Tag: Triple J

Video by William Ruben Helms

Live Footage: Husky Performs Their Gorgeous New Single “Splinters In The Fire”

Over the past five years or so, I’ve written quite a bit about the Melbourne, Australia-based indie folk/indie rock act Husky. Initially formed as a quartet featuring is founding members and primary songwriters Husky Gwenda and Gideon Preiss (keys, vocals), along with Evan Tweedie (bass, vocals) and Luke Collins (drums) filling out the band’s original lineup, the quartet quickly received national attention and acclaim after they won Triple J’s Unearthed Contest. As the result of a growing national profile, the band played at The Push Over Festival, one of their homeland’s biggest music festivals and they’ve opened for several internationally known touring acts, including Devendra Banhart, Noah and the Whale, The Shins, and Gotye.
The band’s remarkably self-assured and gorgeously lush full-length debut Forever So was released globally through Sub Pop Records — and the album was interestingly enough recorded in a loving DIY fashion with reclaimed recording gear in an abandoned bungalow near Gwenda’s house. The band’s sophomore effort Ruckers Hill further cemented the act’s reputation for incredibly crafted songs possessed effortlessly gorgeous melodies paired with anthemic hooks; however, as you may recall, with the release of “Late Night Store” late last year, the band revealed a massive change in thematic and sonic direction that was influenced by a lineup change that left the band’s founding duo as its sole members, and from the year that Gawenda and Preiss spent living in Berlin. And one of the first things you’d notice if you had been familiar with the renowned Australian band is that while the material off their first two albums was melody-driven, “Late Night Store” was much more hook-driven and featured Gawenda and Preiss employing the of analog synths and electric guitar in what may have been one of their most rock-leaning songs they’ve written and released. Thematically, the song captured the wild array of sensations and emotions most commonly felt when you’re far away from home — in particular, awe, reinvention, danger, of being in the words of Paul Salopek “a traveler, a man from far away” — while evoking the sensation of wandering around all hours of the day and night from jet lag, excitement, boredom and loneliness from hotel room to cafe, from cafe to bar, from bar to nightclub, observing everyone and everything around you; the strange and profound bond you have with others, who are like you, far away from home and are wandering around with the exact same thoughts and feelings reverberating in their heads.

“Ghost,” the band’s first single of 2017 and the second single off the band’s third full-length album Punchbuzz continued in a similar vein as its preceding single as it features shimmering, arpeggio synths, a propulsive bass line, thundering drumming and a rousingly anthemic hook — and while pushing the sound that won them international attention into a contemporary, rock-leaning take, both “Late Night Store” and “Ghost” are among the most personal yet ambitious songwriting of Gawenda’s career.

“Splinters In The Fire,” the soon-to-be released third album’s third and latest single can trace its origins to a guitar line that had been repeating in his head for weeks while the line “Splinters in the fire, summer days in the smoke” kept making its way into the lyrics had been writing. As Gawenda explains in press notes, there was “something about ruthlessness of fire — and time.” And as a result, the song possesses the wistful and sober mood of one coming to grips with the end of relationships, the passing of time and the acceptance of one’s own mortality; after all, all things pass and all things die, and this is is the way of things.

The duo, along with their backing band released a live video of them performing of the song, shot in the gardens of an old, somewhat abandoned mansion near their residence in Melbourne — and from the video, it’s a big rambling place, in which ghosts and spirits haunt and wander about.

Single Review by William Ruben Helms

If you’ve been frequenting this site over the past five years or so, you’ve likely come across a handful of posts featuring the  Melbourne, Australia-based indie folk/indie rock act Husky. Initially formed as a quartet featuring founding members and primary songwriters Husky Gawenda (vocals, guitar) and Gideon Preiss (keys, vocals) with Tweedie (bass, vocals) and Luke Collins (drums) filling out the band’s original lineup, the band quickly received national acclaim after winning  Triple J’s Unearthed Contest and playing at  The Push Over Festival, one of Australia’s biggest music festivals. Adding to a growing profile, the band opened for severally internationally known touring acts including Devendra Banhart, Noah and the Whale, The Shins, and Gotye.

 

As the story goes, the band’s remarkably self-assured and gorgeously lush full-length debut Forever So was released globally through Sub Pop Records but it was actually recorded in a lovingly DIY fashion with old recording gear in an abandoned bungalow near Husky Gwenda’s house. The band’s sophomore effort Ruckers Hill further cemented the act’s reputation for incredibly crafted songs that possessed elements of folk, pop and indie rock, along with some gorgeous melodies and rather anthemic hooks; however with up until the release of “Late Night Store” late last year, the band revealed a change in thematic and sonic direction that was influenced by a massive lineup change that left the band’s founding duo as its sole members — and from the year that Gawenda and Preiss spent living in Berlin. Whereas the material off their first two albums was melody- driven, “Late Night Store” was much more hook-driven and featured the band employing the use of synths, keys and electric guitar in what may arguably one of the more rousingly anthemic songs they’ve released. Thematically, the song captured the wild array of sensations and emotions most commonly felt when you’re far away from home — in particular, awe, reinvention, danger, of being in the words of Paul Salopek “a traveler, a man from far away” —  while evoking the sensation of wandering around all hours of the day and night from jet lag, excitement, boredom and loneliness from hotel room to cafe, from cafe to bar, from bar to nightclub, observing everyone and everything around you; the strange and profound bond you have with others, who are like you, far away from home and are wandering around with the exact same thoughts and feelings reverberating in their heads.

 

“Ghost,” the second and latest single off the band’s third full-length effort Punchbuzz, slated for a June 2, 2017 continues in a similar vein as its preceding single as it features shimmering arpeggio synths, a propulsive bass line, thundering drumming and a rousingly anthemic hook — and while being an ambitious and contemporary, indie rock-leaning take on the sound that won them international attention, both singles manage to be among the most personal songwriting of Gawenda’s career. Interestingly, as Gwenda explained to the folks at Clash, “‘Ghost’ is about a process of coming to terms with this half-asleep, half-awake, somewhere between the haunted past and the sunlit possibility of tomorrow, mid-air, mid-dream state. Put simply, I was searching for a way to get free. Free of the past. Free of the future. Free of myself. Whatever that means.”  And as a result, the song possesses an urgent yearning for something that’s not quite there in front of you while hinting at the regrets, mistakes and experiences that accumulate to create a messy, lived-in life.

 

 

 

Single Review by William Ruben Helms

Earlier this month I wrote about the sibling indie rock quartet  Stonefield. Healing from Darraweit Guim, a small rural town in the southeastern Australian state of Victoria, the sibling quartet featuring Amy (drums, lead vocals), Hannah (guitar), Sarah (keys) and Holly Findlay (bass) can trace the origins of the band and their music careers to when they began playing together at a rather young age — ranging from the youngest being seven and the oldest being 15. The band’s first song “Foreign Lover” was recorded by the band’s eldest member, Amy Findlay for a school project — and was then reportedly entered in Triple J’s national, unsigned band competition for youngsters Unearthed High as an afterthought; however, the Findlay Sisters wound up winning the contest, and within an incredibly short period of time, they had two singles receiving regular airplay and an invitation to play at the Glastonbury Festival.

Since then, the members of the sibling quartet have released two EPs and their self-titled, full-length debut and with a growing international profile have toured extensively,  including at some of the world’s largest festivals. Adding to a growing profile, the Australian indie rock quartet  has opened for a variety of renowned acts including Fleetwood Mac, Meat Puppets — and a Stateside tour with fellow countrymen King Gizzard and the Lizard Wizard earlier this year.

Stonefield’s sophomore full-length effort As Above So Below was released earlier this month through Rebel Union Recordings/Mushroom Records and the album’s first single “Changes” was a dreamy and swirling bit of psych rock featuring a propulsive, motorik-like groove and some impressive guitar work, played though massive amount of effects pedals. And while nodding at The Mallard’s Finding Meaning in Deference and The Fire Tapes’ Phantoms, the track reveals a cool-self assuredness that belies their relative youth and some ambitious songwriting. The Australian sibling quartet’s latest single “Sister” is featured both on the “Changes”/”Sister” 7 inch and on their recently released album, and the single is a doom-laden, power chord dirge that sounds as though it were influenced by Black Sabbath and stoner rock. And much like “Changes,” “Sister” reveals some ambitious songwriting by a band, who seems poised to kick ass and take names — right this very second.

 

 

 

Single Review by William Ruben Helms

Hailing from Darraweit Guim, a small rural town in the southeastern Australian state of Victoria, Stonefield is comprised of siblings Amy (drums, lead vocals), Hannah (guitar), Sarah (keys) and Holly Findlay (bass), who can trace the origins of the band and their music careers to when they began playing together at a rather young age — ranging from the youngest being seven and the oldest being 15. And interestingly enough, the quartet’s rise to both national and international attention started when the band’s first song “Foreign Lover” was recorded by the band’s eldest member, Amy Findlay, for a school project — and then was reportedly entered in Triple J’s national, unsigned band competition for youngsters Unearthed High as an afterthought. The sibling quartet wound up winning the contest and within an incredibly short period of time, they had two singles receiving regular airplay and an invitation to play at the Glastonbury Festival.

Since then, the members of the sibling quartet have released two EPs and their self-titled, full-length debut and with a growing international profile have toured extensively,  including at some of the world’s largest festivals. Adding to a growing profile, the Australia band has opened for a variety of renowned acts including Fleetwood Mac, Meat Puppets — and a recent Stateside tour with fellow countrymen King Gizzard and the Lizard Wizard.

Stonefield’s sophomore full-length effort As Above So Below is slated for release on Friday through Rebel Union Recordings/Mushroom Records and the album’s first single “Changes” is a dreamy and swirling bit of psych rock consisting of a motorik-like groove propelling the song forward and some impressive guitar work, played through massive amounts of effects pedals — and in some way, the song reminds me a bit of The Mallard’s Finding Meaning in Deference and The Fire Tapes’ Phantoms as the members of the Australian quartet play with a cool, self-assuredness that belies their relative youth — while revealing some ambitious songwriting.

 

 

Video by William Ruben Helms

New Video: JOVM Mainstay REMI Further Cements His Growing Reputation for Thoughtful, Conscious, and Soulful Hip-Hop

Now, if you’ve been frequenting this site over the past year or so, you’ve likely come across a couple of posts on Melbourne, Australia-based emcee Remi and his producer and collaborator Sensible J. And as you may recall the duo rose to national prominence with the 2014 release of their critically and commercially successful effort Raw X Infinity, an album that was named Triple J’s Album of the Week and the Independent Hip Hop Album of the Year by the Australian Independent Record Association, and received international attention from OkayAfrica, JUICE, laut.de, NPR‘s All Things Considered, and several others. Adding to a growing national and international profile, the young Melbourne-based artist was named “Australian Breakthrough Artist of the Year” and he along with his producer and collaborator wound up touring nationally and across the UK and the EU with Danny Brown, Vic Mensa, De La Soul, Joey Bada$$ and Damon Albarn.

Last year saw the release of the duo’s critically applauded full-length Divas and Demons, an album that revealed a supremely talented emcee, who was an adept lyricist and storyteller, whose stories possessed an earnest and soul-baring honesty. In fact, you may recall that I wrote about the album’s first three singles “For Good,” a charmingly coquettish love song in which its male and female narrators have misunderstandings, bicker and fight, cheat an drive each other insane in a youthfully dysfunctional relationship featuring Sydney, Australia-based poet, visual artist and singer/songwriter Sampa The Great rhyming and singing over a warm and soulful production by Sensible J that nodded at The Roots and Erykah Badu’s “You Got Me.” “Substance Therapy,” the album’s second single featured Remi rhyming honestly about how drinking, drugging and womanizing as an escape from himself and his depression only managed to further mire him in depression. Along with provocative, soul-baring lyrics, Sensible J’s production was meant to emphasize vacillating sense of self-loathing, elf-doubt, fear, anger, and desperate escapism of the dangerously depressed. The album’s third single “Lose Sleep” was a deeply personal song that drew from Remi’s own experiences a mixed race man in Australia and in the world — and in some way, he wanted the song to be a message to other mixed race kids about that weird feeling of feeling as though you could never quite fit in; but that his experience and story, as of those of others matters in a much larger story.
“Contact Hi/High/I” is the latest single off 2016’s Divas and Demons and the as the Melbourne-based emcee explains of his collaboration with Hiatus Kaiyote’s Silent Jay, “I wrote this joint when I was living out of home. One of my friends once told me: ‘In Australia, we have it so good, we’re afforded the liberty to stay childish for our whole lives.’ Whether drinking culture, drug culture, consumerism, etc. I kinda noticed this in myself and wanted to just write about my childish mentality, and how it was being validated by my vices.” The single features both Silent Jay and Remi singing and rhyming over a warm and soulful Sensible J production consisting of twinkling keys, congo drumming and stuttering beats. Interestingly, as a New Yorker, the song captures a familiar sentiment that has come up lately in my life, especially as I inch my way into my 40s.

The recently released music video features Remi, Sensible J and Silent Jay baking cookies, goofing off and hanging out with their homies but underneath the mischief and comic antics is a more serious commentary. In fact, there’s the sense of each of the video’s subjects playing at being adults and not quite knowing how to do it properly; but if you truly consider it: no one really quite knows what to go about being an adult, they make it up as they go along.

Video by William Ruben Helms

Live Footage: Up-and-Coming Australian Pop Artist Woodes Live at The Line in Melbourne Australia

Best known as Woodes, Elle Graham is an up-and-coming, 24-year-old, Melbourne, Australia-based singer/songwriter and producer, who first came to national attention across Australia with a commercially and critically successful collaboration with fellow Australian producer Elkkle on a single that wound up becoming one of 2015’s most played songs on Triple J’s Unearthed Radio. Building upon a growing national profile, Graham collaborated with an impressive list of contemporary artists and producers including FØRD, Golden Vessel, Atticus Beats and North Elements. Adding to a growing profile, Graham released her 2016 self-produced self-titled debut EP, which debuted in the iTunes Top 20 Charts in 7 countries and received more than 2 million streams, while receiving praise across the blogosphere from Indie Shuffle, Pigeons and Planes, i-D, as well as from actress Emma Roberts, who has tweeted about her love of “The Thaw.”

“Bonfire,” Graham’s latest single consists of a looped, handclap-led production featuring tribal polyrhythm, shimmering and moody guitar chords, twinkling keys, buzzing and atmospheric electronics with Graham’s ethereal yet soulful vocals with a soaring hook. And while drawing from a cherished childhood memory of being both fearless and carefree, the song manages to sound unlike anything in contemporary pop today.

Just in time for her Stateside and SXSW debut and the release of three remixes of the song, Graham released both the live video of her and her backing band performing “Bonfire” at The Line in Melbourne.

Single Review by William Ruben Helms

Last month, you may have come across a post on Rohan Newman,  a Melbourne, Australia-based producer and electronic music artist, best known in electronic music circles as Roland Tings. Back in 2012, while as a virtual unknown, the Australian producer and electronic music artist caught the attention of enowned Los Angeles, CA-based electronic dance music label, 100% Silk Records, who released his debut EP.  And unsurprisingly, thanks to the cosign from the renowned Southern California-based label and the international attention he received, Newman quickly became one of Melbourne’s go-to producers and DJs, performing at some of the city’s most raucous house parties and basement jams. With an even larger profile, Newman quickly signed to renowned Norwegian electronic music label Internasjonal, founded by alt-disco, electronic music star Prins Thomas, and the label released Newman’s 2015 full-length debut, an album that Triple J named their Feature Album of the year.

Each Moment a Diamond, Newman’s soon-to-released sophomore Roland Tings album reveals a change in songwriting approach, with Newman renting a studio located in Melbourne’s industrial backstreets and treating the songwriting and production process as a 9-5 job, in which Newman developed a routine deliberately based around a repetitive and dependable schedule: every morning during the writing and recording of the album, Newman ate the same breakfast, rode his bike along the same route to the studio and hung up with the same friends at familiar places.  “Being at the studio all day every day was psychologically demanding. For each good idea I had, there were maybe 30 bad ones, which is hard to face when you look back on months of work and realize the majority of the material will never make the record. Eventually though I was able to see each ‘failure’ as a crucial contribution to overall whole,”Newman reflected in press notes.  “The routine also allowed me to grasp good ideas when they surfaced -– when something was different, when something sounded great, I quickly noticed and was able to follow each thread. Another valuable realization from this process was knowing when to stop, when to let go of an idea, power down the studio, get on my bike and head home.” Certainly, when you deal in a creative world, some of the lessons Newman learned while writing could be useful. . .

“Higher Ground” the first single off  Each Moment a Diamond was a collaboration feating the breathy and sultry vocals of Nylo  in a percussive, Zonoscope-era Cut Copy inspired house music track, featuring shimmering arpeggio synths, thumping beats, an rousing and soaring hook, and about 3/4s of the way through some Nile Rodgers-like funk guitar are added in a slickly produced song that focuses on the urgently swooning passion of first love.  The album’s second and latest single “Garden Piano” sonically owes a debt to classic, Larry Levan-era house music and Octo Octa‘s Between Two Selves, as the song is based around a slick production featuring thumping yet highly processed processed beats and shuffling drum and industrial cling and clatter are paired with twinkling, arpeggio synths and warm, funky blasts of Nile Rodgers-like guitar. And much like the preceding single, “Garden Piano” is a certified club-banger of a song that manages to possess a deliberate yet soulful feel.

Newman will be embarking on a extensive North American tour to support his newest album, opening for Warp Records’ stalwart Clark and Ghostly Records’ Com Truise and that tour will include a May 25 stop at Warsaw. Check out the rest of the tour dates below.

Tour Dates

 

May 1 – Santa Ana, CA – Constellation Room @ The Observatory

May 2 – Santa Cruz, CA – The Catalyst Atrium
May 4 – Portland, OR – Holocene

May 5 – Vancouver, BC – Imperial

May 6 – Seattle, WA – Neumos

May 7 – Eugene, OR – Wow Hall

May 9 – San Francisco, CA – Mezzanine

May 10 – Santa Barbara, CA – Soho Music Club

May 11 – Los Angeles, CA – The Regent Theater

May 12 – San Diego, CA – The Belly Up

May 13 – Santa Fe, NM – Meow Wolf

May 14 – Denver, CO – Bluebird Theater

May 16 – St. Louis, MO – Firebird

May 17 – Nashville, TN – Exit In

May 19 – Washington, DC – U Street Music Hall

May 20 – Boston, MA – Together Boston Music & Arts Festival

May 21 – Hamden, CT – The Ballroom

May 23 – Baltimore, MD – Ottobar

May 24 – Philadelphia, PA – Coda

May 25 – Brooklyn, NY – Warsaw

May 26 – Montreal, QC – Theatre Fairmount

May 27 – Toronto, ON – Velvet Underground

May 28 – Detroit, MI – Ghostly Intl/Warp Movement Afterparty @ The Shelter

May 30 – Pittsburgh, PA – Rex Theater

June 1 – Indianapolis, IN – The Hi-Fi

June 2 – Cleveland, OH – Grog Shop

June 3 – Chicago, IL – Concord Music Hall

June 4 – Minneapolis, MN – Fine Line Music Café

June 5 – Omaha, NE – Slowdown

June 6 – Kansas City, MO – Record Bar

June 7 – Dallas, TX – Trees

June 8 – Houston, TX – White Oak Music Hall

June 9 – Austin, TX – The Mohawk

June 10 – Mexico City, MX – Sala Corona

 

 

Single Review by William Ruben Helms

Rohan Newman is a Melbourne, Australia-based producer and electronic music artist, best known as Roland Tings — and in 2012, the Australian producer, who was then a virtual unknown caught the attention of renowned Los Angeles, CA-based electronic dance music label, 100% Silk Records, who released his debut EP. Unsurprisingly, as a result of his connection to the renowned label, Newman quickly became one of Melbourne’s go-to producers and DJs, performing at some of the city’s most raucous house parties and basement jams. Adding to a growing national and international profile, Newman was signed to renowned Norwegian electronic music label Internasjonal, founded by alt-disco, electronic music star Prins Thomas, and the label released Newman’s 2015 full-length debut, an album that Triple J named their Feature Album of the year.

Each Moment a Diamond, Newman’s much-anticipated sophomore Roland Tings album reveals a change in songwriting approach, with Newman renting a studio located in Melbourne’s industrial backstreets and treating the songwriting and production process as a 9-5 job, in which Newman developed a routine deliberately based around a repetitive and dependable schedule: every morning during the writing and recording of the album, Newman ate the same breakfast, rode his bike along the same route to the studio and hung up with the same friends at familiar places.  “Being at the studio all day every day was psychologically demanding. For each good idea I had, there were maybe 30 bad ones, which is hard to face when you look back on months of work and realize the majority of the material will never make the record. Eventually though I was able to see each ‘failure’ as a crucial contribution to overall whole,”Newman reflected in press notes.  “The routine also allowed me to grasp good ideas when they surfaced -– when something was different, when something sounded great, I quickly noticed and was able to follow each thread. Another valuable realization from this process was knowing when to stop, when to let go of an idea, power down the studio, get on my bike and head home.” Certainly, when you deal in a creative world, some of the lessons Newman learned while writing could be useful. . .

“Higher Ground” is the first single off Each Moment a Diamond, and the song is a collaboration featuring the breathy and sultry vocals of Nylo in a percussive, Zonoscope-era Cut Copy inspired house music track, featuring shimmering arpeggio synths, thumping beats, an rousing and soaring hook, and about 3/4s of the way through some Nile Rodgers-like funk guitar are added in a slickly produced song that focuses on the urgently swooning passion of first love. And while being a club-banger, the song manages to possess a radio-friendly vibe.

 

 

 

Single Review by William Ruben Helms

With the release of critically applauded singles “Women’s Business” and “Here We Go,” Melbourne, Australia-based quintet Canary have won both national and international attention as the former charted on Hype Machine and the latter received airplay through triple J — and as a result, the band has opened for the likes of Saskwatch, Ainslie Willis, Hein Cooper and LANKS.

Building upon the buzz that they’ve already received, the Australian quintet’s sophomore effort I Am Lion is slated for a July 8, 2016 release and the album’s first single “Fickle Heart” was largely inspired by frontman Matthew Kennealy’s  breakup — and as a result, the song focuses on the bitterly self-righteous feelings of self-destruction and hatred in the aftermath of a relationship’s violent explosion.  Sonically,the band employs sludgy power chords in a song structurally sounds as though it owes a debt to 90s alt rock — as the song alternates between anthemic hooks and quieter, more contemplative sections. And throughout the song’s narrator spends his time reflecting on the nature of a relationship that’s left him heartbroken, bitter and wishing that he never met this person in the first place. Certainly, it’s a sentiment that should feel universally familiar to anyone who’s been through a nasty breakup.

 

 

 

. 

 

 

 

 

 

Single Review by William Ruben Helms

Daniel Cartisano is a Sydney, Australia-based electronic music artist, producer and vocalist, and his solo recording project MK Grands draws from a diverse array of influences including Tom Waits, Arca, Bon Iver, and Flying Lotus, and in a relatively short period Cartisano has received praise and attention nationally and internationally through features on Triple J‘s Unearthed, HillyDilly, French publications Teez FM and Pause Musicale and GQ Magazine UK among others for a icy and broodingly atmospheric pop sound.

Building on the national and international buzz that he has already received, Cartisano will be releasing an EP at some point in the near future — but in the meantime, his latest single “Hold You Down,” is a sparse track that pairs ominously swirling and icy synths, glitchy beats and Cartisano’s plaintive falsetto as the song slowly builds up with a layer of cascading synths that appear towards the song’s last 45 seconds or so.

The song is centered around the deeply conflicting and intense feelings shared by two people, who are trying to leave each other after being together for a considerable period of time. In other words, it captures the strange push and pull sensation of desire, longing, revulsion and contempt that can frequently come about in long-term relationships. But at the core of the song is the sense that it comes from a deeply personal experience — one that’s paradoxically almost universal for anyone, who’s been in a long-term relationship.

New Video by William Ruben Helms

New Video: Introducing Australian Indie Rock Trio, Postblue and Their, New 120 Minutes-Era Sound

Postblue is a Melbourne, Australia-based indie rock trio that formed in Byron Bay, Australia back in 2012. And with the release of their debut EP, Lap Year, the band received national attention as they played at […]

Single Review by William Ruben Helms

New Audio: Introducing The Breezy, Electro Folk Sound of Melbourne, Australia’s Oh, Pep!

Comprised of Olivia ‘Liv’ Hally and Pepita ‘Pep’ Emmerichs, the Melbourne, Australia-based contemporary folk duo Oh, Pep! have quickly amassed quite a bit of success — and they haven’t yet turned 23; they were awarded the Young […]

Uncategorized by William Ruben Helms

New Audio: Husky “Arrow”

If you’ve been frequenting JOVM over the last few years, you may be familiar with the Melbourne, Australia-based quartet Husky. They’ve had the kind of success that people would immediately refer to as “overnight success” after […]

Uncategorized by William Ruben Helms

Comprised of Nick Drabble and Stu Turner, the Australian production team of Set Mo first received international praise across the blogosphere and several major media outlets such as Indie Shuffle, Acid Stag, Hilly Dilly and […]