Golden Features has turned out to be an apt name for the artist born Tom Stell. It's a nod to thegold mask he wears while performing, but the Australian electronic producer has had a literallygolden run since bursting onto the scene in 2014, with two platinum and six gold ARIAcertifications for his tracks, 275+ million global streams for his music, an acclaimed and beloveddebut album in 2018'sSECT(#1 ARIA Dance Albums Chart, #1 iTunes, Triple J's FeatureAlbum) an accompanying tour that included two sold out Sydney Opera House shows, a closingset at Falls Festival, slots at major US festivals including Ultra Music Festival and Coachella,and forming the BRONSON project and self-titled album with stadium-conquering US electronicduo ODESZA.
It's little wonder that after all of this, Stell felt creatively spent and needed time to recoup. Hewouldn't be the first electronic musician to find inspiration in Berlin, but it's not known as theclubbing mecca of the world for nothing. There, he lost himself inthe city's renowned technobunkers and hedonistic clubs, dancing with strangers, stripped of phones (no photos/videos, justsweaty bodies surrendering to the music) and returning to the apartment in the early hours tohunt for the tracks he'd heard the night before. Four nights a week spent raving only came to anend when COVID closed the clubs down. But Stell returned to Australia revitalised and mostimportantly, inspired. He'd reconnected with what he loved about music in the first place andcouldn't wait to pour this inspiration into new music of his own.
EnterSisyphus, Stell's second album, named after a Greek mythological character whoreceived eternal punishment for trying to cheat death. Taking cues from this doomy tale and theheady atmospheresof Berlin's clubs,Sisyphusalso demonstrates a contemporizing of Stell'ssound, with his signature dark soundscapes reaching new levels of sophistication and impact.
From the relative bounce and pep of 'Touch', where duelling deep and wispy vocals combine ina track that's both moody and light, to the pounding, brutal, 'Flesh', leavened by surprising hip-house beats, to the ethereal post-party glow evoked in 'Butch', Sisyphus is an album that tracesthe highs and lows of a killer night out, its dancefloor potency matched by its emotional heft.
It's quality of the level we've come to expect from Stell, who in eight years has become one ofAustralia's most sought after and celebrated electronic musicians, collaborating with the likes ofThe Presets and more frequently ODESZA, with whom he recorded a mix for the fabled BBC 1Essential Mix series last year as BRONSON.
Stell's music career began in 2014 with his self-titled debut EP featuring the massive "Tell Me"with Nicole Millar. The track quickly received widespread radio airplay and festival drops andwas chased by theXXIVEP the following year, featuring even bigger guests in the form ofAmerican rapper K.Flay and Australian singer Thelma Plum, who appeared on the sultry "NoOne". Always building onhis prior successes, in 2016 Stell released his biggest tune to date,"Wolfie", featuring Julia Stone and showcasing a poppier, brighter sound (although the B-side,"Funeral" returned to his trademark murky, bassy beats).
SECTlanded in 2018 to cement Stell's status as a bona fide star, selling 15,000 tickets acrosssix Australian shows, securing festival appearances everywhere from Falls Festival to HolyShip!, Hard Summer and Crssd Festival in the US, and scoring rave reviews from the likes ofGQ,Sputnik MusicandDancing Astronaut.
Pop star Katy Perry had Stell co-produce the track "Déjà Vu" on her 2017 albumWitness, thenin 2019, Australian dance music royalty The Presets came knocking to collaborate on theRaka
EP, with Julian Hamilton's unmistakable vocals paired with Stell's subterranean textures, mostmemorably on "Paradise".
A year later, locked down fans were treated to the sounds of their future rave dreams when Stelland ODESZA dropped BRONSON mid-pandemic. Their self-titled collab, borneout of a years-long friendship that started between Stell and ODESZA in Australia in 2014, is the best of boththeir worlds, infusing Odesza's cinematic, expansive synth layers with Stell's stormy, broodinglow end. With over 2.5 billion streams across platforms, features from Totally Enormous ExtinctDinosaurs (TEED) and lau.ra (on "Heart Attack", with 44 million streams on Spotify alone) andsupport from world-leading music publications and DJs (Billboard, Rolling Stone, The BlessedMadonna, Carl Craig, Solomun), BRONSON was one of the biggest electronic records of theyear and further evidence of the breadth of Stell's talents.
From the beginning, Stell has performed in a gilded mask, but as his confidence and profile hasgrown, he's begun to show moreof his face on social media, and he's showing more of himselfin his music, too. After his invigorating stint in Berlin, he's sounding more assured than ever onwhat might be his best, freest release to date:Sisyphus. It's the work of one of Australia'sleading electronic artists at the top of his game, creatively recharged and ready to roildancefloors.
show less
It's little wonder that after all of this, Stell felt creatively spent and needed time to recoup. Hewouldn't be the first electronic musician to find inspiration in Berlin, but it's not known as theclubbing mecca of the world for nothing. There, he lost himself inthe city's renowned technobunkers and hedonistic clubs, dancing with strangers, stripped of phones (no photos/videos, justsweaty bodies surrendering to the music) and returning to the apartment in the early hours tohunt for the tracks he'd heard the night before. Four nights a week spent raving only came to anend when COVID closed the clubs down. But Stell returned to Australia revitalised and mostimportantly, inspired. He'd reconnected with what he loved about music in the first place andcouldn't wait to pour this inspiration into new music of his own.
EnterSisyphus, Stell's second album, named after a Greek mythological character whoreceived eternal punishment for trying to cheat death. Taking cues from this doomy tale and theheady atmospheresof Berlin's clubs,Sisyphusalso demonstrates a contemporizing of Stell'ssound, with his signature dark soundscapes reaching new levels of sophistication and impact.
From the relative bounce and pep of 'Touch', where duelling deep and wispy vocals combine ina track that's both moody and light, to the pounding, brutal, 'Flesh', leavened by surprising hip-house beats, to the ethereal post-party glow evoked in 'Butch', Sisyphus is an album that tracesthe highs and lows of a killer night out, its dancefloor potency matched by its emotional heft.
It's quality of the level we've come to expect from Stell, who in eight years has become one ofAustralia's most sought after and celebrated electronic musicians, collaborating with the likes ofThe Presets and more frequently ODESZA, with whom he recorded a mix for the fabled BBC 1Essential Mix series last year as BRONSON.
Stell's music career began in 2014 with his self-titled debut EP featuring the massive "Tell Me"with Nicole Millar. The track quickly received widespread radio airplay and festival drops andwas chased by theXXIVEP the following year, featuring even bigger guests in the form ofAmerican rapper K.Flay and Australian singer Thelma Plum, who appeared on the sultry "NoOne". Always building onhis prior successes, in 2016 Stell released his biggest tune to date,"Wolfie", featuring Julia Stone and showcasing a poppier, brighter sound (although the B-side,"Funeral" returned to his trademark murky, bassy beats).
SECTlanded in 2018 to cement Stell's status as a bona fide star, selling 15,000 tickets acrosssix Australian shows, securing festival appearances everywhere from Falls Festival to HolyShip!, Hard Summer and Crssd Festival in the US, and scoring rave reviews from the likes ofGQ,Sputnik MusicandDancing Astronaut.
Pop star Katy Perry had Stell co-produce the track "Déjà Vu" on her 2017 albumWitness, thenin 2019, Australian dance music royalty The Presets came knocking to collaborate on theRaka
EP, with Julian Hamilton's unmistakable vocals paired with Stell's subterranean textures, mostmemorably on "Paradise".
A year later, locked down fans were treated to the sounds of their future rave dreams when Stelland ODESZA dropped BRONSON mid-pandemic. Their self-titled collab, borneout of a years-long friendship that started between Stell and ODESZA in Australia in 2014, is the best of boththeir worlds, infusing Odesza's cinematic, expansive synth layers with Stell's stormy, broodinglow end. With over 2.5 billion streams across platforms, features from Totally Enormous ExtinctDinosaurs (TEED) and lau.ra (on "Heart Attack", with 44 million streams on Spotify alone) andsupport from world-leading music publications and DJs (Billboard, Rolling Stone, The BlessedMadonna, Carl Craig, Solomun), BRONSON was one of the biggest electronic records of theyear and further evidence of the breadth of Stell's talents.
From the beginning, Stell has performed in a gilded mask, but as his confidence and profile hasgrown, he's begun to show moreof his face on social media, and he's showing more of himselfin his music, too. After his invigorating stint in Berlin, he's sounding more assured than ever onwhat might be his best, freest release to date:Sisyphus. It's the work of one of Australia'sleading electronic artists at the top of his game, creatively recharged and ready to roildancefloors.
Golden Features has turned out to be an apt name for the artist born Tom Stell. It's a nod to thegold mask he wears while performing, but the Australian electronic producer has had a literallygolden run since bursting onto the scene in 2014, with two platinum and six gold ARIAcertifications for his tracks, 275+ million global streams for his music, an acclaimed and beloveddebut album in 2018'sSECT(#1 ARIA Dance Albums Chart, #1 iTunes, Triple J's FeatureAlbum) an accompanying tour that included two sold out Sydney Opera House shows, a closingset at Falls Festival, slots at major US festivals including Ultra Music Festival and Coachella,and forming the BRONSON project and self-titled album with stadium-conquering US electronicduo ODESZA.
It's little wonder that after all of this, Stell felt creatively spent and needed time to recoup. Hewouldn't be the first electronic musician to find inspiration in Berlin, but it's not known as theclubbing mecca of the world for nothing. There, he lost himself inthe city's renowned technobunkers and hedonistic clubs, dancing with strangers, stripped of phones (no photos/videos, justsweaty bodies surrendering to the music) and returning to the apartment in the early hours tohunt for the tracks he'd heard the night before. Four nights a week spent raving only came to anend when COVID closed the clubs down. But Stell returned to Australia revitalised and mostimportantly, inspired. He'd reconnected with what he loved about music in the first place andcouldn't wait to pour this inspiration into new music of his own.
EnterSisyphus, Stell's second album, named after a Greek mythological character whoreceived eternal punishment for trying to cheat death. Taking cues from this doomy tale and theheady atmospheresof Berlin's clubs,Sisyphusalso demonstrates a contemporizing of Stell'ssound, with his signature dark soundscapes reaching new levels of sophistication and impact.
From the relative bounce and pep of 'Touch', where duelling deep and wispy vocals combine ina track that's both moody and light, to the pounding, brutal, 'Flesh', leavened by surprising hip-house beats, to the ethereal post-party glow evoked in 'Butch', Sisyphus is an album that tracesthe highs and lows of a killer night out, its dancefloor potency matched by its emotional heft.
It's quality of the level we've come to expect from Stell, who in eight years has become one ofAustralia's most sought after and celebrated electronic musicians, collaborating with the likes ofThe Presets and more frequently ODESZA, with whom he recorded a mix for the fabled BBC 1Essential Mix series last year as BRONSON.
Stell's music career began in 2014 with his self-titled debut EP featuring the massive "Tell Me"with Nicole Millar. The track quickly received widespread radio airplay and festival drops andwas chased by theXXIVEP the following year, featuring even bigger guests in the form ofAmerican rapper K.Flay and Australian singer Thelma Plum, who appeared on the sultry "NoOne". Always building onhis prior successes, in 2016 Stell released his biggest tune to date,"Wolfie", featuring Julia Stone and showcasing a poppier, brighter sound (although the B-side,"Funeral" returned to his trademark murky, bassy beats).
SECTlanded in 2018 to cement Stell's status as a bona fide star, selling 15,000 tickets acrosssix Australian shows, securing festival appearances everywhere from Falls Festival to HolyShip!, Hard Summer and Crssd Festival in the US, and scoring rave reviews from the likes ofGQ,Sputnik MusicandDancing Astronaut.
Pop star Katy Perry had Stell co-produce the track "Déjà Vu" on her 2017 albumWitness, thenin 2019, Australian dance music royalty The Presets came knocking to collaborate on theRaka
EP, with Julian Hamilton's unmistakable vocals paired with Stell's subterranean textures, mostmemorably on "Paradise".
A year later, locked down fans were treated to the sounds of their future rave dreams when Stelland ODESZA dropped BRONSON mid-pandemic. Their self-titled collab, borneout of a years-long friendship that started between Stell and ODESZA in Australia in 2014, is the best of boththeir worlds, infusing Odesza's cinematic, expansive synth layers with Stell's stormy, broodinglow end. With over 2.5 billion streams across platforms, features from Totally Enormous ExtinctDinosaurs (TEED) and lau.ra (on "Heart Attack", with 44 million streams on Spotify alone) andsupport from world-leading music publications and DJs (Billboard, Rolling Stone, The BlessedMadonna, Carl Craig, Solomun), BRONSON was one of the biggest electronic records of theyear and further evidence of the breadth of Stell's talents.
From the beginning, Stell has performed in a gilded mask, but as his confidence and profile hasgrown, he's begun to show moreof his face on social media, and he's showing more of himselfin his music, too. After his invigorating stint in Berlin, he's sounding more assured than ever onwhat might be his best, freest release to date:Sisyphus. It's the work of one of Australia'sleading electronic artists at the top of his game, creatively recharged and ready to roildancefloors.
read more
It's little wonder that after all of this, Stell felt creatively spent and needed time to recoup. Hewouldn't be the first electronic musician to find inspiration in Berlin, but it's not known as theclubbing mecca of the world for nothing. There, he lost himself inthe city's renowned technobunkers and hedonistic clubs, dancing with strangers, stripped of phones (no photos/videos, justsweaty bodies surrendering to the music) and returning to the apartment in the early hours tohunt for the tracks he'd heard the night before. Four nights a week spent raving only came to anend when COVID closed the clubs down. But Stell returned to Australia revitalised and mostimportantly, inspired. He'd reconnected with what he loved about music in the first place andcouldn't wait to pour this inspiration into new music of his own.
EnterSisyphus, Stell's second album, named after a Greek mythological character whoreceived eternal punishment for trying to cheat death. Taking cues from this doomy tale and theheady atmospheresof Berlin's clubs,Sisyphusalso demonstrates a contemporizing of Stell'ssound, with his signature dark soundscapes reaching new levels of sophistication and impact.
From the relative bounce and pep of 'Touch', where duelling deep and wispy vocals combine ina track that's both moody and light, to the pounding, brutal, 'Flesh', leavened by surprising hip-house beats, to the ethereal post-party glow evoked in 'Butch', Sisyphus is an album that tracesthe highs and lows of a killer night out, its dancefloor potency matched by its emotional heft.
It's quality of the level we've come to expect from Stell, who in eight years has become one ofAustralia's most sought after and celebrated electronic musicians, collaborating with the likes ofThe Presets and more frequently ODESZA, with whom he recorded a mix for the fabled BBC 1Essential Mix series last year as BRONSON.
Stell's music career began in 2014 with his self-titled debut EP featuring the massive "Tell Me"with Nicole Millar. The track quickly received widespread radio airplay and festival drops andwas chased by theXXIVEP the following year, featuring even bigger guests in the form ofAmerican rapper K.Flay and Australian singer Thelma Plum, who appeared on the sultry "NoOne". Always building onhis prior successes, in 2016 Stell released his biggest tune to date,"Wolfie", featuring Julia Stone and showcasing a poppier, brighter sound (although the B-side,"Funeral" returned to his trademark murky, bassy beats).
SECTlanded in 2018 to cement Stell's status as a bona fide star, selling 15,000 tickets acrosssix Australian shows, securing festival appearances everywhere from Falls Festival to HolyShip!, Hard Summer and Crssd Festival in the US, and scoring rave reviews from the likes ofGQ,Sputnik MusicandDancing Astronaut.
Pop star Katy Perry had Stell co-produce the track "Déjà Vu" on her 2017 albumWitness, thenin 2019, Australian dance music royalty The Presets came knocking to collaborate on theRaka
EP, with Julian Hamilton's unmistakable vocals paired with Stell's subterranean textures, mostmemorably on "Paradise".
A year later, locked down fans were treated to the sounds of their future rave dreams when Stelland ODESZA dropped BRONSON mid-pandemic. Their self-titled collab, borneout of a years-long friendship that started between Stell and ODESZA in Australia in 2014, is the best of boththeir worlds, infusing Odesza's cinematic, expansive synth layers with Stell's stormy, broodinglow end. With over 2.5 billion streams across platforms, features from Totally Enormous ExtinctDinosaurs (TEED) and lau.ra (on "Heart Attack", with 44 million streams on Spotify alone) andsupport from world-leading music publications and DJs (Billboard, Rolling Stone, The BlessedMadonna, Carl Craig, Solomun), BRONSON was one of the biggest electronic records of theyear and further evidence of the breadth of Stell's talents.
From the beginning, Stell has performed in a gilded mask, but as his confidence and profile hasgrown, he's begun to show moreof his face on social media, and he's showing more of himselfin his music, too. After his invigorating stint in Berlin, he's sounding more assured than ever onwhat might be his best, freest release to date:Sisyphus. It's the work of one of Australia'sleading electronic artists at the top of his game, creatively recharged and ready to roildancefloors.
show less
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