David Guetta has just dropped the tracklist for his forthcoming seventh album, 7. In addition to this, he has also released two brand new tracks fresh off the album, a collaboration track with Jason Derulo ‘Goodbye (feat. Nicki Minaj & Willy William)’ and ‘Drive (feat. Delilah Montagu)’ with Black Coffee.
Known as the “grandfather of EDM”, the Grammy Award winning producer has sold over nine million albums and thirty million singles worldwide. With six albums under his belt thus far and a string of hit singles such as ‘Titanium (feat. Sia) and ‘Where Them Girls At (feat. Flo Rida and Nicki Minaj)’, this next album is sure to be a smash hit.
With a producer as accomplished as David Guetta, we can always expect a bunch of huge names featuring on his tracks. A fifteen track affair, 7 boasts collaborations with artists such as Sia, Justin Bieber, Nicki Minaj, Jason Derulo, Bebe Rexha, and a ton of other big names in the industry.
Guetta has already released a few tracks from 7, such as ‘2U (feat. Justin Bieber), ‘Flames (feat. Sia)’, ‘Like I Do (feat. Martin Garrix & Brooks), and ‘Don’t Leave Me Alone (feat. Anne-Marie). From what we’ve seen so far, we can expect an album that is quintessentially Guetta, and provides us with a bunch of chart-topping hits.
‘Goodbye’ with Jason Derulo, Nicki Minaj and Willy William is an incredibly catchy track that’s sure to be a chart topper. Fusing pop, latin-pop, electronica, and rap, the end result is a sound that’s a little different, yet still set for commercial success. Guetta’s other new track, ‘Drive’ with Black Coffee featuring Delilah Montagu is different to what you would usually expect from Guetta but is sure to be a treat who prefer the more EDM leaning tracks to his music rather than the pop hits.
7 is due for release September 14 via Warner Music and is currently available for pre-order here, check out the album tracklist below.
Don’t Leave Me Alone (feat. Anne-Marie)
Battle (feat. Faouzia)
Flames (feat. Sia)
Blame It On Love (feat. Madison Beer)
Say My Name (feat. Bebe Rexha & J. Balvin)
Goodbye (feat. Jason Derulo, Nicki Minaj, & Willy William)
I’m That Bitch (feat. Saweetie)
Like I Do (feat. Martin Garrix & Brooks)
2U (feat. Justin Bieber)
She Knows How To Love Me (feat. Jess Glynne & Stefflon Don)
Motto (feat. Steve Aoki, Lil Uzi Vert, G-Eazy & Mally Mall)
There was rock, there was roll and there were raucous riffs as Queens of the Stone Age tore Brisbane’s Riverstage apart.
Before Queens took to the stage, the night was kicked off by a performer whose name also contained the word “stone” and a form of monarch: veteran bluesman C. W. Stoneking.
The spritely Stoneking unfortunately fell victim to a broken string during his first song, on seemingly his only guitar. Despite this, he soldiered on, to the approval of the growing crowd.
After Stone King departed, a buzz of anticipation turned into an eruption as the floodlights dimmed, and strains of Gene Kelly’s ‘Singing in the Rain’ echoed through the amphitheatre.
Queens of the Stone Age triumphantly emerged and without missing a beat, launched straight into the swamp-stomp of ‘If I Had A Tail’, and thus began one of the greatest rock ‘n’ roll onslaughts the riverside venue had ever seen.
Back-to-back cuts ‘Feet Don’t Fail Me’ and ‘The Way You Used To Do’, taken from the band’s new album Villains, got the crowd and band moving with front man Josh Homme cutting the figure of a ginger Elvis.
Bassist Michael Shuman threatened to steal the show from his fearless leader, violently throwing himself around the stage when not providing pitch-perfect backing vocals.
The first big singalong of the night arrived in the form of breakthrough single ‘No One Knows’ from the bands seminal ‘Songs For The Deaf’ LP. Midway through the track, the rest of the band retreated into the background, allowing drummer John Theodore to unleash a particularly enthusiastic drum solo. Homme watched on with glee, leaning against his amplifier stack, idly puffing on his second cigarette of the night.
As the crowd grew more and more enthusiastic with every song, the five members of Queens were clearly having a ball.
After almost every song, the always-chipper Homme declared how wonderful the audience looked, and how good it was to be back at their “home away from home”.
After the ferocious ‘My God Is The Sun’, Homme gave an impassioned speech about how sometimes life can be hard, but assured the crowd that the rest of the night was going to “smooth sailing” before launching into the single of the same name from 2013’s acclaimed Like Clockwork.
The biggest singalong of the night was saved for the slow grooving desert rocker “Make It Wit Chu”, with Homme and guitarist Troy Van Leeuwen showcasing their immaculate guitar chops with a pair of extended solos.
Homme reserved his biggest guitar hero moment however for the outro of sultry ballad ‘Villains of Circumstance’ soaking the outdoor venue in a wall of Hendrix-esque feedback.
The main set was closed with fan-favourite ‘Go With The Flow’, Homme and co raising a glass to the adoring crowd before leaving the stage.
Re-emerging for a two-song encore, Homme gave the screaming crowd a choice between ‘Sick, Sick, Sick’ or ‘You Think I Ain’t Worth A Dollar But I Feel Like A Millionaire’. The crowd bayed for the latter and the band gladly obliged, resulting in the biggest mosh pit of the night.
Before the commencement of expected set closer ‘A Song For The Dead’, the band took one final moment to soak up the adoring crowd’s adulation, with Homme clearly out of superlatives to describe the boisterous audience.
After Queens had left the stage for the final time and the floodlights came back on, it would not have been surprising if members of the crowd had bent down to pick up their faces, because Queens of the Stone Age had done everything in their power to melt them off.…
The prodigious talents of Xavier Rudd – Australia’s favourite one-man band – were on full display at a sold-out Forum Theatre on Friday night. Coming to the end of the Australian leg of his Storm Boy tour, Rudd brought an energy that permeated everything, from the band on stage to the admittedly spaced-out woman waxing lyrical about love as we exited. Apparently we all just need to allow ourselves to be loved – who could’ve known?
The set kicked off with ‘Honeymoon Bay’ off Storm Boy, Rudd’s ninth album, which set the tone for the evening – high energy and strong messages. This was followed by ‘Rusty Hammer’ off 2015’s Nanna, and ‘Come Let Go’, a certified crowd favourite. By this stage Rudd had the crowd dancing and swaying in time and the vibe felt more festival than anything, like you were kicking back in the sunshine instead of standing shoulder-to-shoulder in a darkened theatre.
Aided by his trusty didgeridoo, Rudd rolled through a slew of songs both old and new, including ‘Feet on the Ground’, ‘Come People’, ‘Walk Away’ and ‘Storm Boy’, a definite highlight. It’s hard to believe that it’s been six years since the release of Spirit Bird, Rudd’s seventh album, but any fears that Rudd would forget his earlier material were completely ungrounded. Songs like ‘Spirit Bird’ and the stunning ‘Follow the Sun’, with which he closed, were greatly appreciated by long-time fans, evidenced by shouts for more as he left the stage.
He returned, unsurprisingly, to wow the crowd with a rendition of ‘Lioness Eye’, before making everybody’s evening with the familiar harmonica notes introducing ‘Let Me Be’. Satisfied, the crowd did exactly that as they filed out the doors with smiles on their faces and Rudd’s infectious hope in their hearts.…
Melbourne’s Pagan are forging plans of world domination. Having just dropped their downtuned debut record, Black Wash, they’re beginning to draw attention from the metal community at home and abroad, and have a national tour lined up for August.
We sat with bassist Dan Bonnici to discuss the hype and the album’s beginnings. After listening to Black Wash,
you’d be forgiven for thinking that this was the album Pagan had spent
their entire career working towards, with a refined, consistent sound
and theme throughout the album. But surprisingly, as Bonnici explains,
it was nowhere near as planned as it sounds.
“About 12 months ago we had no plans to do anything, but a lot of our
peers were really pushing us to do it. It was really nice to know that
people outside of the band believed in it enough.
“The original idea of Pagan was that we were going to release 13 songs as singles and then just break up, but then a record label got in touch and we thought ‘We should probably do this instead’…”
It’s a good thing Pagan’s friends pushed them to continue, because the result is fantastic. Black Wash sounds
fierce, commanding your attention at every turn. It flows between
melodic metal and incredibly intense, hardcore moments, but all feels
consistent and considered.
High Tension’s Mike Delandes was summoned as the producer, and it sounds like he was the only real choice for the band.
“When we thought about who to record with, we immediately thought of
Mike. He worked at the rehearsal studio we played at, and we formed a
friendship through that.
“From the first time recording with him we felt like he was part of the family. We’ve formed a friendship with him that’s transcended past just being a producer/engineer.”
And what tricks did he use to get Pagan to sound like Pagan?
“He’s a very ‘Play the song, get the take and go, go, go’ sort of
guy. And that’s how we like it. He’s not a guy who spends time getting
four to five takes to get the perfect one, he’s a guy who will say ‘That
performance was sick, let’s use that’.
“There are four people in Pagan, but five people are definitely on that record”
For a first album, Pagan deliver a very sophisticated arrangement of
songs, which all connect to an underlying theme that threads through the
“There’s definitely a theme on the album, through NIkki’s lyrics,
about escaping a toxic relationship. We linked that to the metaphor of
when people get involved with religion or cults and find it very hard to
escape. Sort of a ‘Church of the Black Wash’ concept.
“Musically, we wanted to write an album. We didn’t go ‘These are our best 11 songs, let’s just record them’.”
This approach to making the album pays off in droves, and is best
captured by the opening and closing tracks, ‘Il Malocchio Si Apre’ and
‘Il Malocchio Si Chiude’, Italian for ‘The Evil Eye Opens’ and ‘The Evil
Eye Closes’, respectively.
“In Italian folklore, the idea of the ‘the evil eye’ is a curse
that’s brought about when you’re jealous of someone. If you’re feeling
jealous towards someone, you can ultimately curse them.
“The last song, Il Malocchio Si Chiude, is made of parts from other
songs. It’s a big summary to the whole record. We wanted to bring them
back to life for one last time, almost as a send-off.”
Despite such quick success, and a relentless touring schedule, Pagan
are showing no signs of slowing down, and are planning to get to Europe
in the near future.
“It’s looking pretty promising that we get to tour Europe later this
year, so hopefully that works out. The album will be out on Hassle
records in UK and Europe, so it will be good to push with that. Maybe we
might start working on some new stuff. But for now just predominantly
Aussie indie rockers Ball Park Music are riding the high of their latest release GOOD MOOD all the way to Splendour and back before hitting the road with San Cisco in September for an Australian tour.
We sat down with Ball Park’s Sam Cromack and Jen Boyce to chat Nirvana, politics and keeping one foot in front of the other.
We’re so excited to catch you playing with San Cisco on your Australian tour. What can we expect from two of our local favourites?
We’ve been toying with the idea of a tour like this for years. We’ve spoken to a few great bands about putting on a massive co-headline tour, but it’s always hard to nail it down with everyone having separate touring schedules/album campaigns blah blah blah. So, we’re thrilled that San Cisco are up for this! We’ve always been big fans and we think it will be really cool to do this together. Putting the power of two groups together means we can step into some bigger venues and hopefully put on some razzle-dazzle bloody shows!
It’s been a decade since you were first featured on Triple J Unearthed. What’s the journey been like from garage rock to headlining festivals across the country?
When you’re inside of the whole thing, it just feels like one foot in front of the other. We’ve had big highs and lows but we’ve just kept at it. You watch other artists come and go; they rise and/or fall all around you and in a way it’s perfect because you learn to just focus on yourself. I feel like we’re on our own path these days and we try to just better ourselves and do what makes us content as artists.
Sam, you’ve mentioned previously that you’re not loving social commentary in music, but is it unavoidable in 2018. How do you manage commentary in your writing?
I don’t think that’s entirely true. I believe artists have always expressed the sentiment of their time. I think the artist’s role is to be sensitive, to absorb reality and spew it back out for people to consume. Naturally, this is going on all the time. The artists who are particularly deft at this will strike a chord with people, whether it’s through a love song, a political song or a song about ping pong. It doesn’t matter. I guess a lot of conversations in 2018 (and to be fair, some people having been fighting the good fight for many years prior) are around whether, structurally, we have an environment in which all voices are given equal opportunities to be heard. And in my opinion the answer is clearly no. We don’t have that. I feel like the tide is slowly turning, which is encouraging, but there’s a way to go.
In answer to your question, I don’t think any given socio-political discussions necessarily have to become the subject of every release in 2018. That’s crazy. I don’t like the idea of having any kind of rules around what obligations artists should have. But again, I think talented artists can read the room. Sometimes it’s your turn to speak and other times it’s your turn to listen. I think now is a time that a lot of people could do a lot more listening.
You just missed out on making it into the Hottest 100 last year with your cover of ‘My Happiness’. How are you feeling about GOOD MOOD taking out some spots this year?
‘GOOD MOOD’ is certainly a departure from the indie-pop featured in your early records. What led to the change? Any particular artists that help shape the sound of your latest record?
Again, everything on my end just feels like a small and logical step forward. To me, GOOD MOOD felt like an amalgamation of all our prior records; something to summarise everything we’ve learnt so far. I tried quite hard when writing/recording GOOD MOOD to not shy away from anything I found interesting. There were a couple of singles from Asgeir, particularly that song called ‘Unbound’ – the production was so lush and intricate and I thought, yeah, I really wanna make more of an effort with the little details. At the same time, I was getting nostalgic for my teenage faves, listening to lots of Nirvana and thinking, fuck it, let’s rock out. I don’t care whether that’s in fashion or whatever. Making GOOD MOOD was one of the greatest times of my life. It was a very freeing and optimistic record.
Speaking of influential artists, what music will you be listening on the road?
I love the new Emma Louise song ‘Wish You Well’. It’s a triumph in my opinion. I’ve been flogging that SZA album called Ctrl, especially the song ‘Go Gina’. The new Courtney Barnett album is such a good little guitar feast. What else.. Ooh, love a lot of the production in that flurry of new Kanye releases. I found a cool American band called Hop Along which have some super interesting indie songs and I love the singers voice so much. And as always, my favourite “I’m gonna be sulky and look out the tour van window now” album is Nick Drake’s ‘Pink Moon’. Ooh you know another good oldie is ‘Nights in White Satin’ by The Moody Blues.. I was listening to it with my Mum in her car and it really is a moody banger.…
If you know a thing or two about guitars, chances are one of those things is Joe Satriani. The sexagenarian soloist is renowned among the musically minded for his genre-bending compositions and virtuosic guitar performances, both of which can be found in abundance on his latest record, What Happens Next.
After a 32-year career playing oddly timed, finger-breaking guitar parts alongside literally every big name in progressive music, Satriani has simplified things a little bit on What Happens Next, getting back to roots he swears are in rock and roll.
Having spent most of 2018 sharing the record with fans around the
world, he is gearing up to bring the ‘What Happens Next Tour’ down under
for six dates across the country (and one in New Zealand).
In the lead up to the final leg of the tour, we sat with Satch to talk shop on the band, the album, and the psychology of being called ‘the best’.
MI: You’ve been off the road for a few weeks. Enjoying the break?
JS: “Definitely. I’m home right now because we’ve got some carpenters
working, so I’m just writing some music and watching them. The other
guys needed to go out with their bands anyway, so it worked out well.
“My bass player, Bryan Beller, is going out in September with his band, The Aristocrats. The other two guys, Joe Travers and Mike Keneally, are working with the Zappa family. So they’re back in LA working on some sort of hologram Frank Zappa tour for March. So, everyone needed some time off, and we’ll come back together in Australia.”
Seems like they’re all in pretty high demand. Is it hard locking down a tour with such busy guys?
“You have to compromise and communicate. Everybody’s gig is important, so we just sit around and talk about who’s available and how we can make it work. It takes a village, as they say, to get a tour going.”
Joe Travers is a highly technical performer; a real drummer’s
drummer. It’s surprising you guys didn’t link up sooner. How did it
finally come about?
“It’s funny how it all got started. A number of years back I was at
the Jammy Awards in Madison Square Garden – it was an award show for jam
bands and things like that. I was walking around backstage when Zappa
Plays Zappa came on, and I’m right behind the curtain, behind the
drummer, and I was just blown away by how great this guy was.
“I thought, ‘How does a musician do that? Keep track of the most
complicated music but still make it sound like you can tap your foot to
it.’ He never turned around and I never saw his face.
“So, a couple of years ago, I’m in the studio with Mike Keneally, and we’re trying to figure out who’s going to replace Vinnie Colaiuta.
I just happened to relay that story about the Jammy Awards, and he said
‘You’re talking about my best friend, Joe Travers.’ So we called him
“Joe fits perfectly into this tour. As the new record was being developed I realised that it isn’t so progressive, and that I was really moving back into straight forward rock. So I need somebody who can hang with not only the stuff that Chad Smith laid down on What Happens Next, but also my whole catalogue which is now 30 years of different drummers.”
If your roots are in Rock and Roll, how did you end up an icon of the progressive rock scene?
“I started that way back in the beginning of this century, whatever that year was when we did Strange Beautiful Music (2002). I went to Jeff Campitelli and said, “I’m going to try and put more progressive rock elements into this.”
“Jeff and I are not prog heads, we’re both straight forward rock
heads, so we thought that was cool and decided to go bit by bit and not
overdo it. But by the time Unstoppable Momentum came I really wanted to ramp it up, and by the time we hit Shockwave Supernova we had sort of taken it as far as we could.
“But, you know, when someone does a huge drum fill twenty times in
one song, it gets repetitive to someone who doesn’t listen to that
music. ‘Why is that guy hitting everything all the time? Why doesn’t he
play like Ringo?’ It’s just a different head space.
“If they don’t appreciate the artistry of progressive rock then it goes right over their heads and seems repetitive. But you get repetition in any other style, like pop or dance. Where’s dance music without four on the floor?”
Was writing a ‘straight forward’ record a bit of weight off
the shoulders? I mean, is it easier to find and express a melody without
all the pressure to be a ‘prog guy’ and do it in 9/8?
“If you look at progressive rock, what it does is that it asks
everyone in the band to sort of accessorise their part. And that works
better if you’re doing stuff in 5, 7 or 9, because it gives everyone
more chances to be clever.
“But, at some point, all that accessorising and filling up space makes it harder for me to put a melody down.
“I do find, though, that when you pull away all the progressive stuff, and you’re just trying to play a melody, you’ve got to handle the arrangements very carefully. Everything has to be extremely specific, just like a set of lyrics would be specific. And that’s where I think the straight forward rock instrumental starts to shine, when you start to listen to those really specific choices.”
You’re widely regarded as being among the best guitarists in
history. Was there ever any ego attached to that? Pressure to be ‘the
best’, or to compete with the other big names?
“It’s when I’m talking to journalists, like yourself, or meeting fans
that I have to come to grips with the way people perceive who I am. But
99% of the time I’m just me, who I’ve always been. I feel like a
struggling musician; someone who needs to practice every day, someone
who has that healthy anxiety about ‘Am I going to write something new
“So being one of those guys does me no real good. It’s interesting,
and it has been helpful in my career, for sure. But I write songs with
melodies, and that, not the technique, is why my catalogue has stood the
test of time.
“These days, if you develop some amazing technique, within 24 hours every kid on Youtube knows how to do it better than you. So technique is transitory. It’s just a tool to get your musical ideas into the ears of your fans.
“It’s a good introduction to an artist, like finger-tapping was good for Eddie Van Halen. It was his incredible, wonderful sounding writing that made him famous, though. And Mariah Carey; yeah she can hit those high notes, but it’s the songs that made her a superstar.
“So everyone has that cool thing that they can do, but ultimately it’s the music. It has to be the music.”…
21 year old Perth producer Ukiyo can’t wait for you to get your ears around his new EP, Fantasy, which drops Wednesday, 1 August.
Fresh from a touring run that included a support slot alongside Detroit’s Quinn XCII, Ukiyo has put together some tips for up-and-coming artists who are hitting his hometown on tour for the first time, whether you’re looking for a night on the town or a last-second cable replacement.
Jack Rabbit Slim’s
The best venue around for a mix of top quality DJs and
electro-centric live acts. All themed around the iconic diner from Pulp
Fiction. Be sure to check out their milkshakes, and rock up early for
the support acts cause they’re always top notch!
If you prefer acoustic instruments and pool tables then Mojo’s is the place to go. Never had a bad night here. The acoustics are fantastic as well so you’ll surely be in sonic heaven. Grab a burger at Flipside next door as well for the ultimate package.
Arguably the best place for a pint and a pizza, and it’s in one of
the best spots in Perth too. As a recovering Rosemary addict, I highly
recommend checking out the Rosemary pizza.
The newest development in Perth has got a fancy outdoor amphitheater
for live music and a huge range of food to satisfy any craving. Walk
another street up into Northbridge and you’ve just doubled your options.
If you’re in Freo on Friday-Sunday, definitely check out Fremantle Markets. There’s a heap of mini stalls selling everything from hot food to Australian tourist knick-knacks.
It’s certainly not exclusive to Perth but I can definitely back the
friendly and overly helpful staff here. Highly recommended for any of
your music tech needs.
Huge range of music equipment from acoustic instruments to electronic
production gear. I could spend hours in there, and frankly, I usually
Be sure to suss Fantasy when it drops on August 1st!…
Adelaide art-rock trio Attonbitus are champing at the bit to unleash their debut album, David Street, which drops in earnest on 31 July, accompanied by a launch party on 3 August at The Jade in Adelaide.
David Street fuses music and poetry to
create a compelling aural experience, hinting at a multitude of genre
influences including prog, art-rock, and reggae. Every track is written
by Brigante and documents the emotional highs and lows he experienced
during his years living on David Street.
In the shadow of the album’s upcoming release, we sat with guitarist/vocalist Brigante for a rundown on the five most innovative guitarists that he feels have pushed boundaries and shaped his own musicianship.
#1. Tom Morello – Rage Against The Machine
Probably the most innovative guitarist associated with the use of
effects peddles. Tom’s use of experimental methods in sound design
gives RATM this eeriness, somewhat emulating the sound of sirens at a
riot or war zone. Watching him play live keeps you puzzled as you
struggle to comprehend the sounds he is getting out of that guitar.
#2. Robby Kruger – The Doors
One of the main reasons why I refuse to use a pick; Robby Kruger’s finger-plucked method spun with rhythmic jazz inspired me to explore natural harmonics and a variety of abstract, flamenco methods. I will never forget the first time I heard that short, sharp, supercharged solo from The Doors song ‘Peace frog’. It always left me buzzed out, dancing about on the kitchen table.
#3. Les Claypool – Bassist – Primus
The strangest yet most progressive bass guitarist; on most occasions I
refer to him as the King of Bass. Charged with a hint of bluegrass and
alt-jazz, Les Claypool’s slap bass method will keep you gobsmacked.
First time I heard the bass hooks from their hit track ‘Tommy The Cat’ I
#4. Jimi Hendrix – The Jimi Hendrix Experience
Can’t go past possibly one of the craziest guitarists known. As evidenced when playing his hit track ‘Hey Joe’ live, Jimi, without hesitation, plays a soulful solo with his teeth. I don’t think I could ever pull off his incredible improvisation and stamina but I sure do appreciate it. Merging the best of blues and psychedelic rock, he is possibly one of the best guitarists of our time.
#5. John Fogerty – Creedence Clearwater Revival
On some days I’m broke and a little without hope and about to go out
busking, I chuck on ‘Fortunate Son’ by Creedence Clearwater Revival.
This track truly gets me pumped for battling out the hard knocks,
playing to a crowd of people passing by. John Fogerty’s alt-country
melodies and battle-hardened riffs help me feel a little better about
the bitter weather and little coin tossed my way.…