloud.com/mattdimona/cashmere-cat-jeremih-party[/soundcloud]


‘Your sad feels remixer’

New Zealand-producer, ?POLO is making waves on SoundCloud despite apparently hating it. His remix of FKA TwigsPendulum is titled R.I.P Soundcloud and accompanied by the tag #fucksoundcloud. Despite his hatred of the platform, he continues to upload music to it and thank goodness because it’s damn good. His remix of Kanye West’s is a brooding, success with woodwind synths and vocal manipulation making an already dark song, isolated and cold. With Justin Timberlake’s My Love, he strips the instrumental and kicks JT’s vocal up a pitch or fifteen making it sound beautifully introverted. These remixes aren’t bound for the clubs but they are an absolute treat with headphones on.

The Stats:

Soundcloud Followers: 3,800

Most played remix: His remix of Lady Gaga and Ying Yang Twins, Amen (32,000)

[soundcloud width=”750″ height=”200″]https://soundcloud.com/fxrxvxrpxlx/polosmyloveremix[/soundcloud]

[soundcloud width=”750″ height=”200″]https://soundcloud.com/fxrxvxrpxlx/fuck-soundcloud[/soundcloud]


‘Your RnB nostalgia remixer’

People are going downright mental for anything that makes reference to the late ‘90s/ early 00s right now and Norwegian producer Filip and Eirik (aka. LOVELESS) are capitalising on this right now with soulful, deep-house remixes of old favourites. He’s shooting up the Hype Machine charts right now with his delectable remix of XTina’s Genie In A Bottle capitalising on those brilliant vocal runs that permeate the original. That peppered with some ‘90s keys and you’ve a goosebump-inducing moment of nostalgia. He also has taken on Toni Braxton’s You’re Makin Me High but it’s his remix of Kid Ink’s Show Me, that triumphs, ditching nostalgia for all-out, four-to-the-floor beats.

The Stats:

Soundcloud Followers: 1,834

Most played remix: Christina Aguilera- Genie In A Bottle (81,200 plays)

[soundcloud width=”750″ height=”200″]https://soundcloud.com/loveless-music/christina-aguilera-genie-in-a-bottle-loveless-remix[/soundcloud]

[soundcloud width=”750″ height=”200″]https://soundcloud.com/loveless-music/kid-ink-feat-chris-brown-show[/soundcloud]


‘Your starry night remixer’

MssingNo is a London-producer who is releasing some formidable original music, but he’s released two remixes that we just couldn’t leave out here. With both his originals and remixes he lays down expansive soundscapes with twinklings beats and jittery synths. The result is a starry set that combines RnB with the best parts of contemporary electronica. His remix of Shura’s already beautiful Just Once adds another level of emotion making the vocal ever-more delicate alongside beats that drip like water on cold steel. He’s also remixed Jagwar Ma’s Uncertainty making it almost unrecognisable. The lead-vocal is transformed into this perky, pop vocal that sits over a beat that is somewhere in between a video-game soundtrack and trap, just like a Ryan Hemsworth production.

The Stats:

Soundcloud Followers: 8,018

Most played remix: Jagwar Ma- Uncertainty (195,700 plays)

[soundcloud width=”750” height=”200”]https://soundcloud.com/jagwar-ma/uncertainty-mssingno-remix[/soundcloud]

[soundcloud width=”750” height=”200”]https://soundcloud.com/shura/shura-just-once-mssingno-remix[/soundcloud]



Frames_Elizabeth Rose

Frames & Elizabeth Rose team up for ‘Intentions’ & ‘Anywhere’

Frames_Elizabeth Rose

Two of the hottest electronic producers in Australia have joined forces, today dropping not one, but two tracks ahead of their joint EP. In between working on their separate projects, Elizabeth Rose and Frames have spent the past year building something from scratch for their first ever combined release. Floaty pop melodies and rich vocals courtesy of the former, laid atop of the warm, disco grooves of the latter, both singles, Intentions and Anywhere, already prove that this duo are a force to be reckoned with.

Their 2 track, double A-sided EP is due out on September 26 and will feature a ’90s warehouse remix of Anywhere by producer Null as well as a late-night dub version of Intentions. 


Tinashe ‘Feels Like Vegas’

The release of Tinashe‘s debut album Aquarius  is drawing closer and so far we’ve heard 2 On and Pretend from the record. We can now add Feels Like Vegas to that list which is a pretty stellar trio to be leading up an album with. Stargate have taken production duties for this one delivering a mid-tempo number which is a playground for Tinashe’s soulful voice. Schoolboy Q also pops up a few times but doesn’t deliver a full verse, rather he just adds a few lines for good measure.



Skrillex and Diplo (Jack U) drop ‘Take U There’ featuring Kiesza


Kiesza has been busy of late. She’s already had a massive hit, Hideaway, and has followed up with the equally stunning, Giant In My Heart and No Enemiesz. Now she’s featured on the new single, Take U There, by Jack U which is a collaboration between Skrillex and Diplo. The pair have been teasing this track for a while and it lives up to the hype. It’s a tempo-raising anthem that is equal parts melodic and thrashing. It actually has the potential to become the pair’s biggest commercial hit which,  given their success already, is saying something.