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  • News
    • Station
  • Program Guide
  • Music
    • Edge Radio Recommended
    • Submit Your Music
    • Playlists
  • Projects
    • Hugh Burridge Award
    • Youth Media Training
    • Creatively Mental
    • The Good, The Bad and The Ugly
    • X-Press Radio
    • Rivendell on Raspberry Pi
  • Get Involved
    • Volunteer
    • Training
    • Apply For A Program
    • Membership
  • Support Us
    • Support Edge Radio
    • FUNDRAISING >
      • The Unprecedented Fundraiser
      • Sweet 16
    • Become A Subscriber
    • DONATE
    • Sponsorship
    • BEQUESTS
  • About
    • Our Mission
    • Committee of Management
    • FAQ
    • Contact Edge
    • Find Edge

EDGE RADIO RECOMMENDED: SO:Crates, Nelson Dialect & Alnitak Kid - 'Sunset Cities'

25/2/2019

 
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Sunset Cities is a new musical project created to explore questions concerning one’s own presence, spiritual essence, belief, love, and mindfulness while in rotation around the life light. The group is comprised of two emcees and two producers; four human perspectives judging the light and the dark of life, manoeuvring between the two while the fundamentals of hip-hop culture and psychedelic soul simmer on the coasts of South Australia.
 
Last year in Adelaide over a plate of Ethiopian food, MCs Nelson Dialect and Cazeaux O.S.L.O. crafted the basic principles for waxing poetic over two distinct sonic dimensions - a record made up of two sides, the first produced by Melbourne beatmaker Skomes (known for his work with Caseaux O.S.L.O. under the moniker SO.Crates) and the second by Adelaide resident Alnitak Kid. The record follows the cycle of the sun, no beginnings and no endings, just answers to this and many other questions using the voice, the drum and the body electric.

Release: February 22nd, 2019, Bedroom Suck Records/Remote Control
Words: Bedroom Suck

EDGE RADIO RECOMMENDED: Sharon Van Etten - 'Remind Me Tomorrow'

18/2/2019

 
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Sharon Van Etten's much-anticipated Remind Me Tomorrow is her first new album in almost five years. 

Remind Me Tomorrow reckons with the life that gets lived when you put off the small and inevitable maintenance in favour of something more present. It was written while pregnant, going to school for psychology, and after taking The OA audition. Since then, Van Etten has guest-starred in The OA, performed in David Lynch's revival of Twin Peaks, scored her first feature film, Katherine Dieckmann's Strange Weather, and the closing title song for Tig Notaro's Tig. The range of her passion (musical, emotional, otherwise), of new careers, projects and lifelong roles has inflected Remind Me Tomorrow with a wise sense of a warped-time perspective. 

Release: January 18th, 2019, Jagjaguwar/Inertia
Words: Jagjaguwar

EDGE RADIO RECOMMENDED: Slag Queens - 'You Can't Go Out Like That'

11/2/2019

 
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Ten songs about life in Tasmania, conflict and survival under late capitalism, and slagging off your boyfriends, girlfriends and queer pals. It’s a document of Tasmanian post-punk band Slag Queens' unique and considerably diverse sound as it’s developed over the last two years; from punchy dark post- punk tracks like ‘Waterfall’ and ‘Flowers’, to sincere power ballad ‘Wear This 4 U’, and catchy dance jam of Real 1.

But it hasn’t been an easy journey for the band to reach this point. Despite strapping some hard earned wins under their belts in 2018 with two well-received singles, Lena and Waterfall, and securing a highly-competitive Australian Council of the Arts grant, Slag Queens have hobbled into 2019 bearing the scars of significant conflict within the band and Tasmania’s tight-knit music community. The experience of making this record has called into question the band’s ethics; asking what it means to hold strong feminist and anti-racist values in a small community within the context of #metoo and online call out culture.

You Can’t Go Out Like That was recorded by Jordan Marson (Naked, Oceans, Peak Body) in the living rooms of cottages in the Launceston suburb of Invermay and in West Hobart, and mastered by Mikey Young.

Slag Queens was formed in 2015 by vocalist/bassist Lucinda Shannon and drummer Claire Johnston. For this album they were joined by guitarist Tamara Kempton and Dan Kolencik on synths, who both moved on to other projects in late 2018. Slag Queens have since gained Amber Perez (The Foxy Morons/Dolphin/Slumber) on guitar/bass and Wesley Miles on synths. 

Upcoming shows
24/2 Visual Bulk w/208L Containers & DJ Puffy Pank, Hobart TAS
28/2 The Gasometer w/The Native Cats & Terry, Melbourne VIC
1/3 Secret location, w/The Baby +more, Sydney NSW
3/3 Yours & Owls Sunday Sessions, North Wollongong Hotel, Wollongong NSW

EDGE RADIO RECOMMENDED: Girlpool - 'What Chaos Is Imaginary'

4/2/2019

 
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Los Angeles duo Girlpool, comprised of Harmony Tividad (she/her) and Cleo Tucker (he/they), has released their new album, What Chaos Is Imaginary, out February 1st, 2019 via ANTI- Records.

The music Cleo Tucker and Harmony Tividad release as Girlpool occupies a transient space. Their constant evolution makes it perfectly impossible to articulate exactly where their project falls within the contemporary musical canon; this is one of the many reasons Girlpool’s music is so captivating.


Never before has a group’s maturation been so transparently attached to the maturation of its members. This is due in large part to the fact that Girlpool came into existence exactly when Girlpool was supposed to come into existence: at the most prolific stage of the digital revolution. Both online and in the flesh, Tividad and Tucker practice radical openness to the point where it may even engender discomfort; this is exactly the point where it becomes clear why theirs’ is such a special project: they accept the possibility of discomfort and show you how to figure out why you might feel it. 

The growth they have fostered in one another over the years explains the project’s disparate discography; each record is a photograph of Girlpool, growing over time. Their roots are a certain shade of punk—organized chaos dressed as earworms. 

Where Harmony embraces chaos, Cleo organizes it. “It’s hard for me to feel completion without achieving a vision that I have. I’ll imagine the kind of climate I want to create inside a song,” says Cleo of his process. “Once I fall in love with the direction, it’s getting there that can take time.” Finishing a song may take time and even prove to be difficult for him at times, but the product is invariably polished. Considering the near-perfect balance in the songs on What Chaos is Imaginary, their dynamic makes sense. “It took a really long time to record this record. It feels like a photograph of a very transitional time.”

What Chaos is Imaginary is a collection of songs unlike any Girlpool songs you’ve ever heard, exactly what Powerplant was to Before The World Was Big. For the first time, it is clear who wrote what song. 2019 will see drum machines and synthesizers and beautiful/new harmonies and huge guitars and at least one orchestral breakdown by a string octet.

“It was invigorating playing stripped down and raw when Girlpool began. As we change, what gets us there is going to change too.”

Release: February 1st, 2019, ANTI- Records / Cooking Vinyl Australia
Words: ANTI-

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