“If Shania Twain + Daft Punk met at an 80s aerobics class, sweatily hooked up and had a gay baby… she would be named ‘Cost of Love’,” shares Bec Sandridge on her latest single. ‘Cost Of Love’ is driven by shuffling drums, hooky guitars reminiscent of the late 70s and of course Sandridge’s unmistakable voice, the track is without question, a testament to Sandridge’s ability to write a sophisticated and unforgettable pop-banger.

Working with prolific songwriter and producer Dave Jenkins Jr (Daniel Johns, Vera Blue) and Lucy Taylor (Dua Lipa, Ellie Goulding), Sandridge wrote ‘Cost Of Love’ at their apartment in Clovelly in Sydney with additional production from long term collaborator Gab Strum (Japanese Wallpaper). Grammy-nominated British engineer Geoff Swan (Charlie XCX, Haim) took the final reins mixing ‘Cost Of Love’ set for a global stage. Sandridge’s debut album, TRY + SAVE ME, released in 2019, deep dives into topics of identity, anxiety, coming out, and takes a tongue in cheek look at her upbringing in a pentecostal Christian household.

Recorded at Melbourne’s Aviary Studios with Oscar Dawson (Holy Holy) and Gab Strum (Japanese Wallpaper) Sandridge sought to combine punk with theatre, seeking out vacuum cleaner-esque club synths and dirty jutting guitars sounds. The album sees the team implore megaphones, cowbells and woodblocks, after opening with a sample of Sandridge’s Grandma Grace calling “I think it’s quite unnecessary”.

TRY + SAVE ME features singles ‘ANIMAL’, ‘I’LL NEVER WANT A BF’, ‘EYES WIDE’ and ‘STRANGER’, all of which were added to triple j rotation and supported at community radio nationally.

A unique and commanding stage presence Sandridge has toured the UK and Europe, lived in Scotland and toured across every state and territory of Australia, having played numerous festivals around the country including Groovin’ The Moo, The Plot, Festival of The Sun, BIGSOUND, The Hills Are Alive, Big Pineapple, and Falls festival. And has supported the likes of The Naked And Famous (NZ), Mitski (US), The Rubens, Missy Higgins, Cub Sport and Montaigne.

Other career accolades include performing on ABC TV Q+A and having a recent placement of her song ‘Stranger’ on Showtime TV show The L Word: Generation Q. A multi faceted artist Sandridge is currently composing the soundtrack for theatre production Ishmael which is set to appear at Queensland Performing Arts Centre and The Sydney Opera House.

In an era when the world is falling apart with such a deafening roar, Cash Savage’s voice rings loud over the cacophony.

Songs of politics, grief, songs of rage – this is weighty music that has been written to cut through the noise.

Savage’s band The Last Drinks are a powerhouse of fierce and brooding energy, every bit as committed to her songs and message. Every performance by this band is as epic as it is honest, raw and human.

“One of the most powerful bands in the country… you won’t hear much that’s better than this.” – The Guardian

‘A fucking spectacular live phenomenon’ – Beat Magazine

Australian/British band, Greatest Hits exist in the space between Sunshine Pop, 70’s groove, and Neo-Psych. Never leaning heavily enough toward a particular genre to label them as such, they’ve instead established their own brand of danceable, yet vulnerable energy.

After extensive touring with bands, Hollow Coves, and Halfnoise (Zac Farro of Paramore), songwriter/producer, Ryan Cooper began work on something more accurately reflecting his influences, and was soon joined by Henry Chatham (bass), Chelsea Foley (vocals/percussion), and a rotating lineup of musicians from Leeds (England), where the band initially cut their teeth, before relocating to Australia.

Receiving BBC Radio 1 play in the UK, an official Triple J add in Australia, and a huge year supporting the likes of Donny Benet, San Cisco, King Stingray and The Buoys, the band’s latest release sees them working with Shags Chamberlain (Mac Demarco, Weyes Blood, Drugdealer), to produce a sound that is full of both timeless groove and modern sensibilities.

Giving the World Away, the sophomore album from Hatchie, is the truest introduction to the songwriter at the helm of the project. Although her sound arrived fully-formed, a dazzling dream-pop and shoegaze tangle, it’s here that Hatchie fully distills the core of herself into a record.

“I’m capable of writing more than just nice dream-pop songs, and there’s more to me than just writing songs about being in love or being heartbroken — there’s a bigger picture than that,” Hatchie explains. “This album really just feels like the beginning to me, and scratching the surface – and even though it’s my third release as Hatchie, I feel like I’m rebooting from scratch.”

Produced by Jorge Elbrecht, known for his work with Sky Ferreira, Japanese Breakfast, and Wild Nothing, Giving the World Away is Hatchie’s most thunderous, sprawling work yet. Featuring intensive input from longtime Hatchie collaborator Joe Agius, it takes the celestial, shimmering shoegaze and pop sensibilities of her earlier releases, but with the volume knob cranked up tenfold. Built out with percussion from Beach House drummer James Barone, it’s synthed-out, sonic opulence, a more structured and ornate musicality with traces of ‘90s trip-hop and acid house influences.

On this record, Hatchie held herself to higher standards, especially with personal lyrical precision. At the time she started working on it, she was caught in a strange headspace. When 2018 EP Sugar & Spice and subsequent debut LP Keepsake both arrived to critical acclaim and catapulted Hatchie into an international spotlight, she felt both unsure of herself and an intense, self-imposed pressure to keep going forward. Trapped in constant motion, Hatchie was unable to be present or appreciative of herself, both professionally and personally.

Hatchie initially intended for these songs to go in a higher-energy direction — she had the distinct vision of a Hatchie show turned dance party, inviting more movement and vibrancy into her live shows. But then, between Covid and the lockdowns in Australia, Hatchie retreated more into herself, and that introspection and self-discovery served as the true inspiration for the record. Again and again across Giving the World Away, she returns to that same theme – dismantling internalized shame and finding gratitude and steadiness, and finally being able to trust herself. Hatchie grew up the youngest in her family, a self-described “big baby,” but says the last year and a half gave her the space…

Conversations connect us. We relate through the exchange of ambitions, thoughts, experiences, and emotions. Hazlett’s music unfurls like a late-night chat between friends where the only thing stronger than the last sip of coffee is the candor. The Australia-born and Stockholm-based multi-instrumentalist converses through eloquent folk-style song craft laced with electronic flourishes and alternative experimentation. After amassing over 30 million streams and earning acclaim from NME, The Line of Best Fit, Atwood Magazine, Clash, and more, he brings everyone into the discussion on a series of singles for Nettwerk and his full-length debut album to be released later this year.

Shortly after forming, HighSchool – the trio of Lilli Trobbiani, Luke Scott and Rory Trobbiani – found themselves in near-eternal lockdown with the COVID restrictions being placed on their hometown proving the longest anywhere in the world. Deprived of the chance to go out and play shows, they carried on undeterred, recording tracks with close friend Archie Shannon (Floodlights) and dropping them every few months along with a stunning, self-directed music video for each.

Signing to UK tastemaker label Dalliance Recordings (Gia Margaret, Francis of Delirium, Wilsen) and already championed by the likes of NME, The FADER, Clash, DIY, PAPER and So Young, HighSchool have come far in their first year. Keeping momentum up, a move to London is planned in the new year with the band finally making their live debut shortly after.

Debut EP, Forever at Last, collects their six tracks to date and is a testament to the band’s ingenuity and resilience. It also shows a band keen to evolve their sound, effortlessly mining a multitude of influences while keeping on their own path. Where first singles ‘Frosting’ and ‘New York, Paris and London’ delighted with their potent mix of sun-dappled indie pop and industrial post-punk, their next two ‘De Facto’ and ‘Sirens’ were pointed at the dancefloor with the band now infusing DFA / New Order / Future Islands sounds. Recent single, ‘Jerry’, is darker than its predecessors which played to the band’s gothic image, and was more than complemented by an incredible one-take music video that explored religiosity.

Josh Cashman is a natural born storyteller. Growing up in a household that was known for music blaring out of the living room as opposed to the television he picked up the guitar at 11 and from the first chord he strummed, he knew music was his lifelong devotion. Cashman has come a long way since playing at school assemblies and open mics in his early teens.

Now 27, he’s been on multiple international tours throughout North America, released two albums, and has a year ahead that will see him playing to thousands of music lovers across the globe in support of Tash Sultana’s world tour. When the world came to a standstill in March 2020 Cashman locked down and got down to business writing over 70 songs in a 10 month span. “I wanted this global pause to mean something. I needed to give myself a sense of purpose when there was nothing very positive going on in the world and so I did the only thing I could do which was write, exercise, read and write some more. I’m grateful that I was able to stay motivated and had more than enough time to hone in on my craft and really explore, learn and develop my songwriting and production.”

The end result is a string of releases planned for 2022. Already lauded by Triple J as having an “enchanting performance, charismatic vocals, [all] blended among sublime [with] warm guitar tones [and] a groove that’s hard to ignore” there’s no telling what new heights Cashman can achieve over this next chapter of his promising career.

– 70M+ Streams to date
– ARIA Nominated “Best Rock Album”
– ARIA Accredited Gold Sales for Single – “Golden”
– 35,000 Sales of 1st Album (Microscopic Wars), ARIA Debut #6 – Nashville TN, Vance Powell (Jack White, Chris Stapleton)
– Consecutive top 10 ARIA Debut with 2nd Album (After Hours, Close to Dawn) at #10 – recorded Nasvhille, TN
– 3 x Top 15 ARIA Debuts with 3rd Album (Juveniles) at #12 – recorded Nashville, TN
– 6 x Entries in Triple Js Hottest 100
– Consecutive APRA song-writing nominations for Alexander Laska for Sucker Punch & Creepin
– National Sold Out Tours (2012-2019) Capitals + Regionals – 2000-500 Cap Venues
– AC/DC National Support
– Aerosmith Support (Aus)
– 3 x Main Stage Splendour in the Grass

Appearances
– Afghanistan Tour of Duty for Defence Forces – 2012
– Boxing Day Test (MCG) / State of Origin Half-Time (Stadium Australia) / NRL Finals (AAMI) / F1 Main Stage / V8 Supercars
– Big Day Out Full Run, Groovin in the Moo Full Run, Falls Festival Runs

Synch Highlights:
o Netflix’s Bloodline – Ohio (USA)
o ABC’s Stumptown – Golden (USA)
o ABC’s Grownish – Why Do I Get Stuck When You Arrive? (USA)
o Freeform’s Shadow Hunters – Rebel Babe (USA)
o Showtimes’ Shameless – Belle (x2) (USA)
o World Surf League – MicroWars (USA)
o E!’s The Royals – Rebel Babe (USA)
o Doctor Doctor – Big City (AUS)
o Australia Day (Feature) – Big City (AUS)
o Runt (Feature) – Big City, Golden (USA)
o Olympics / AFL / NRL / V8 Supercars / Cricket Australia / Women’s AFL / F1

As a teenager, she lived in Beijing and Thailand, before moving back to Sydney. There she lived between regional Jindabyne and the coastal beachside of Dolls Point. In 2018 she put a little song called ‘Be’ on triple j Unearthed, signed a worldwide record deal, got herself a management team and released her first body of music at the age of 19. Her honest, intimate storytelling exudes everyday life’s drama, exuberance and regret and is layered over music with attitude.

merci, mercy now has over 15 million streams to her name, a debut EP no thank you, no thanks, and press support from the likes of Paper Magazine, Flaunt, Clash and NME. Much of her music, including recent singles ‘Winnie Crush’ and ‘Sick To My Stomach’ explore her mental health struggles and battles with addiction. Despite their dark lyrical content, her songs are wholly infectious and have resonated with fans globally, added to triple j locally and also receiving love from Jack Saunders at BBC Radio 1, and airplay throughout Europe on Germany’s Flux FM, Dasding and Bayern 3, Spain’s RNE, Switzerland’s RTS Couleur 3, Belgium’s Studio Brussels, Austria’s Radio Sound portal, France’s Radio Vexin Val-de-Seine, Ireland’s RTE FM and the Student Music Network (UK).

One of Spotify’s first global RADAR artists, merci, mercy has graced the covers of Spotify’s Front Left, Indie Arrivals and softly, and has appeared on popular Apple Music playlists New In Pop, Heaps Indie, Pop Chill, Superbloom and Wildflower amongst others.