Brisbane’s FOREVR have released not just one debut album, but two of them. Classics and Death is a miracle constitute a dual-album release - two very different records which see the four-piece deeply evolve their shoegaze-pop roots (Classics), and document their exploration into dance music (Death is a miracle).
 
Classics and Death is a miracle were pieced together by the four-piece from songs written in full-band rehearsals, with riffs, melodies and bass licks that had been recorded individually, and an array of beats that were made on drum machines and synths, including field recordings, scratch vocals, and the sound of keys getting dropped on a table. Their music drips with grim undertones and leans into the darker parts of the human psyche – due to the time each of them spent during the recording process in the realms of personal trauma, sleep deprivation, shaky mental health and their own individual obsessions. They chose to record their debut as two whole albums to provide a journey through the full-spectrum of music they create. To quote FOREVR, “we just want to do cool shit that we like, that we haven’t heard before.”
 
Classics is a culmination of whole-band written material which sits closest to their shoegaze roots, however can hardly be called shoegaze anymore. There are layers of electronic production and unique glitchiness present – the band have evolved towards the clarity rather than haze. Death is a miracle started with arpeggiator sketches and piano chords, and grew with influences from 90s techno, early 2000s pop and R&B to produce full scale dance music that is at once soundtrack to your blurry nights and Sunday recovery. Both albums’ themes include artificial intelligence, sibling relationships, death of idols, the Voluntary Human Extinction Movement and natural disaster.
 
FOREVR are Donovan Miller (guitar/programming), Sam George-Allen (vocals/synth), Thomas Roche (drums/programming) and Kate Mackenzie (bass).

Words: Super Duper

Dark Days + Canapés is Ghostpoet's most defining album to date. A stunning and stimulating return, Dark Days + Canapés is a global facing album that captures the sense of unease so prescient in recent times. 

After receiving recognition for the beat-driven arrangements of his first two albums, third album 'Shedding Skin' initiated a more alt-rock sound that saw Ghostpoet Mercury nominated for a second time. Fourth album ‘Dark Days + Canapés’, produced by Leo Abrahams, best known for his work with Brian Eno and Jon Hopkins, delves even further into a fuller, guitar driven sound. 


When commenting on the first track from the album, ‘Immigrant Boogie’, Ghostpoet, aka Obaro Ejimiwe, explains: “I’m usually more comfortable writing in ambiguous terms, but this time around I felt there were specific stories that needed telling.”


Typically self-effacing, Obaro says: “there’s a sort of life-force that Leo and the other musicians brought to this record, and that was crucial. I want people to listen to the songs and be able to say, ‘So it isn’t just me then? Phew.”

Jensen began as a product of the friendship between Harry Jensen and Oscar Bosch. Over the years the project evolved from a duo to a trio, and then to a four-piece, with the addition of Andy Moore on bass and Nathan Nyhuis on drums.
Jensen released their debut, self-titled EP in 2015, and have been working hard since then on putting together their first full length release, 'Hope & Winter'.

To further expand on Edge Radio's engagement with the young people of Tasmania, Hannah has taken on the new role of the station Youth Training Coordinator.

This role will become integral to the ways in which Edge Radio engages with the state's youth.

With a shift in programs, the School of Rock program will be the introductory first step for those under 26 to develop their radio skills under Hannah's guidance. Street Rag Radio is the next step for those feeling confident to expand more on their radio skill base.

Alongside these programs, there are many other opportunities that will arise through this role. Hannah will be bringing Edge Radio training directly into schools, giving students statewide the opportunity to learn more about the production of radio. Alongside this, 'On The Road'  training days will enable youth in more remote and regional areas of Tasmania to also get involved.

The strong connections that will be made with local schools and youth organisations, and the chances now available for young people to become involved and to volunteer with Edge Radio, are now bigger than ever.

 
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