An up-tempo drum & bass track with an edge. A heavier rock vibe to this track with soaring synth lead lines and pumping rhythms – a fusion of rock and dance music. It’s about how we tell ourselves certain stories about our own lives, which aren’t always true. Sometimes they become an observation of life through a tinted glass or a ‘Filter’ for the ‘Mind’, distorting our view of the world and preventing us from seeing the truth of our own lives.
About Throwing Shapes
Throwing Shapes is Fox Shannon: a musician, DJ and producer from Perth, Western Australia. Unique and forward thinking electronic music. With influences from Pendulum, Sub Focus and Shock One to Disclosure, Deadmau5. Pink Floyd and David Bowie.
Throwing Shapes have performed alongside other well established D’n’B artists such as Terrence & Phillip at local dance music festivals such as Reawakening and Back2Funk. Their energetic performances and catchy dance floor hooks have seen them feature on numerous compilation and won growing interest from community radio, with air play around the country and some US stations.
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Steve Williams releases the new single from his forthcoming album today and had this to say about it
‘Pump was actually written about a friend who went to jail for the crime of fraud. 4I’ve never been in jail but was locked up for a few hours once due to unpaid parking fines in the late 80’s en route to a support with Cyndi Lauper in Brisbane.t It’s my version of a modern day blues I guess.’
About Steve Williams
Steve Williams came to prominence as the lead guitarist in the 80’s pop group Wa Wa Nee, who had top 5 hits and ARIA Nominations in Australia and chart action in Europe and the USA. Following Wa Wa Nee’s breakup Steve worked with prominent local artists, James Freud and Richard Clapton, before relocating to Europe.
In London, Steve built a successful career as a session guitarist working with Jon Lord from Deep Purple, Ray Parker Jr, Real Life and many more. He returned to Australia in 2005 and continued session and production work including musical theatre and television appearances playing with The Choir Boys, Matt Finish and others.
In 2020 Steve released the ‘Surry Road album’. All the tracks were co-written with musicians that he has worked with over his many years of touring and recording. Tracks feature guest vocals from Pat Powell (Melbourne Ska Orchestra and many more) and other well-known vocalists such as: John Kenny (Rockmelons), Tim Watson (Taxiride), Vince Contarino, Terry Slesser (UK) Louise Person as well up-coming Melbourne singer Nic MC.
Steve’s new album ‘Déjà Vu’ is scheduled for release later in 2022. All songs were written by Steve except ‘Pump’ with Pat Powell and ‘Ronnie’ with John Kenny. Steve played all instruments but with help of a few very talented guests: Gus Fenwick, Nic MC, John Kenny, Pat Powell , Glen Muirhead, Ralph Franke, Raechel Summers, Mac Johnson.
The album was mixed by Steve with the exception of ‘Bouquet Of Life’ which was mixed by Russ T Rock.
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PG Naylor brings a new original visit to 60s classic rock music. All songs are written and performed by PG – who was there then in the 60s and is still here now! Although all the songs are new, they slot perfectly into a 60s rock playlist. PG has been playing in rock bands based in Sydney, Australia since the 60s, and after a life in the corporate world he has returned to his first love – 60s rock music. The title track to his album, Sanctuary, was announced as a semi finalist in the 2019 International Songwriting Competition, based in Nashville, USA; the tracks Sanctuary and Hollywood Road were both announced as semi finalists in the 2020 Voyager International Songwriting Competition based in Melbourne, Australia as well.
Demonstrating that there is still great interest in ‘old rockers’, since 2020 his songs have attracted over 80,00 listeners and just under 160,000 streams on Spotify (and still growing every day!)
The releases for 2022 so far include -
Better Left Unsaid – Hate to be a name dropper but I was having lunch with Mike McClellan at the Greengate Hotel in Killara (he was an old schoolmate of mine) and he told me he’d just written a song about seeing a lady at the airport and wondering who she was waiting for. He also thought he knew the lady but couldn’t place her till after she’d left. It turns out she was a well known personality but he wouldn’t reveal who.
Anyhow, I was searching through my old songs and I found this song that I’d written 20 years before for my wife’s birthday which sounded pretty catchy. So I adapted Mike’s idea to a railway station – changed my old lyrics to a tale about being tempted to say something to a lady at the station but deciding – ‘better left unsaid’.
Sensible - Was written about 20 years ago about my frustration with people who procrastinate instead of ‘just doing it’. It also started with some more fiddling around that Em7 chord to which I added a sequence of G, Bm and C followed by a C#dim to link to the chorus. It made, I thought, a nice melody with a ‘sing along type’ chorus. But my demo and Kim’s original tracks were all guitar-based. John Roy had other ideas.
He has a grand piano in the middle of his studio and he decided to record a sole grand piano track – he and Kim sent it to me for my reaction and I was blown away. Some guitar, bass and drums plus vocal and harmonies were added and voila! there we have Sensible as you hear it today.
Producer Kim Humphreys(John Farnham Band, Ted Mulry Gang) on working with PG
I really enjoy shaping Phil’s demos and seeing them evolve into what you can now hear, having taken the songs beyond the boundaries PG considered.
His songs all have a ‘’Back to the 60’s’ slant . . . the period which continues to inspire my own approach to guitar playing ,recording and producing.
If this was the mid 60’s he would no doubt have Top 40 hits on his hands!
Recent International reviews
“Sensible is a beautiful, serene piano number with PG Naylor’s subtle vocals. It’s interesting in the 1:00 minute that the song takes a different turn as if we were stepping into a musical and later being embraced by guitar riffs”- TECO APPLE
“Showland ProductionsI really enjoyed the smooth and mellow entrance to Sensible. The instrumental is extremely catchy, and ready for a scene in a major motion picture. The tone and cadence in your vocals are soothing and perfect for singing along with.”
“PG Naylor is able to make something refreshing and retro while staying as clean and crisp as modern music can be. An A+ effort.” James McQuiston, Neufutur Magazine
Stream on Spotify:
Better Left Unsaid
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More sublime Spanish Flamenco Guitar from Australia’s very own Gareth Koch.
Moorish influence in flamenco music goes back thousands of years, but it was the Islamic invasion in 711, that determined the musical influences from North Africa. The Moors and Arabs brought their musical forms to the Peninsula. The Emirate, and later Caliphate of Córdoba became a centre of influence in both the Muslim and Christian worlds where it attracted musicians from all Islamic countries.
This flamenco piece starts with a Tabor drum and includes some bass guitar filling out the lower frequencies. The song evokes a Middle-Eastern as well as a flamenco mood and as always the playing is superb and is a worthy addition to the monthly single releases Gareth is undertaking.
About Gareth Koch
Gareth Koch is an ARIA Award winning recording artist, guitar soloist, composer & songwriter. He has recorded a diverse repertory across multiple albums spanning works for classical guitar, flamenco, original compositions, arrangements, medieval projects & songwriting. He has appeared at major festivals within Australia, Europe, Asia and North America.
Born in Milan, Koch began his musical studies on piano and clarinet, and at age 12 was accepted into the Mozarteum in Salzburg. He received his Bachelor of Music degree at the Sydney Conservatorium of Music before winning a scholarship for advanced guitar study at the Vienna Academy of Music. He holds a PhD in Music.
In 2002 Koch formed what might be termed the first guitar supergroup. Saffire – The Australian Guitar Quartet soared to number 1 on the classical music charts and appeared on the pop charts. The quartet released a total of 3 best-selling albums.
Gareth is involved with many cross genre projects & in 2020 released two collaborative albums with ARIA Hall of Fame inductee Steve Kilbey (The Church).
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Luke Escombe’s personal and professional life reached a high point in 2019, culminating in him moving into a new home with his young family in one of Australia’s most sought-after postcodes. Everything was going great. Then the world ended.
A giant cloud of bushfire smoke descended on his Northern Beaches paradise, and the excitement of 2019 was replaced by a creeping sense of anger and despair. “Whale Beach Road”, the first single from Luke’s upcoming album, his first in over five years, came at the start of an intense period of song writing and soul-searching fuelled by his desire to reclaim a sense of love and hope.
Checkout the video
Recorded at Damien Gerard studios on the Central Coast in 2020 and then added to in stolen moments between lockdowns, the track features soaring strings and Luke’s fiery electric guitar over a tense rock-reggae groove laid down by some of Australia’s most acclaimed players, drummer Evan Mannell, bassist Zoe Hauptmann, guitarist Aaron Flower and organist Clayton Doley.
“Luke Escombe is a rock-soul singer, raconteur, blistering blues guitarist, comedian and songwriter, and very good at them all” – Sydney Morning Herald
Luke Escombe is an ARIA-nominated singer-songwriter who combines his blues, rock and soul influences with subversive humour, poetic lyrics and heartfelt storytelling. He is the creator of the internationally acclaimed one-man show “Chronic” and the writer and front man of multi award-winning Aussie kids band The Vegetable Plot.
Checkout The New Single OUT NOW on Foghorn/MGM
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Heres the most recent review of John Kennedy’s Raining Treasure Volume 2 (More Australian Indie Gold Covers) by none other than Michael Smith – a bit of an Aussie Icon himself
Before the creative juices are once again unleashed in order to explore the next musical chapter, John Kennedy found there was still a little unfinished business from his past few years of activity, taking stock of various aspects of his back catalogue either as selections from across several releases with 2018’s compilationSecond Best, or remastering his most successful album,Always the Bridegroom, recorded with his band Love Gone Wrong, which topped the Australian Independent Music charts in 1987. Then there was his bit of fun, a collection titled Raining Treasure, loving reinterpretations of his favourite post-punk indie Australian pop singles.
Well, before he and the band kick into recording an album of new material, Kennedy felt that there was still some fun to be had from those classic singles – and some you would never have imagined crossed the defiantly defended “frontier of cool” that ruled in the late ‘80s and early ‘90s. Though, “I don’t think you can beat ’66, ’67 quite frankly,” he admits, “but ’72 gives it a good run.” Enter Raining Treasure Vol. 2. “In terms of engagement with music, it was really the punk, New Wave and then the DIY explosion that followed that which led me to get involved in my first garage bands after school, and then, after an old school friend (singer and guitarist) James Paterson returned from an overseas trip, we formed JFK and the Cuban Crisis and got involved in the Brisbane indie scene. We were the wave behind the Go-Betweens and the Riptides. So all of that was in the background, that early ‘80s golden period of Australian indie and of course there was a lot of great stuff that happened in the late ‘70s and all through the ‘80s on independent record labels, so that’s what was really the inspiration behind these two Raining Treasure albums.
“The first time around it was pretty much going through my own seven-inch vinyl collection, just picking my favourites or absolute ‘stone-cold’ classics of the genre, and then trying to find our own interpretation, or super-charging them. This time round I did look further to some acts that I would never have been into in that period. I also looked at those two compilations Do The Pop and Tales from the Australian Undergroundand then I was asking other people what they thought would make coolselections. One of the key examples of throwing a wider net for Volume Two came from the band’s bass player Phil Hall. He had noted my aversion to Radio Birdman the first time round and said, ‘Well, here’s one that we might be able to do something with,’ and pitched Radio Birdman’s ‘Hand of Law’. Apart from two or three songs I don’t know much of Radio Birdman’s catalogue, but he played it to me and I liked it but it’s pretty simple and doesn’t go anywhere. It just gets in a groove, which is a good groove, and he suggested that perhaps I could amend the melody and push it a little further – which is what I did – added a few chords to the chorus, and then rather than putting in the ‘Theme from Hawaii Five-O’, we put in ‘Pipeline’, so a little homage to Birdman’s surf-punk genre.”
The least likely song Kennedy could have chosen has to be The Angels’ ‘Am I Ever Gonna See Your Face Again’. “We have done it as a waltz live, in the past; not very often but in the wake of Doc Neeson’s death as a little bit of a tribute. It’s a great pop song in the original version but it was nice to actually to bring a completely different vibe to it – that’s Phil Hall playing vibes in the background! He’d provided the horns on a couple of songs on Raining Treasure Volume One. The Cruel Sea’s ‘The Drift’ was an interesting choice, and ‘My Pal’ by GOD was a left-of-field selection, but then Phil just worked them and worked them and turned those two into epics.”
And if you’re going to cover The Sports’ ‘Who Listens to the Radio’, why wouldn’t you kick it off with the riff behind Mental as Anything’s ‘Nips Are Getting Bigger’. “It just occurred to me that they’re not too far apart in the groove,” he chuckles. “In our band me and (guitarist) Murray Cook especially are both huge Sports and Mentals fans. And why the reggae groove? If you listen to the rhythm guitar in the Sports original, that’s the rhythm that’s being played. So I just sort of latched onto that with the proviso that we were not making ‘mock’ reggae. We just wanted to touch that flavour.”
Then there’s the upbeat country take on ‘Shivers’. “It’s odd, because I’d call this a classic, but for the Young Charlatans it might have sold in the hundreds, so it’s not a best-seller” – Kennedy perhaps tastefully ignores the fact that The Screaming Jets scored themselves a #19 hit single with it in 1993 – “but it’s still somehow iconic, so how do you take it and offend as many of its original fans as possible?! So we thought we’d go with a country song with banjo to the fore.”
Checkout Shivers Video
Raining Treasures Vol. 2sees Kennedy performing his first duet, on a tune titled ‘Face with No Name’. “Phil played in the last reformation of Flaming Hands about two years ago – he was actually playing sax. I obviously knew of them from back in the day but it was also obvious that Julie Mostyn still has a fantastic voice, so when we were thinking about how we would approach the song I asked Phil if Julie would be up for a duet, and happily she was.” And Kennedy unleashed his inner Jim Morrison as the song breaks out into The Doors’ ‘Do You Love Her Madly’. MICHAEL SMITH
Sydney Upcoming dates
Egg Records Instore, Sat 4 June
Golden Barley Hotel, Sun 5 June
Melbourne Tour Dates
Lomond Hotel, Brunswick East Thurs 16 June (Melbourne album launch)
Dogs Bar, St Kilda on Fri 17
Post Office Hotel, Coburg on Sat 18
Stream or Download the album here