I'm a walking grave that carries greatness.

Despite coming up in Australia, indie rock band, Last Dinosaurs would say they're an
international enterprise – and they’ve got a track record to prove it.
Brothers Lachlan and Sean Caskey, along with Michael Sloane have played sold-out
headlining shows and festivals across the US, UK, Europe, Southeast Asia, South Africa,
and Australia. The success of studio albums, In a Million Years, Wellness, Yumeno
Garden, and From Mexico With Love, have taken them around the world and back,
playing notable festivals like Lollapalooza, Corona Capital, All Things Go Festival,
and more alongside artists like Florence + the Machine, Bad Suns, Foals, Matt & Kim,
Foster the People, and more.
In 2023, the Dinos continued to enthrall audiences with high-energy live performances in
bigger and bigger venues. They shared the stage with labelmates Vacations on a
successful co-headlining North American Tour dubbed 'TOURZILLA.' At the same time,
they continued their story, with the cryptic new release RYU. Like a transmission from
another dimension, Lach, Sean, and Sloane embark on a cosmic adventure through time
and space.
Sean Caskey explains RYU’s premise: “The year is 3023. The artificial intelligence
revolution has been fought, won, and lost. The earth is blanketed with debris from
previous civilizations’ satellites and space junk. The most powerful AI satellite runs
critically low in battery, and in its dying months, reprograms its protocols. It now functions
as an ancient style radio station, generating music based on algorithms it learnt from the
previous civilization. RYU is a collection of transmissions intercepted from this satellite.”
2024 proves to be even bigger for the Dinos as they plan to conclude the story with KYO,
a companion release written by Lachlan Caskey. Themes of selfishness and egocentrism
serve as a warning sign from the future to the present.
Stay tuned for more from Last Dinosaurs…



In addition to headlining tours, the band has opened for international acts such as Foals, Matt & Kim, Los Valentinos and Foster the People, playing festivals including Splendour In the Grass, Laneway, Falls Festival, and Field Day to name a few.

Despite coming so far already, Last Dinosaurs is only just getting started.

𝙆𝙤𝙤𝙡-𝘼𝙞𝙙 𝙤𝙪𝙩 𝙚𝙫𝙚𝙧𝙮𝙬𝙝𝙚𝙧𝙚 𝙣𝙤𝙬 🍇🧃
https://bmth.co/Kool-AidIA

BREATHE
https://thechainsmokers.lnk.to/breathe

Booking: thechainsmokers@caa.com

Promos: thechainsmokerspromo@gmail.com

The official Linkin Park SoundCloud.
https://linktr.ee/linkinpark

Glass Animals are a Grammy and BRIT-nominated British band whose genre-blending sound and cult-like fandom have made them one of the most exciting acts in global pop. Their third album Dreamland became a cultural multi-platinum selling phenomenon and spawned Heat Waves, the record-breaking single that topped charts worldwide and made history as the first UK band to reach #1 on the Billboard Hot 100 in nearly 30 years. Last year, the band released their fourth critically acclaimed album I Love You So F**ing Much, a sci-fi-infused odyssey about love, connection, and what it means to feel real in a surreal world. It arrived alongside a 44-date world tour that included headlining The O2 Arena in London and Madison Square Gardens in New York. Frontman Dave Bayley — also one of pop’s most in-demand producers — writes and produces every song, often with an experimental DIY edge that blurs the lines between music, tech and visual art. This experimental production is particularly evident in the band’s Fresh Fruit series. Bayley uses these standalone singles to bring in guests and collaborators, giving himself space to play with new sounds. Their live shows are euphoric and surreal, driven by a deep connection with fans built through open-source creativity and unexpected digital drops.

https://phantogram.komi.io/

Fall In Love Again (Desmond Remix) Out Now
Move In Silence feat. Big Boi Out Now

Sparked by a color or song that recalls the most joyful and tragic moments in your life, a sense memory vaults you into the distant past. These subtle triggers remind us that memory isn’t confined to the mind; it lives in the body, too. Phantogram’s fifth album, Memory of a Day, captures that disorienting sense of time travel. “We put these songs together as a capsule, thinking about how a certain sound or melody can bring you back instantly to a memory of a day,” Phantogram says. 

While they were recording, the duo fixated on life calendars, a gridded sheet in which each unit represents a single week of a person’s life on the planet. As you fill in the grid, you witness the progression of your life in stark terms. The older you get, the darker the grid becomes, reminding you of how much time you have lived, and how little you may have left. “It’s this exploded view,” Phantogram says. “Like an image of Earth from a distance.” The life calendar is both morbid and nostalgic, a physical representation of our ephemeral time on Earth. 

“Days are only numbers,” Sarah Barthel sings on the chorus of “Come Alive.” That lyric became a north star for the duo as they set forth to make Memory of a Day. At once heavy and ebullient, “Come Alive” distills the lasting impact Phantogram has made on popular culture. Since their 2010 debut, Eyelid Movies, Phantogram has been comparable to no one, futurists who still manage to stay ahead of the curve more than a decade into their career. Their genre-bending approach to pop has led them to work with everyone, from Big Boi, with whom they founded Big Grams, to Subtronics, Future Islands, Deftones, the Flaming Lips, Tom Morello, and Miley Cyrus, to name just a few. A festival staple across the globe, Phantogram has also toured with Queens of the Stone Age, Arcade Fire, the XX, and many more. “We’ve always been proud of that: not being afraid of the experimental.”

Though their music has always been future-facing, to make Memory of a Day, Phantogram looked back. “Recording this album, it felt like how it did when we first started making music together,” Phantogram says. Alongside special collaborators like Mikky Ekko and Dan Wilson, Phantogram was joined in the studio by producer John Hill, who helmed Phantogram’s second album, Voices. The duo experimented in the studio and indulged in the music that brought them together in the beginning, artists such as J Dilla, Prince, Slowdive, and so much more. They reference new wave acts like the Talking Heads, ESG, and Liquid Liquid as influences on the percussive punk track “Feedback Invisible,” which is followed by the wistful burst of color “Attaway.” It’s a shoegaze song so sumptuous “you can almost see the grain in the guitar sounds.” 

Phantogram think in images when they write, drawing on scenes from films that linger with them years on. “Ever since Eyelid Movies, our work has been visually driven,” Phantogram says. In the video for the fuzzed-out waltz “All a Mystery,” snippets of human lives coalesce into a montage of experience. “Erase all the tapes in my mind/ Throw them all away,” Barthel sings, accompanied by a bittersweet swell of synths. “Turn back the tables of time/ Let all those memories die.” A swirl of memories, both triumphant and tragic, surface on Memory of a Day. “Come Alive” was written after Barthel experienced a transformative live show on her own, while the title track recounts the moment Josh Carter had to put his dog down. “It’s what you wanted, but couldn’t say,” he sings. “I’m not afraid of dying or what it feels like”

The album’s penultimate track, “Happy Again,” is a thrumming, bass-heavy rock song with a chorus that sounds like a wave crashing against the sand. “Another empty summer sunset/ Feeling homesick,” Barthel sings ahead of the bridge, her voice catching on the breezy, luminous production. “Can you believe this is your life?” It’s a moment of realization Phantogram compares to the dour scene in Forrest Gump, where Lieutenant Dan, “mega depressed and drunk,” throws a bummer New Year’s Eve party. Still, the song ends with an enlivening mantra. “I can be happy again,” Barthel repeats as guitars careen and crash. If days are only numbers, then how else can a person measure a life? On “Ashes,” the answer seems to be in moments of resilience. Based on the adage “you came into this world alone and you’ll leave it alone,” the throbbing production infused with elements of trip hop, shoegaze and indie accompanies Barthel as she reminds the listener: “Ashes rise, ashes rise.”

When they penned the lyrics, Phantogram thought of the mythical phoenix spreading its wings after catastrophe to take flight. The vulnerable, even despairing moments on Memory of a Day are stark, but they’re buoyed by a relentless optimism that has driven this project from the outset. In the Los Angeles studio where they recorded Memory of a Day, Phantogram often marveled at the distance they’ve come, both physically and spiritually, since they first started making music together in a barn in Upstate New York. “Tomorrow never knows,” Barthel nods to the Beatles on “Come Alive.” The accumulation of days together tell a story bigger than any finite lifetime, and Phantogram’s life calendar is only a fraction full.

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