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The Velvet Sundown: Inside the bizarre truth about popular band

The Velvet Sundown: Inside the bizarre truth about popular band

News.com.au4 days ago
Dust on the wind, boots on the ground. Smoke in the sky, no peace found
Rivers run red, the drums roll slow. Tell me brother, where do we go?
These are the lyrics that open Dust On the Wind, the first track from The Velvet Sundown's debut album, Floating on Echoes. It landed on Spotify on June 5, a melancholic ballad about the bloody futility of war set to a twangy guitar riff.
Stylised images of the band showed singer Gabe Farrow, guitarist Lennie West, keyboardist Milo Rains, and drummer Orion 'Rio' Del Mar, who looked like the bastard love children of a Crosby, Stills and Nash tribute act dressed exclusively in Mumford and Sons' cast offs.
Dust was soon appearing on Spotify playlists with hundreds of thousands of saves. In total, Floating has been streamed nearly five million times.
Then something very weird happened. On June 20 the Velvet boys put out a second album, Dust And Silence. It was all an unthinkably fast turnaround even for a band who can go vanilla-ishly against stereotype, has never seen the wrong end of a whiskey bottle or been plagued by toxic Liam/Noel juju.
Then came a third and a fourth album.
Their secret: The Velvet Sundown are AI-generated. Their music, promo shots and backstory were created by AI, The Guardian reported this week.
No one has copped to being the brains behind this all and once Velvet's unrealness started making headlines, 'they' changed 'their' bio to read, 'Not quite human. Not quite machine.'
Whether listeners twigged or not, between June 29 and July 1, Dust on the Wind topped Spotify's daily Viral 50 chart in Britain, Norway and Sweden.
Who knew the rise of our digital overlords would be quite so catchy? The Terminator never spun a decent tune now did he?
The bottom line: Hollywood and the music industry in particular are being run over by a truck driven by the creepily happy Gab, Lennie, Milo and Rio.
We have had months, years of Chicken Little-style sky-is-falling, doom-saying, and end-is-nighing about AI but now a terrifying amount is happening terrifyingly fast.
In January a podcast featuring legendary British broadcaster Michael Parkinson was launched, the debut episode seeing him speak to Jason Derulo. Unremarkable except for the fact that Parkinson died in 2023.
To create the show, his son and a production company trained an AI 'Parky' by feeding it the 2,000 real interviews he had done over his career.
In June, Vin Diesel announced the final installment in the Fast & Furious franchise - and promised to bring back Paul Walker's character. Walker, of course, was killed in a car accident in 2013.
Since 2023 the CAA talent agency, which represents stars like Beyoncé and George Clooney , has been quietly working to'capture the likeness of all its clients so it could own and control the rights to their image,' for possible future AI use, New York magazine recently revealed.
AI could also see the rise of 'fan episodes'.
Diehards of a particular show won't have to restrict themselves to writing exhaustively long, panty fan-fic but will one day be able to to 'create their own episodes', according to veteran TV producer and Thursday Murder Club author Richard Osman.
Speaking on his brilliant Rest is Entertainment podcast with co-host Marina Hyde, he argued that in the future actors and creators will not just sign up for projects but will sign 'a contract that allows an AI use of their image' within the 'gated wall' of a particular project or series. This will mean that fans will be able to 'constantly remix their favourite television programs' and 'create their own episodes' of hit shows.
(How many prompts are going to read 'Now kiss'?)
In Hollywood alone there are now nearly 100 AI studios.
'Everyone's using it,' a CAA agent told New York magazine. 'They just don't talk about it.'
The race is now on for the first fully AI series or movie.
Staircase studio took the lead in March when it released the first five minutes of what will be the feature-length The Woman With Red Hair, which will tell the true story of Dutch resistance fighter Johanna 'Hannie'. Helmed by a Divergent series producer, the Woman taster is an eerie watch. While some moments are obviously unreal, other shots, especially of streetscapes and sweeping city views, are spookily believable.
Fashion is not immune here. In March H&M released suitably artsy black and white shots of model Mathilda Gvarliani doing some pouting in a white tank.
Only one of them was the real Gvarliani.
This was part of the global fashion giant's project to create 30 digital 'twins' of actual models, which in turn they will use to create AI-generated images for marketing campaigns and social media. (The models will retain the rights to their digital replicas and the retailer said the AI images would be marked as such.)
Delve into how far and fast AI is reaching and it is breathtaking in every sense of the word. What The Velvet Sundown saga makes clear is that we might not quite have gotten to the other side of the uncanny valley but we are in the midst of a Gutenberg-like watershed moment for creative industries.
Very very soon, no camera shot will be impossible, no location out of reach, no pose unachievable, no sound uncreatable, no deadness of star insurmountable.
On one hand, this means the barriers for entry into the famously hard-to-break-into entertainment biz have just fallen. 19-years-old and have a brilliant film idea? Go forth and create.
On another, is anyone checking that the code doesn't careen off into the never never with no reasonable guard rails in place?
There is another 'but' in all of this too. (I like big 'buts' and I cannot lie.) Just because you can make it and use it doesn't mean people will eagerly take it up. Already, in some instances, the giddy adoption of AI is being met with a swift backlash.
On YouTube, The Woman With Red Hair taster has twice as many downvotes as upvotes.
In June, MrBeast, the world's biggest YouTuber with more than 385 million subscribers, announced he was launching an AI thumbnail generator, which would allow users to mimic aspects of existing video art. Such was the vehemence of reaction, he was forced to kill it a week later.
This month Spotify appeared to be cracking down on The Velvet Sundown, removing their fourth album and several uploads.
Hours before I was set to file this story, the 'band' threw a spanner in the works. 'They' took to X, formerly Twitter, posting an ostensibly behind-the-scenes video and writing, 'Everyone who said we're 'not real' and asked for 'video proof' can now see for themselves! WE ARE 100 REAL!'.
In the clip, the 'boys' say things like 'The song came to me after I fasted for three days in Joshua Tree with nothing but a deck of tarot cards' and 'I was trying to remember what stars sound like'.
Muddling things even further, a cameo from what appears to be The Eagles' Tim Schmit.
It's clearly not real-real per se but someone has to have laboured over a keyboard to conjure Gab, Lennie, Milo and Rio. Is it all an elaborate prank? A majors thesis in pixel form? A very bored 12-year-old's Frankenstein creation?
As a TV show once taught us, the truth is out there.
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The industry wants us to 'show up'. But can we afford Aussie music anymore?
The industry wants us to 'show up'. But can we afford Aussie music anymore?

SBS Australia

timean hour ago

  • SBS Australia

The industry wants us to 'show up'. But can we afford Aussie music anymore?

Triple J's Saturday debut of its Hottest 100 of Australian songs has prompted many to reflect on the state of the local music industry — and the sobering reality that perhaps the biggest hurdle is cost. An April report from Creative Australia found 62 per cent of Australians say music is really important to them — but cost is the main barrier to attending live shows. While 66 per cent said they want to hear more local music, many still prioritise saving up their dollars to see international acts — simply because they're rarer. FBi Radio's Tyson Koh says people tightening their hip pockets are having a direct flow-on effect on the industry, especially community radio, which has long been considered a cornerstone of the Australian music scene. FBi Radio — where Koh is managing director — has been an institution in the inner-Sydney suburb of Redfern since 2003, bolstered mostly by community memberships. But in June, it had to cut half its permanent staff after entering a period of "extreme financial distress". It still isn't out of the woods. "We found that in this brave new world of digital streaming and social media, a few people had taken our service for granted," Koh said. "They were still listening to the station — but because they already had several other subscription-based services to keep up with, we'd gotten lost in the mix." Tyson Koh says the cost of living crisis and growth of algorithmic music streaming is affecting community radio stations such as FBi, which could close its doors if not enough funding is secured. Source: Supplied / John Feder As cost-of-living pressures linger, Koh says discretionary spending — such as going to live gigs or subscribing to community radio stations — is becoming harder to justify. "We really need our listeners to show up for us if we are to survive." "I think we have to decide as a society whether music is important … if we can agree on that, then the question comes down to support and participation." Less disposable income, fewer ticket sales Joe Draffen, bassist for Melbourne band Floodlights, says the rising cost of living is also affecting artists. "The current economic climate has made it harder to sell tickets, as many people just don't have as much disposable income right now due to the rising cost of living," Draffen said. "On top of that, our own expenses have gone up, which meant ticket prices had to increase too." Melbourne-based band Floodlights say the cost of living crisis has put pressure on musicians, leading to slower ticket sales and higher touring costs. Source: Supplied / Matt Shaw "Touring's gotten a lot more expensive — flights, accommodation, gear hire, crew — it all adds up." The band has also been impacted by the closure of several music festivals across the country, which would typically bring more exposure and broaden their fan base. More than 25 music festivals across Australia have been cancelled since 2022, according to data from the Australian Festival Association. Community-led efforts still not enough Caitlin Welsh and Joe Hardy run a manually curated gig guide born from the loss of local music press and the lingering effects of Sydney's lockout laws. The guide briefly shut down in June due to a lack of funds, before a flurry of one-off donations and sponsorships allowed Welsh and Hardy to keep going — for now. "People hugely underestimate the amount of time and human labour it takes to manually research and compile the gig guide, as well as put together playlists and post daily lists to socials," Welsh told SBS News. "It's made by a small team of humans — including musicians and creatives who work with us as researchers — who need to be compensated for the amount of labour we're all doing in order to continue living in one of the most expensive cities in the world." Caitlin Welsh and Joe Hardy founded gig guide after frustrations with the diminishing Sydney music scene. But the cost of living is making it difficult for them to continue operating. Source: Supplied / Caitlin Welsh But live music spaces are becoming increasingly rare as venues face even more pressure to keep the doors open. India Wallis is a Brisbane-based musician and head of youth-focused record label Starving Kids, which runs a dedicated 150-capacity all-ages venue in Brisbane, serving musicians who are often booking their first show. "The gap between local acts and established acts seems to be getting wider," she told SBS News. "Brisbane is home to some great large-scale venues, but with more and more small venues closing, there are noticeably less opportunities for artists to cut their teeth." More than 1,300 live music venues and stages across Australia have been lost since the COVID-19 pandemic, according to a 2023 report from music rights management organisation APRA AMCOS. Welsh added: "Venues are being bled by insurance premiums and rent and the alcohol excise, and they can't afford to run all-ages shows because they rely on bar sales to support putting on music at all, and punters can't afford to buy as many drinks as they used to because their rent is too damn high." "The narrowing of music participation to people who can afford to treat it as a hobby, or who are forced to accept poverty to keep doing it, is just as creatively flattening as the algorithm." Algorithms placing pressure on industry At the same time, streaming platforms such as Spotify are continuing to grow, with over nine million users in Australia. Date from market research firm Roy Morgan found Spotify had doubled its Australian user base between 2017 and 2020. Since 2017, the platform has moved towards algorithmically creating personalised music recommendations, informed by a user's listening history and preferences. Koh says this means that people are more likely to value platforms like these instead of community radio, which was traditionally a hub for music discoverability. "People lead such busy lives, so the amount of time that people can devote to going on their own musical journey and discovering new artists is getting more and more limited," he said. Koh says this convenience is creating a "giant homogenous culture". "One thing that social media and algorithms can't replace is the experience and joy of seeing a band. That's often where artists find their audiences and the people who they can take on the journey with them throughout their careers." Despite coming off their largest Australian tour so far, Floodlights say it's become harder to be discovered organically — even in the midst of a breakout moment. "There's so much music coming out every day, and unless you're backed by major playlists or algorithms, it's easy to get lost in the noise," Draffen said. Should Triple J be doing more? In the face of so many obstacles, musicians such as Ben Lee — who is expected to chart in Saturday's countdown for his hits Cigarettes Will Kill You and Catch My Disease — have called for the ABC's Triple J to do more to support Australian music, including restricting all Hottest 100 countdowns to only spotlight Australian songs. "At a time when there are so many platforms for international music discovery, I just don't see the logic in a taxpayer-funded station using their platform to promote international acts, many on major labels," Lee told SBS News. He said it was being run like a "commercial station that's constantly bending over backwards to increase listenership", primarily through bigger international artists. Lee added that it should move to play only Australian music across the board. "They could single-handedly lead the way to revitalising the Australian music industry if they wanted to. But it would mean stopping thinking of themselves as a commercial radio station, but rather as a mission-driven government utility," he said. The station has a mandated quota of 40 per cent for Australian music, but typically plays closer to the 50 per cent mark. Last week, Lee made similar remarks on both social media and to The Sydney Morning Herald. Head of Triple J Lachlan Macara told the Herald seeing local artists next to international names was what made the Hottest 100 " so special". He said the program "would love to see even more people and platforms supporting and prioritising Australian artists". Australian musician Ben Lee has called for Triple J to do more to support Australian music. Source: Getty / Martin Philbey But members of the industry are still conflicted over the best path forward. While Floodlights recently played their biggest headline shows across the country, Draffen said it's still difficult to cut through without support from Triple J. "We've really had to double down on staying connected with our audience and finding new ways to reach people but it's hard as Triple J doesn't really play us, which obviously makes it tougher to reach a wider audience in Australia," he said. Wallis said that while artists at her record label have seen "great support" from Triple J Unearthed, which features unsigned local acts, she wanted to see more. "I strongly believe Triple J should be focusing more on a diverse range of homegrown acts, rather than commercial, international acts that already have a platform." Welsh agrees the Hottest 100 should be all-Australian each year, but stopped short of supporting that across the board. "Nobody does more for Australian music than Triple J," she said. "The ones who are letting down Australian music are the commercial stations … There has been zero accountability for commercial radio formats to meet their local music quotas." Koh agreed: "We know that we're doing our bit, and I think Triple J does as well." FBi Radio also operates under a 50 per cent Australian music mandate, with half of that coming from Sydney. 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What's on in Darwin this long weekend: Rides, music, scones and a new mango matcha option
What's on in Darwin this long weekend: Rides, music, scones and a new mango matcha option

News.com.au

time3 hours ago

  • News.com.au

What's on in Darwin this long weekend: Rides, music, scones and a new mango matcha option

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Delta Goodrem reveals fifth all-white wedding look as she continues to celebrate her big day
Delta Goodrem reveals fifth all-white wedding look as she continues to celebrate her big day

News.com.au

timea day ago

  • News.com.au

Delta Goodrem reveals fifth all-white wedding look as she continues to celebrate her big day

Delta Goodrem has shown off a fifth all-white wedding dress that she wore while celebrating her wedding. Goodrem married Matthew Copley at a 12th century cathedral in Malta, where he proposed, and wore three gowns by two of her favourite Australian designers when she walked down the aisle last month. In the latest pictures shared to her Instagram, Goodrem gave further insight into her celebrations where she was surrounded by her closest friends and family. In the romantic snaps, Goodrem posed against a stunning scenic backdrop before being joined by her new hubby as the pair both flashed a satisfied smile. 'I always knew what I wanted my wedding dress to be,' she told Vogue earlier this month. 'And I knew the perfect designer for it. Paul [Vasileff, creative director and designer of Paolo Sebastian] and I connected the second I got engaged, and we started working together immediately. I am very lucky I get to wear beautiful dresses as part of my job, so I wanted this one to feel super personal and very special.' The resulting lace gown 'was structured, yet still delicate and feminine', Goodrem said. 'It was a statement piece but a fairytale dress. The sweeping train and the tulle cathedral veil perfectly suited the style of the wedding and the surroundings.' Goodrem first shared snaps from her wedding when she took to social media earlier this month to first announce her big day. 'June 2025, Husband and Wife. It was more magical than we both could have dreamed,' she wrote. 'We said I do under the Maltese skies in a family fairytale wedding brought to life by so many angels surrounding us. We are holding on to every memory from that moment, the love, the laughter, the happy tears and dancing till the sun came up.' She added: 'We can't wait to come back to Australia and celebrate as Mr & Mrs.' Goodrem's near-decade-long relationship with Copley followed a string of high-profile romances with other celebrities – including Nick Jonas, Brian McFadden and Mark Philippoussis – earlier in her career.

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