Alan Sparhawk of Low will commence his first live Australian dates in support of his acclaimed solo debut White Roses, My God.

Audiences are in for a special treat on this carefully curated triple bill. 

Alan Sparhawk has long been a prolific and versatile musician, a restless spirit constantly driven to explore new sonic and emotional landscapes. While he’s best known for his three-decade tenure as the frontman of the legendary band Low, his many side projects over the years reveal a musician unafraid to experiment with genres ranging from punk and funk to production and improvisation. Even within Low, Sparhawk never adhered to a singular sound or formula. The band was a dynamic collaboration—part dialogue, part romance—between Sparhawk and his wife, Mimi Parker, the group’s co-founder, drummer, co-vocalist, and its radiant, irreplaceable heart.

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Now, as a solo artist, he’s delving deeper into experimental and intimate sonic spaces, combining haunting melodies with introspective lyricism that explores themes of love, loss, and resilience. Sparhawk's recent solo work finds him experimenting with minimalism and ambient textures and at the same time marrying trap beats and production with vocoder-heavy vocal stylings. His live shows as a solo performer are known for their emotional intensity and intimate atmosphere, offering audiences a closer connection to his music.

Come: 

In their day, at the beginning of the nineties,Come could seem like the negative of all the currents that were dominating the American circuit, from grunge to slowcore always ready to kick off (after all, Chris Brokaw came from Codeine), passing through the riot grrrl movement, with Thalia Zedek as anti-frontwoman and, at the same time, were like another link in the chain that leads to Kim Gordon and even Patti Smith. Today, when works like Don't Ask Don't Tell (reissued with full honours in 2021) and Near Life Experience are considered canons of the nineties, it's time to salute them for what they were, what they are: not as a B-side of alternative euphoria, but as masters of rough aesthetics and indie ethics.

Circuit des Yeux, the moniker of singer and multi-instrumentalist Haley Fohr, has released new song ‘GOD DICK’. A connective sonic link between Circuit des Yeux’s acclaimed last album, -io, and a new one to follow in the new year on Matador, ‘GOD DICK’ morphs from symphonic swells and staccato strings to a spiraling 170 BPM drum machine cliffhanger, narrated by Fohr’s sonorous vocal. “GOD DICK serves as a sort of chrysalis function,” says Fohr, “it’s passage leading from the past toward things to come. It’s sweaty, exponential, cacophonous, growing, symphonic, and relentless. I wrote this as an effort to embody a state of change fueled by deep wanting. I sonically (and visually) imagined something huge hiding in a skin much too small for it – a kind of love banshee bursting through porcelain skin one hair at a time until finally, the beast within is fully on display.”