logo
FANGZ - Announce Debut Album 'Shui' And National Tour, Reveal Blistering Single 'Anne Marie'

FANGZ - Announce Debut Album 'Shui' And National Tour, Reveal Blistering Single 'Anne Marie'

Scoop30-05-2025
Eora/Sydney punk rockers FANGZ have announced their debut album ' Shui ', out Friday, July 4 via Impressed Recordings, alongside their biggest national headline tour yet. The news lands with their explosive new single ' Anne Marie ', produced by (LOSER) and mixed by Jonathan Gardner (Front End Loader, Grinspoon).
'Anne-Marie' unfurls with razor-sharp punk riffage, pounding rhythms, and Josh Cottreau 's searing belts, setting the tone for the track's unrelenting ferocity. Chant-along choruses erupt into an explosive bridge, unleashing a tidal wave of distorted guitars, double-timed drums and an exuberant solo cranking it up to eleven.
Josh Cottreau touches on the meaning of the track:
"'Anne Marie' is a heartfelt tribute to my sister, Leigh-Anne Marie — a constant source of strength, support, and unconditional love. The song reflects on moments of struggle, gratitude, and personal growth, honouring the one person who never gave up, even when times were hardest. It's a message of appreciation for her unwavering belief and a reminder to keep going and never stop doing what you love."
FANGZ's latest national headline tour includes stops in Meanjin/Brisbane, Tarndayna/Adelaide, Boorloo/Perth, Naarm/Melbourne, Eora/Sydney, Ngunnawal/Canberra, Dharawal/Wollongong, Mulubinba/Newcastle, Yugambeh/Gold Coast and Gubbi Gubbi/Caloundra; tickets are available via fangz.band. This follows on from a busy 2025 launching the Melbourne and Brisbane contingents of FANGZstock and packing out the global premiere of ' Shui', presented by Great Southern Nights, at Trocadero Room, Eora / Sydney.
The band have traversed the country multiple times, selling out headline shows, performing at festivals and sharing stages with the likes of FIDLAR (USA), Pennywise (USA), The Bronx (USA), Cancer Bats (CAN), RedHook, Comeback Kid (CAN) and He Is Legend (USA).
Last year, FANGZ completed an East Coast tour in 24 hours, an annually curated festival 'FANGZstock', launched their own hot sauce ' Fang us Some Sauce ', and hold the Guinness world record for the most hard-boiled eggs eaten in one sitting by front man Josh Cottreau (143 eggs in three minutes and ten seconds).
Since their 2019 inception, FANGZ have released three EP's ' For Nothing ' (2019), ' But No Thanks ' (2020), ' Falling Is Pretty Normal ' (2022), and a slew of singles, which received strong support from the likes of triple j, triple j Unearthed, Triple M, Spotify, Apple Music, Amazon Music, Metal Hammer (UK), Loudwire (USA), Classic Rock (UK), Metal Injection (USA), Louder Sound (UK), NME, Rolling Stone Magazine, The Guardian, and many more.
Coming into 2025, the group has released singles ' Wasting Time ', ' Nothing To Lose ', ' Same Old Story ' and ' Wide Awake ' from their forthcoming debut album. The releases were warmly embraced by Spotify, Apple Music, triple j and numerous community radio stations, and blogs.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Platonic Sex Announce Debut Album Face To The Flywire; Share Title Track
Platonic Sex Announce Debut Album Face To The Flywire; Share Title Track

Scoop

time3 days ago

  • Scoop

Platonic Sex Announce Debut Album Face To The Flywire; Share Title Track

[Friday, July 18, 2025] – Magandgin/Brisbane Indie-pop group Platonic Sex announce their debut album, Face to the Flywire, set for independent release on Friday, September 19. Alongside the news, the band share the album's title track, which they describe as their most intimate song to date. 'Face to the Flywire' joins previously released album singles 'Impress You' and 'Easy,' both of which garnered significant praise and airplay earlier this year from triple j, KEXP, 4ZZZ, Rolling Stone Australia, and more. For singer-guitarist Bridget Brandolini (they/them), music has always been a shared language, a friendly competition, and a powerful tool for self-discovery. The album's title track draws its core inspiration from Brandolini's childhood home – a Queenslander in Clunes, New South Wales. With five kids in the family, Brandolini's bedroom was the converted sunroom. "In stormy weather, I'd squish my face up to the flywire to feel the rain and blow smoke out of my room", they share. The song's foundation is built upon a chord progression passed down by Brandolini's father, a significant influence on their musical journey. 'He is the reason I write so much music today,' Brandolini explains. "He taught me all the lessons he learned about songwriting, even ones I didn't ask for. We'd sing different things over those chords, and I always found myself coming back to them." From this foundation, a stream of profound thoughts and memories emerged: the experience of witnessing family patterns unfold in one's own relationships, the yearning to be consumed by love, and the desire to understand how a partner's past shapes the shared home. Bridget adds, 'The words 'face to the flywire' are really special to me. They represent a feeling of being on the inside and pushing out, wanting to escape, to grow.' Platonic Sex, comprised of Bridget Brandolini (they/them), Ryan Hammermeister (he/they), and Jane Milroy (she/her), crafted Face to the Flywire with Antonia Gauci at Marrickville's Golden Retriever Studios, and it was mixed by Sam Cromack at Prawn Studio in Fortitude Valley. The twelve tracks on the album unfurl a rich tapestry of memories, capturing the essence of coming of age amidst the humid splendor of Queensland. During the development of this record, the band – who have since welcomed JESS CAMERON (she/her) on bass – continued to forge a distinctive sound, blending their individual musical backgrounds in jazz, folk, and other touring acts. This unique blend is sun-bleached by the spirit of their community: languorous, warm, isolated, and intimate. 'These songs feel nostalgic, like the Christmas holidays,' says Milroy. 'Sitting on the back deck and listening to cicadas.' Following the release of their debut EP, Platonic Sex was named a triple j Unearthed Feature Artist and won the Carol Lloyd Award at the 2023 Queensland Music Awards. They have showcased twice at BIGSOUND, the Southern Hemisphere's largest music industry event, including a slot at Amazon Music After Hours' PRIDE Party, and performed at The Great Escape in Brighton last year. Their music has been critically acclaimed, receiving praise and airplay from The Guardian, Junkee, Music Feeds, and more, while enjoying strong radio support, including rotation at triple j, SYN, and 2SER, plus additions to tastemaking editorial playlists across Spotify and Apple Music. Live, they have shared stages with notable artists like Angel Olsen, Jen Cloher, The Beths, Tops, Ball Park Music, and WAAX, performed at Rough Trade East, and featured on summer festival line-ups including Laneway Festival, St. Kilda Fest, and Mountain Goat Valley Crawl. Platonic Sex kicked off 2025 as Best Rock Song finalists at the Queensland Music Awards, followed by an energetic all-ages weekender, playing the inaugural She Can Rage party in Gadigal Land / Sydney, and a sold-out DIY headliner in Magandgin / Brisbane, in collaboration with Anti Dismal. Adding to their growing momentum, Platonic Sex received a notable mention as a band to watch during the national TV broadcast of the Sydney Gay and Lesbian Mardi Gras parade. This month, they will wrap up tour dates with Ball Park Music. Following the release of their album, Platonic Sex are set to support jasmine.4.t on her first Australian tour in October and will be part of the 4ZZZ 50th Birthday Market Day Line-Up, performing alongside iconic acts such as The Saints, Regurgitator, and Tropical Fuck Storm, among others.

Juno Mamba & Rino Drop New Collab Single 'Meant2Be'
Juno Mamba & Rino Drop New Collab Single 'Meant2Be'

Scoop

time4 days ago

  • Scoop

Juno Mamba & Rino Drop New Collab Single 'Meant2Be'

[18 July 2025] Today Filipino-Australian producer Juno Mamba has teamed up with Indonesian-Australian producer Rino to deliver new collaborative single 'Meant2Be', a track spanning realms of soaring euphoria and hypnotic rhythms. Alongside the release, Juno Mamba announces his debut UK and European tour, kicking off this September and October with 10 shows across the region, including club dates with edapollo and a coveted slot at Amsterdam Dance Event, where he joins Ben Böhmer's curated lineup at DGTL Festival. Bonding over their love for UK electronic music and experiences as Asian immigrant kids, the two instantly connected in the studio on a deep level. 'Meant2Be' captures the connection they felt in the studio that day, conveying deep emotions through meditative yet energetic textures and melodies. 'Meant2Be' came together quickly and organically. Rino and I jumped into the studio and, within minutes of meeting, we'd connected on a deep level. It felt like we'd been friends our whole lives. There was an immediate sense of mutual respect and trust in what we each brought to the table, which allowed us to share ideas and make changes on the fly without judgement. This track captures the exact energy and spirit we felt in the studio that day.' – Juno Mamba 'Meant2Be' arrives on the heels of a prolific run of collaborative singles for Juno Mamba. Recent collaborations include '1 DAY 2 LATE' with Mild Minds, and 'U Always' with edapollo, which earned the cover of UK tastemaker Spotify playlist Altar and airplay on BBC Radio 1. 'U Always' was later remixed by LUV HRTS, the project of GRAMMY Award-nominated producer Benjamin David (Mild Minds) and Victor Pakpour of Ruby Haunt. Rino's journey into electronic music has seen him release three EP's - Expanse and Flow-on, released via Sydney label Gallery Recordings, and Running in Pairs, via UK DJ Seb Wildblood's label All My Thoughts. His sonic world conveys deep human emotions, with forward-thinking soundscapes and meditative rhythms, and has earned him support from Spotify's Portal, Night Shift, Fresh Finds and Sunday Sessions, as well as airplay on triple j, Double J, SYN & Kiss FM. Juno and I quickly bonded over our shared appreciation for textural UK electronic music. Our instant connection in the studio yielded a streamlined creative process, meaning we ended up writing 'Meant2Be' very quickly. During the early sketches of the track, we came to realise that we experienced very similar things growing up as Asian immigrant kids. A lot of our early memories had lots of parallels so we channelled that into the music we made. It's a combination of nostalgia and escapism- a recollection of sentiments from the past and reframing that into something that feels dreamy and warm.' – Rino Juno Mamba kicked off 2025 as the main support for dance rock icons New Order including performances at Sydney Opera House and Sidney Myer Music Bowl as part of the Australian tour, followed by a sold-out Melbourne show with Sultan + Shepard and a support slot for tech house icon MK. He is currently supporting revered electronic duo Kiasmos on their Australian tour.

Music is at the forefront of AI disruption, but NZ artists still have few protections
Music is at the forefront of AI disruption, but NZ artists still have few protections

RNZ News

time13-07-2025

  • RNZ News

Music is at the forefront of AI disruption, but NZ artists still have few protections

First published on Image of the band Velvet Sundown. Photo: Spotify Analysis: Was the recent Velvet Sundown phenomenon a great music and media hoax, a sign of things to come, or just another example of what's already happening ? In case you missed it, the breakout act was streamed hundreds of thousands of times before claims emerged the band and their music were products of generative artificial intelligence (GenAI). Despite the "band" insisting they were real , an "associate" later admitted it was indeed an "art hoax" marketing stunt . Much of the subsequent commentary was concerned with fairness - particularly that a "fake" band was succeeding at the expense of "real" artists. But Velvet Sundown is only the most recent example in a long history of computer generated and assisted music creation - going back to the 1950s when a chemistry professor named Lejaren Hiller debuted a musical composition written by a computer . By the 1980s, David Cope's Experiments in Musical Intelligence created music so close to the style of Chopin and Bach it fooled classically trained musicians. Artist and composer Holly Herndon was highlighting a need for the ethical use and licensing of voice models and deepfakes several years before Grimes invited others to use AI-generated versions of her voice to make new music, and "Deepfake Drake" alarmed the major record the same time, music companies, including Warner, Capitol and rapper-producer Timbaland, have since inked record contracts for AI-generated work. GenAI-powered tools, such as those offered by Izotope, LANDR and Apple, have become commonplace in mixing and mastering since the late 2000s. Machine learning technology also underpins streaming recommendations . Velvet Sundown and the AI challenge of verifying "authenticity" #Marketing #Advertising Despite this relatively long history of technology's impact on music, it still tends to be framed as a future challenge. The New Zealand government's Strategy for Artificial Intelligence , released this month, suggests we're at a "pivotal moment" as the AI-powered future approaches. In June, a draft insight briefing from Manata Taonga/Ministry for Culture & Heritage explored "how digital technologies may transform the ways New Zealanders create, share and protect stories in 2040 and beyond". It joins other recent publications by the Australasian Performing Rights Association and New Zealand's Artificial Intelligence Researchers Association , which grapple with the future impacts of AI technologies. One of the main issues is the use of copyright material to train AI systems. Last year, two AI startups, including the one used by Velvet Sundown, were sued by Sony, Universal and Warner for using unlicensed recordings as part of their training data. It's possible the models have been trained on recordings by local musicians without their permission, too. But without any requirement for tech firms to disclose their training data it can't be confirmed. Even if we did know, the copyright implications for works created by AI in Aotearoa New Zealand aren't clear. And it's not possible for musicians to opt out in any meaningful way. This goes against the data governance model designed by Te Mana Raraunga/Māori Sovereignty Network. Māori writer members of music rights administrator APRA AMCOS have also raised concerns about potential cultural appropriation and misuse due to GenAI. Recent research suggesting GenAI work displaces human output in creative industries is particularly worrying for local musicians who already struggle for visibility. But it's not an isolated phenomenon. In Australia, GenAI has reportedly been used to impersonate successful, emerging and dead artists. And French streaming service Deezer claims up to 20,000 tracks created by GenAI were being uploaded to its service daily. There has been increased scrutiny of streaming fraud, including a world-first criminal case brought last year against a musician who used bots to generate millions of streams for tracks created with GenAI. But on social media, musicians now compete for attention with a flood of "AI slop", with no real prospect of platforms doing anything about it. More troublingly, New Zealand law has been described as " woefully inadequate " at combating deepfakes and non-consensual intimate imagery that can damage artists' brands and livelihoods. The government's AI strategy prioritises adoption, innovation and a light-touch approach over these creative and cultural implications. But there is growing consensus internationally that regulatory intervention is warranted. The European Union has enacted legislation requiring AI services to be transparent about what they have trained their models on, an important first step towards an AI licensing regime for recorded and musical works. An Australian senate committee has recommended whole-of-economy AI guardrails , including transparency requirements in line with the EU. Denmark has gone even further, with plans to give every citizen copyright of their own facial features, voice and body, including specific protections for performing artists. It's nearly ten years since the music business was described as the "canary in a coalmine" for other industries and a bellwether of broader cultural and economic shifts. How we address the current challenges presented by AI in music will have far-reaching implications. Dave Carter is an Associate Professor at the School of Music and Screen Arts, Te Kunenga ki Pūrehuroa - Massey University Jesse Austin-Stewart is a lecturer at the School of Music and Screen Arts, Te Kunenga ki Pūrehuroa - Massey University Oli Wilson is a Professor & Associate Dean Research at the College of Creative Arts, Te Kunenga ki Pūrehuroa - Massey University This story was originally published on The Conversation.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store