Adult entertainer and Italo-Australiano musician Donny Benét.
Let Donny guide you through tales of love, woe, self-deprecation and personal motivation.

Bookings:
AUSTRALIA
rob@selectmusic.com.au
donnybenet@hotmail.com
EUROPE
joren@thelullabyefactory.com

The Preatures are a rock and roll band from Sydney, Australia. 

Founded in 1999, OverClocked ReMix is an organization dedicated to the appreciation and promotion of video game music as an art form. Its primary focus is http://ocremix.org, a website featuring thousands of free fan arrangements, information on game music and composers, resources for aspiring artists, and a thriving community of video game music fans.

http://ocremix.org ~ http://twitter.com/ocremix ~ http://facebook.com/ocremix ~ http://youtube.com/ocremix

Indie song & dance man. Alpha nerd. Big swans fan (not the team).
Celebrating 20 years of Beddy Phil !
" The rock eisteddfod for home school children. "

After discovering irony from a mail-in voucher on the back of a That’s Life magazine, BP taught himself music on a Melody Pop and a guitar he built in grade 8 woodwork. His first song was about Home & Away and his second was about depression.

damn i’m feeling so sexistential
march 27th.

writes songs. sings them. she/her. currently living and working on Wurundjeri land. new album Things Take Time, Take Time out Nov 12

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.

MGMT
cg@285.group & ts@285.group

DJ Bookings 

ollie.seaman@teamwass.com

PROMOS  
emailccdisco@gmail.com

From rural Victoria to the world, CC:DISCO! has built her life around one guiding principle: music first! CC’s career has given her the perfect creative outlets to express her first love – be it DJing around the globe, holding down a regular radio show, or curating her acclaimed First Light compilations.

On her road from radio host to warm-up DJ to headliner, CC has never once compromised on her sound. Slow, pumping, romantic, playful, uplifting – these are the feels that people around the world have experienced listening to CC in action. Ultimately it’s about connecting with other music lovers on a physical and emotional level: less chin-stroking, more dancing!

You could be chilling in a listening bar in her adopted home town of Lisbon, getting freaky in the late hours at Sub Club, DJOON or Good Room, or losing your mind during a headline slot at major festivals like Kala, Pitch Music & Arts, Love International, Glastonbury or Sonar by Night – even on the biggest stages, it always feels like CC is playing just for you. She transmits this feeling regularly over the airwaves as well, appearing on Rinse FM, NTS, BBC6, RA and Dublab, and making multiple appearances for Boiler Room.

CC keeps loyal connections with the Australian scene and the musicians she meets on her international travels, channelling these into her First Light compilations. Now two volumes deep, the series has already given a platform to diverse artists from across Australia, Japan, Zambia, Indonesia, Canada and Sweden.

Perhaps that’s the real fundamental of CC’s path as an artist – the space she creates for others. It’s reflected in the reminder she often gives after a gig: that the DJ just plays the music, and is no more or less important than the security guard, the bartender or the cleaner. It’s a humility that translates on a global scale – and you’re included too.

In July 2023, CC:DISCO! released her debut EP on Erol Alkan’s independent imprint Phantasy Sound. Both ‘Chez Moi’ (featuring Confidence Man) and ‘Out Of Your Mind’ were instant hits, garnering impressive international streaming figures and receiving widespread DJ and radio support. The EP was played in festival sets by Shanti Celeste, Job Jobse, Palms Trax, Bradley Zero and others. Heard on Beats In Space (US), Triple J(Australia) and the BBC (UK) in shows from Sally C, Moxie and Sarah Storey, the EP was a summer hit in Europe and has also taken CC on a sold-out tour of her beloved Australia.

verybiased is following