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  • Get Involved
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EDGE RADIO RECOMMENDED: Zac Henderson - 'Lay The Stones'

25/1/2021

 
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Tasmanian singer-songwriter Zac Henderson has released his long awaited studio record, Lay The Stones. On the album, the full Zac Henderson experience is realised across 10 heartfelt and meticulously created songs. Written across a number of years, the album’s material details the scope of development and introspective moments in Henderson’s life. Having become a busy touring artist since the release of his debut EP Procrastination almost four years ago, life experiences changed for the artist as his music took him around the country and overseas. Lay The Stones is a result of this beautiful chaos being channelled into new stories on record.

Working on the album away from Tasmania, instead creating in Gippsland with his band and mixer/engineer Greg J Walker, the experience of making Lay The Stones was a fulfilling experience for everyone involved. Zac says: “Working on Lay The Stones as an album was one of the most exciting and involved musical experiences of my life so far. I managed to assemble a band of terrific musicians to play on the album and a brilliant producer who were all incredibly invested in the music. The environment in the studio was perfect; it felt like a lot of the time we were just goofing around, but we got a lot done and when we were playing, we were really playing.”

Honesty in songwriting and the showcase of vulnerability on record are shining highlights of Lay The Stones as a listening experience, as Henderson’s unique voice twists and weaves around some beautiful narrative bends.

“All of Zac’s songs are like little paintings of the important experiences in our lives, which I’ve either been involved in or can relate to deeply. I find so much value in them because they’re pretty much all riddled with little words of wisdom to help you through the situations we all get ourselves into. And even when they’re not so deep, they’re just a fun time. He manages to write with such character, to the point where the listener really gets a sense of his relationship with life.” - Jay Jarome (backing vocals).

Release: 22 January, 2021, Independent
Words: Beehive PR

EDGE RADIO RECOMMENDED: SHAME - 'DRUNK TANK PINK'

18/1/2021

 
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There are moments on Drunk Tank Pink where you almost have to reach for the sleeve to check this is the same band who made 2018’s Songs Of Praise. Such is the jump shame have made from the riotous post-punk of their debut to the sprawling adventurism laid out in the bigger, bolder James Ford produced follow-up.

This creative leap, in part, was sparked by the band’s recent crash back down to earth, having spent their entire adult life on the road. It stems from their beginnings as wide-eyed teenagers, cutting their teeth in the pubs and small venues of South London, to becoming the most celebrated new band in Britain, catapulted by the success of their breakthrough debut album.

Readjusting to a new normal back home with - for the first time since the band’s formation - no live shows on the horizon, frontman Charlie Steen attempted to party his way out of psychosis.  “When you’re exposed to all of that for the first time you think you’re fucking indestructible,” he notes. “After a few years you reach a point where you realise everyone needs a bath and a good night’s sleep sometimes.”

An intense bout of waking fever-dreams convinced Steen that self medicating his demons wasn’t a very healthy plan of action and it was probably time to stop and take a look inward. “You become very aware of yourself and when all of the music stops, you’re left with the silence,” reflects Steen. “And that silence is a lot of what this record is about.”

In a room (well, more of a cupboard that used to house a washing machine until it was lugged outside and replaced with a bed) painted in a shade of pink used to calm down drunk tank inmates, Steen cocooned himself away to reflect and write. In the room dubbed ‘the womb’ - through the prism of his own surrealistic dreams - he addressed the psychological toll life in the band had taken on him. The disintegration of his relationship, the loss of a sense of self and the growing identity crisis both the band and an entire generation were feeling.


“The common theme when I was catching up with my mates was this identity crisis everyone was having,” reflects Steen. “No one knows what the fuck is going on.”

“It didn’t matter that we’d just come back off tour thinking, 'How do we deal with reality!?’” agrees guitarist Sean Coyle-Smith. “I had mates that were working in a pub and they were also like, ‘How do I deal with reality!?’ Everyone was going through it.”

Coyle-Smith took a different tac to Steen and barricaded himself in his bedroom. Barely leaving the house and instead obsessively deconstructing his very approach to playing and making music, he picked apart the threads of the music he was devouring (Talking Heads, Nigerian High Life, the dry funk of ESG, Talk Talk…) and created work infused with panic and crackling intensity.

 “For this album I was so bored of playing guitar,” he recalls, “the thought of even playing it was mind-numbing. So I started to write and experiment in all these alternative tunings and not write or play in a conventional ‘rock’ way.” 

The genius of Drunk Tank Pink is how Steen’s lyrical themes dovetail with the music. Opener Alphabet dissects the premise of performance over a siren call of nervous, jerking guitars, its chorus thrown out like a beer bottle across a mosh pit. Nigel Hitter, meanwhile, turns the mundanity of routine into something spectacular via a disjointed jigsaw of syncopated rhythms and broken-wristed punk funk. The result is an enormous expansion of shame’s sonic arsenal.

Release: January 15, 2021, Dead Oceans/Inertia
​Words: Dead Oceans

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