News – Vents Magazine Music and Entertainment Magazine Mon, 18 Nov 2019 00:16:19 -0400 en-US hourly 1 THE BUTTERFLY EFFECT JOINS ‘GOOD THINGS’ + NEW SINGLE ‘UNBROKEN’ Mon, 18 Nov 2019 00:16:19 +0000 The Butterfly Effect have made a triumphant return.  Off the back of a sold out tour and a soaring new single, the beloved Aussie rockers have just been added to the lineup for Good Things festival, which will see them playing massive shows alongside Parkway Drive, A Day To Remember, Karnivool, Simple Plan, Violent Soho and heaps more in Melbourne, Sydney and Brisbane next month.  Their addition to Good Things follows the release of their spectacular new single Unbroken, their first new musical offering in over a decade.

Stream: Unbroken

“There is always something so very special about playing a festival – the noise, the crowds, the vibe and the amazing camaraderie that brings people together, ‘Good Things’ for everyone,” says lead vocalist Clint Boge. “And there is no other place we’d rather be, than sharing the stage with such an amazing line up – Australia has some of the most dedicated festival fans and we can’t wait to get amongst it.”

The Butterfly Effect are pumped to be joining the Good Things lineup with new music, old faves and a stompingly exhilarating live show to offer audiences a smack-in-the-face reminder of the sheer force and power that is The Butterfly Effect“We’re back playing our first festival in over a decade, we are super stoked and can’t wait to see you all. Bring on Good Things,” enthuses Boge.

GOOD THINGS 2019 – STAGE 3, 3:00-3:45PM

Friday 6 December – Flemington Racecourse, Melbourne

Saturday 7 December – Centennial Park, Sydney

Sunday 8 December – Brisbane Showgrounds, Brisbane

Tickets from

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HIGHLY SUSPECT Release Music Video For Single “16” Sun, 17 Nov 2019 22:13:30 +0000 The first single off newest album MCID and a track currently at #1 on Rock Radio, “16,” has received a passionate, emotion-provoking music video. “16” is a song about love and heartbreak, unique to the rock scene with not a single guitar on the track.

The music video recreates lead singer, Johnny Stevens’ story of his relationship that began at the age of sixteen. Visually showcasing the lyrics of first loves and instant heartbreak, “16” is relatable to more than just Highly Suspect fans. Johnny commented on the video coming to life, I’m known for having a lot to say about things, sometimes too much… this time I’m just gonna let the film and song do the talking for me. I already laid out as much pain as I can bare, no more words. Enjoy.”

The lyrics describe the true story of lead singer Johnny Stevens falling in love at sixteen years old, fostering a relationship for seven years, and feeling elated when she told him she was pregnant with their baby. The song describes his instant devastation the moment of the birth when he found out that the baby wasn’t his, the baby was a different race. Though a wild story, the lyrics capture the gut-wrenching feeling of first love lost, betrayal, and regret. This is a song about heartbreak in the worst way you can possibly imagine.


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GIOLI & ASSIA Release “Blind” Sun, 17 Nov 2019 22:10:24 +0000 Today, live electronic duo Giolì & Assia released the breathtaking electronic-pop fused track “Blind,” which debuted originally in the latest #DiesisLive. Listeners can relive the latest edition of #DiesisLive that was recorded at the Andromeda Theater in Agrigento, Italy HERE!

Listen to “BLIND” here


Giolì & Assia recently announced an intimate fall tour, which kicks off November 14th in New York City, and running through November, where it’ll wrap up in Denver on November 27th at the Bar Standard. Rough Trade in New York and Moroccan Lounge in Los Angeles sold out 2 months in advance. The tour will also make a two festival stops, including Austin, TX’s Seismic Dance Event on November 16th, playing with the likes of TESTPILOT (DeadMau5’s alter ego), Chris Lake and Justin Martin, and San Diego’s Wonderfront Music Festival on November 22nd where they’ll play alongside the likes of Miguel, Lil Baby, and Big Gigantic.

Starting now, fans can sign up for exclusives news, tour dates, music, and live videos, at Tickets to the tour can be bought here. 

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Samuel Jack Releases New Single ‘We Are The Future’ Sun, 17 Nov 2019 19:27:54 +0000 Samuel Jack is a unique and emotive storyteller whose rugged soulful vocals command the room. Raised on Blues, Motown, soul and roots music, the London born singer spent his formative years in Johannesburg with his Father, a film director. The rich fabric of his childhood informs and oozes into the music he creates today which has been resonating with audiences across the globe.

His newest track ‘In My Head’ is a song inspired by Jack’s own experiences with mental health, a topic very close to his heart. The honest, open and very candid single exudes passionate vocals and compelling melodies. Considering himself somewhat of a ‘mental health survivor’ Jack has learnt how to successfully live with it, emerging stronger than ever before and even learning things about himself that he never realised. Jack confides, “For me, I struggled with depression and anxiety – and in my eyes, despite having a history of mental health issues in my family – I’m certain my issues were born through situation and subsequently has come to affect every aspect of my life. Romantic relationships, professional ones; it really took hold of me”.

The acclaimed singer spent years juggling two extremely high pressure and demanding careers. His work in hospitality, where he was immersed in high stress environments at Rosette and Michelin star kitchens was challenging alone; however, combining it with the exhausting lifestyle of a musician, self-funding records, self-promoting and touring across the nation, ultimately took its toll. Days and nights of this rigorous routine took him to boiling point, where he found himself thinking the only way to escape was to hurt himself.

The musician is speaking out now, publicly for the first time to shine a light on the importance of recognising and helping others with mental health issues, as it can happen to anyone at anytime. “Fuck the stigma. We’re not all crazy, we just struggle inside sometimes”, expresses Jack. ‘In My Head’ is the musician’s way of venting about his frustrations and hopes that it may be of comfort for others, reminding them that they are not alone and we are all in this together.

Then there is the b-side for the track – ‘We Are The Future’ narrates the world we’re living in, most specifically in terms of the political disposition, but in a broader sense, global issues and those in power.  Showcasing Jack’s love for hip-hop and poetry, the impassioned song demands the need for change. Jack shares, “We need some new energy in the influential offices of our world and it’s not coming from the top… it’s gonna have to come from a new grassroots generation. Bottom up. I look at the kids coming into the world today and I just feel like we need to do better. We need to shout louder and work harder and make real changes to how we do things. Just stop being fucking selfish you know. We are THEIR future. We need to be the change and not stand down”.


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Zidiq Releases New Music Video For “African Mama” Sun, 17 Nov 2019 17:20:13 +0000 Electronic music is a globally spoken language, reaching each corner of the earth with its pulsing beats, melodic drops, and liberating spirit. Fast-rising DJ Zidiq was born in Nigeria Lagos and finished school with a BSC in Economics. He launched his music career in 2016 under the label, BWE. Now he is signed to Anacaona Records, an American independent record label. Zidiq is a pioneer of the Afro Electronic Dance music genre, a mixture of African cultural styles with energetic beats. His undying love for house music strengthens his inspiration and unique style.

Zidiq’s most recent release, “African Mama, has blown listeners away and is garnering significant airplay across Nigerian’s top radio stations. “African Mama” celebrates and appreciates the beauty of African women. The video is produced and mixed by Irish producers Brian Sheil and Alex Flood and is complemented by the glow of the sunset on the beach, vibrant colors all around, and energetic dancing. The song lauds the cherished human values that make African women stand out. Zidiq praises their physical and internal beauty, everything from their face and skin to their compassion and wisdom.

This Afro Electronic Dance Music anthem is defined by its fusion of Caribbean and Dancehall vibe and lively electronic soundscapes. Zidiq states, “The Director and I wanted to present the video as a stylish colorful, high energy montage of a mix of performances and drama which has its elements edited together to create a stunning look of a well-told story using interesting camera angles and lightings.” The camera work accentuates each woman and highlights the uniformed dance routine taking place beneath the glossy neon lights of the club. Zidiq is ready to establish a fierce position in the electronic music sphere, customizing it with cultural influences and preparing future projects to come.

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Danny Griego and KP Fitz Team Up On New Video For “Twenty Two” Sun, 17 Nov 2019 17:18:49 +0000 The land of the free wouldn’t be what it is without the brave men and women who protect what this country stands for and the people who inhabit it. However, in making their sacrifice for the free, the brave can fall into dark places, and 22 of those courageous few take their lives each day. Danny Griego and KP Fitz are singing on behalf of those soldiers. In their patriotic country track appropriately named “Twenty Two,” Griego and Fitz show appreciation to those that risked their lives on the front lines of war and depression. They take a hard look at what this epidemic means in our country and demand that we work together to save the lives of those that fight to protect ours.

“Twenty Two” is essentially a pleading message to the people of our nation’s military that they are loved and wanted in this world. Although the road of life may have been unforgiving and unjust, Griego and Fitz want veterans to know that their sacrifice has not gone unappreciated and that it should be the duty of all Americans to tell our brave few that we are here for them. “Twenty Two” is a beautiful ballad that has a strong moral lesson to it and works to make our country a safer and more understanding place. Its finely-honed country twang and skillfully-crafted instrumentals are simply an accessory to the real meaning that this track has.

Danny Griego’s latest album is currently making its way up to the top of the Billboard 200. KP has recently made a musical appearance on the popular broadcast show Fox and Friends. Both artists have great things on the horizon and even more fantastic music on the way.

The “Twenty Two” music video follows one of the potential twenty-two that Griego and Fitz are reflecting upon. He is a recently discharged soldier whose legs have been amputated. The audience finds him struggling to fit back into his home environment and battling the negativity that haunts his life. In one reality of the video, he sadly succumbs to his struggles. In another, a community of individuals take responsibility and show this brave man that what he did has not gone unappreciated. Actions such as past veterans talking to the young hero and a child saluting him come to help the fallen man realize that his country loves him and needs him here in the world.

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Kid Pullen Unveils Two Videos For “Shine From My Casket” & “Can’t Help” Sun, 17 Nov 2019 17:16:59 +0000 Motor City is known for its greatness – the triumphantly sad sounds of MoTown Records, the bygone days of cranking out world-class whips – but it’s never been synonymous with easy living. If you live in Detroit, you work for what you’ve got – and the ups and downs of a town like that can take a toll. It can get lonely. So let’s pour one out for the outcasts and the misfits, and throw on Kid Pullen‘s new single “Shine From My Casket.” Musically, the Kid comes from that no-man’s land between punk rock, pop-punk, and modern hip-hop. He’s coming from some real trials and tribulations, having done stints in rehab, even OD-ing a couple of times. Tough times can take a man to some bad places, but lucky for those who walk those hard roads alone, this MC decided to broadcast live from the darkness. Misery loves company, and the Emo Rap scene’s about to love Kid Pullen.

This may be the first time we’ve heard a rapper rhyme about fast cars and fly jewelry and NOT be bragging on it. He’s hurting, and all these worldly possessions play a part in his planned demise. A voicemail, at once desperate and over it, is left by someone who may be on their way out… soon. That sets up the track’s complete darkness over a haunting guitar progression with a ghost of a beat, and Kid Pullen’s world-weary, no-time-for-games flow takes over. He’ll rhyme FaceTime with flatline in his cool, conversational style, no big deal, giving his fresh take on an inner struggle that’s timeless. But where other rappers might ride off into a tale of rescue and redemption, he jumps the curb and plows straight into a farewell, with just the right amount of middle finger swagger thrown in.

We open on the woman leaving the aforementioned voicemail from her sparsely furnished and decorated room at midday, with the shades drawn. An entire wall is covered with yellow caution tape, preparing us for the painful, blunt confessional Kid Pullen’s about to drop on us. He says he “found that being dark isn’t bad and for once something felt comfortable,” and you can see it in his light green eyes. Like the cartoon Danny Phantom, who changes from a struggling kid to a ghost kid – when his eyes are green, he has a purpose. Kid Pullen’s purpose? Music. Whether he likes it or not, he’s right at home deep inside that thousand-yard-stare you can’t quite look away from. The video keeps us guessing as to exactly how our hero is going to go out. Astride that grave, he’s digging in the woods? In that bathtub filled with… is that blood? The video cuts between black and white, and gritty red palettes, mirroring his mindstate. He’s iced up and fed up, and as close you can get to taking it with you when you die.

The companion clip to “Shine From My Casket,” the clubby but no less dark “Can’t Help, finds Kid navigating the chemical and sexual temptations of late nights wasted beneath the strobe lights.

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Brynn Stanley Releases New Music Video For “Santa Bring My Baby Back To Me” Sun, 17 Nov 2019 17:14:21 +0000 What’s the best Christmas album of all time? Ask a hundred people, and you’re likely to get a hundred different answers. But if you’ve got a copy of Elvis’ Christmas Album from 1957, chances are it’s a cherished possession – and you’re getting ready to dust it off for the coming holidays. The Elvis Christmas set is a landmark seasonal recording, and “Santa Bring My Baby Back To Me” is its racing heart. It’s a song designed to appeal to fans of jazz, rock, pop, adult contemporary music, and everybody who loves the magical days of December. No wonder, then, that’s it’s been covered by artists as disparate in their approaches to pop performance as the Rolling Stones, Mae West and The Smithereens

To that distinguished list, add the name Brynn Stanley. The North Jersey Adult Contemporary singer was born to sing seasonal music: she’s got a voice that’s as tasty and appealing as a fresh-baked batch of sugar cookies. Stanley’s devoted audience knows that nobody brings the cheer quite as effortlessly, or with as much effervescence, as she does. Her version of “Santa Bring My Baby Back To Me” retains the drive and sparkle of the Elvis original, and adds to it a playful and provocative quality that’s entirely her own. The Stanley cover is gorgeously appointed with brassy backing vocals straight from an old 1950s transistor radio, an irresistible walking bassline, and a compulsively danceable backbeat. The finishing touch? A dazzling, fully-inhabited turn on the microphone by the principal, who makes these half-century-old words feel as contemporary and immediate as anything on the radio.

Yes, the holidays are on Brynn Stanley’s mind: Classic Christmas, her latest set, features delicious jazz-pop versions of seasonal favorites, including “Rudolph,” “Jingle Bells,” and “Let It Snow.” But there’s also material on the set that’s meant to be pure December fun, like the winking “Selfie With Santa.” Stanley’s sense of humor has always been one of her most appealing traits, and it’s on bright display in the clip for “Santa Bring My Baby Back To Me.” On a set festooned with holiday decorations in red and green, the singer waits patiently for the return of her beau – and she’s not above occasional (and endearing) acts of impatience! We watch her wrap presents, bake cookies, sip from an oversized mug, trim the tree, and even toss a candy cane at the camera. She’s always pretty as a Christmas card, but she’s never quite ready to celebrate until the moment her man comes home.

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BREE Release New Music Video For “Damn, I’m Being Me Again” Sun, 17 Nov 2019 17:12:32 +0000 “Sometimes I wanna punch myself in the face.” What could’ve been a sad-sack sentiment, some phony contrivance, is, in BREE‘s hands, a glorious war cry shouted from the rooftop. She knows exactly who she is, and there’s not much she can do about it, except pen killer rock songs that laugh in the face of self-seriousness. Where she does take things seriously is where it matters: BREE has mined a complicated life to kick out jams full of honesty and overdrive. She grew up in an Oregon religious cult led by her Dad, lost her Mom at six (from swallowing a needle), was thrown on the street at seventeen and, leaving the frying pan for the fire, hit the bricks for the bright lights of Nashville. Music City is a tough nut to crack, but she was soon named Nashville Artist of the Year by international indie tastemakers RAW. She hopped the pond and pulled off a one-band British invasion doing three separate tours with The Parlotones, The Supersuckers and The Lottery Winners. The UK got what she and her powerhouse rhythm section, drummer David J. Castello and upright bassist Maryk McNeely were doing, and they toured til the wheels came off. Now they’re back in the States and looking for who’s ass to kick first. BREE’s packed more triumphs into her career than most of the rockers she’s easily out-rocking, and with this track, damn, she’s being her again.

Four power chords cure everything, even that thing inside us telling us to hit the self-destruct button every five minutes. “Damn, I’m Being Me Again” makes being your own worst enemy sound pretty goddamn fun. It makes sense when you consider BREE learned from the best, filling her head throughout her formative years with Alkaline Trio, Green Day, Avril, and amp-murderers The Who. The three-piece explodes with rock’s passion all wrapped up in radio-ready dynamics and melodicism. BREE’s downright incredible vocals are half-angel, half-uppercut: she belts it out like the black sheep with a pixie cut she is. David and Maryk are rocket fuel together, focusing the song’s raw power with blistering, airtight bass, and pounding drums. This is the first single off their upcoming New Skin LP, produced by Justin Cortelyou, who’s worked with Paul McCartney, Taylor Swift, Alice Cooper, Ke$ha, and more. At three furious minutes, this song of self-awareness is a non-stop blast. BREE’s got no use for frills and no room for regret.

BREE’s laying it bare with “Damn, I’m Being Me Again,” making no excuses for who she is or what she might do next. It’s a white-hot ripper that requires no set dressing, so the band does what they do best: they set up, plug in, and let loose. Director Casey Culver shot them in all black, with an all-black backline, against pure white, and the effect is striking. It’s a real tease for what the live show is like, minus only BREE’s inclination to climb to the top of Maryk’s upright bass mid-song and riff from on high. The Mod, monochromatic 60’s Brit Rock backdrop leaves the band plenty of space to tear it up in their natural element. Look out for the record later this year, and if they come through your town, look out.

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Waldo Witt Releases New Music Video For “Carteret” Sun, 17 Nov 2019 17:10:48 +0000 North Carolinian Waldo Witt knows how to make a video. The electronic pop singer and songwriter understands the power of images, and he knows how to underscore and amplify the emotional intensity of his songs through visual storytelling. So far, his clips have been beautifully shot, dramatically acted, and as compelling to follow as any motion picture is. “Crystal Ball,” his last video, was practically a love letter to ’80s cinema: it featured the Chapel Hill artist in a succession of scenes and poses deeply reminiscent of the best-loved and most emotionally provocative movies of the first synthpop era. (Even the titles looked vintage!) “Carteret,” the latest Waldo Witt video, ups the ante with a gripping story-line that borrows equally from dystopian and gangster cinema. He’s an artist who understands the camera – one with a knack for making film-historical tropes his own.

Nobody who knows the artist will be shocked. His music does something very similar: it alludes to prior electronic pop models and juxtaposes them, boldly, with contemporary approaches. Waldo Witt’s music is gorgeously appointed, texturally sophisticated, harmonically rich, and sonically arresting. Once heard, it’s not easily forgotten. Witt makes songs that cry out for video treatments – songs that feel like soundtracks to unforgettable moments. Call it psychedelia, or dream pop, or electronic soul, and he won’t mind; what matters is the profound effect these cuts have on those who listen to them. “Carteret,” for instance, is quintessential Waldo Witt: it’s a waking reverie, a swim in a deep river with dangerous undercurrents.

Sefárdico’s “Carteret” enhances the dreamlike quality of Waldo Witt’s music. The director presents a magic realism treatment on the United States – one populated by a desperate and passionate multicultural youth defined by its opposition to the dominant power group, in this case the Kadabros gang.  This is a needle-drop into a deep groove: a look at a subculture struggling, and celebrating, and adapting to a hostile society. But a closer look at the cosmetics suggests a division. The different clown face paint worn by the Kadabros and the minority gangs signify the differing ideologies they present to the world. Narratively speaking, the clown face is also a device to lighten up the very stark situation in which we found ourselves as a country – that we are ultimately divided. Our hero is a young woman with a butterfly chest tattoo whose innocent appearance belies her dedication – and her determination to overthrow the current corrupt and obsolete order.  Only by symbolically killing the societal ideal we have of those in power we will be able to celebrate underrepresented voices and move forward as a society.

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