Hayley Mary has today released her debut EP, The Piss, The Perfume.

Hayley Mary; a wee pocket rocket with the voice of a giant angel. A bona fide persona with no shortage of past achievements, but they are not why we are here. Superstars live in the future.

The EP was written mainly while Hayley was working in Smith’s Deli, (“the best caff”, according to one local taxi driver, in Edinburgh). She and her partner, Johnny, relocated from Sydney to the Scottish capital last year to live.

The EP’s title track, designed to turn a page between two eras of Sydney life, has all the optimism and irony that nostalgia can afford, ‘Like a Woman Should’ continues the contradiction of attitudes, disguising a heartfelt love song written for a real and life-affirming man, as a social commentary about the conceptual collective fear of the so-called ‘toxic men’ we are ever reminded may be looming.

Produced by Scott Horscroft (Silverchair, The Presets, Tkay Maidza, Middle Kids), The Piss, The Perfume fuses Americana, Australiana and punk songwriting with Motown inspired rhythms and soaring vocal style.

The Piss, The Perfume is out now via I Oh You. Stream on Spotify here.

Melbourne four-piece Kingswood kick off 2020 with the announcement of their long awaited third studio album Juveniles and the latest single, the intoxicating ‘Bittersweet’.

Along with the reveal of new music, Kingswood also unveil new 20+ Australian tour, kicking off in Victoria in March before travelling nationally through April, May and June.

The journey towards the release of Juveniles has been one paved creative reinvention. Throughout the album, fans can piece together definitive elements of music that has formed Kingswood’s dynamic musical identity over the course of six years of relentless touring and recording. ‘Bittersweet’ shines as a tight example of the band’s love for guitar-driven rock music; some may say it aligns itself strongly with the music of Microscopic Wars, however looking more broadly at Kingswood’s body of work, the progressions and stylistic arrangement of the band’s latest represents their genre-diverse tapestry of individual music tastes.

Melodically rich and delivered with the punch 2017’s After Hours, Close To Dawn became synonymous with, ‘Bittersweet’ is Kingswood at their unfiltered best. It’s a temperament that Kingswood applied to Juveniles as a whole. Embracing creative chaos has led the band to make music that has refused to be pigeonholed over the last handful over years, and it’s the way they like it. “‘Bittersweet’ was originally inspired by the love story of one of our dearest friends. Without going into detail, a medical issue put a question mark over their future, but without blinking they forged on together, overcome with love and companionship. The opening line, “There’s no love on this earth that isn’t bittersweet”, is a truth that we should all remember as we paddle through the waves.” Fergus Linacre

A truly global record, Kingswood’s new music came to fruition across multiple writing and recording sessions across the US, UK and Europe. Through it all, the dynamic between chief songwriters Alex Laska and Fergus Linacre strengthened and diversified in personal – as well as combined – style and delivery. Working with frequent collaborator and producer Eddie Spear in their second home of Nashville, the record was an emotional one to solidify. “The album we’re finally presenting was an incredibly long and winding investigation through many different facets and avenues; almost a rediscovery, if you will, of who we are and what we find inspiring.” Alex Laska

Juveniles is out on March 13th 2020.

KINGSWOOD ALBUM TOUR
Thursday March 12 – Barwon Club, Geelong
Friday March 13 – Corner Hotel, Melbourne
Saturday March 14 – Volta, Ballarat
Wednesday March 18 – Kambria Anu, Canberra
Thursday March 19 – UOW Unibar, Wollongong
Friday March 20 – Oxford Art Factory, Sydney
Saturday March 21 – Cambridge Hotel, Newcastle
Thursday March 26 – The Gov, Adelaide
Friday March 27 – The Rosemount, Perth
Saturday March 28 – Prince of Wales, Bunbury
Sunday March 29 – Freo Social, Fremantle
Thursday April 2 – The Triffid, Brisbane
Thursday April 9 – Republic Bar, Hobart
Saturday April 11 – Saloon, Launceston
Sunday April 12 – Forth Pub, Devonport
Thursday April 16 – The Northern, Byron Bay
Friday April 17 – Miami Marketta, Gold Coast
Thursday June 25 – The Jack, Cairns
Friday June 26 – Otherwise Bar, Townsville
Saturday June 27 – CBD McGuires Hotel, Mackay

Native Tongue are thrilled to announce the recent signing of Ryan Henderson and Matt Carins (also known as Hollow Coves). The ANZ deal secures rights for their works, including the duo’s recently released debut album Moments.

As affirmed by nearly 200 million total streams for the 2017 debut EP Wanderlust and praise from Billboard, Clash, and OnesToWatch, Hollow Coves carry light within an eloquent, engaging, and entrancing take on indie folk.

Hollow Coves have toured around the globe, and return to Australia this January in support of their debut album.

Thursday 16th January – Sewing Room, Perth
Friday 17th January – Jive Bar, Adelaide
Saturday 18th January – The Corner Hotel, Melbourne
Friday 24th January – Oxford Arts Factory, Sydney
Saturday 25th January – The Triffid, Brisbane

Stream their debut album on Spotify here.

Happy holidays from Native Tongue.

We would like to send an extended thank you to our writers, catalogues, sub-publishers and everyone else involved in helping make 2019 wonderful.

Please note our office is closed from 5pm Friday December 20th 2019, and will reopen on Monday January 6th 2020.

See you on the other side!

Native Tongue is excited to announce the singing of multi-instrumentalist, composer and producer Dan Luscombe.

For the past twelve years Dan has been a member of the critically-acclaimed Australian outfit The Drones. He began his professional career at age eighteen joining The Blackeyed Susans (who’s alumni included members of The Triffids, Dirty Three and The Cruel Sea) and went on to work and perform alongside a host of other respected performers including tenures with Paul Kelly, Courtney Barnett and Marlon Williams.

His notable works as a screen composer include the score for Jindabyne (dir. Ray Lawrence) which he co-wrote with Paul Kelly and Hounds Of Love (dir. Ben Young). His scores for television include Mr. & Mrs Murder (Ch. 10) and Laid (ABC).

Though he’s been largely involved with guitar-based independent bands and artists throughout his career, Dan’s influences and scoring work take in a breadth of styles, from stark electronic (Hounds Of Love), traditional choral (Jindabyne), jazz-noir (Mr. & Mrs Murder), brutal guitar ambience (for the television adaptation of Wolf Creek) through to the whimsical and bent (Laid). Dan’s most recent scoring work was for the sci-fi feature I Am Mother which premiered at the Sundance Film Festival in 2019.

Jindabyne was awarded Best Feature Film Score in the 2006 ARIA Awards, and the jury prize for Best Score at the 2006 Valladolid Film Festival (Spain). I Am Mother was awarded Feature Film Score of the Year at the 2019 Screen Music Awards.

Native Tongue’s Managing Director Jaime Gough explains, “Dan is a stalwart of the Melbourne music scene. A true talent both on stage and in the studio. It’s a privilege to welcome such a fine musician, composer, artist and collaborator into the Native Tongue family.”