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Dead Letter Chorus - The August Magnificent - Release Date: 18/10/08

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Jill Barber - For All Time - Release Date: 20/9/08

Drawing on influences from old-time jazz standards, folk balladry and traditional country, Halifax’s Jill Barber has become one of Canada’s most distinctive young voices. On the heels of the success of her critically acclaimed EP, Oh Heart (2004) comes the long-anticipated sophomore album, For All Time Striking a balance between classic and contemporary songwriting styles, this collection of 11 original tracks further demonstrates her keen melodic sense, clever and compelling lyrical abilities, and showcases her unique voice, aptly described as a “cozy alto purr.” There is sense of timelessness to Barber’s songs, and a sensual quality to her performance on this record, that promises to raise her to the ranks of Canada’s finest. Recorded over the course of six months in Toronto, For All Time was produced by Les Cooper (who also performs as a multi-instrumentalist on the album), and features some of this country’s best musicians; Bazil Donovan (Blue Rodeo) on bass and Blake Manning (Sarah Slean, Kim Stockwood) on drums. Guest appearances include a vocal performance by Jim Cuddy (Blue Rodeo) on the country-tinged Don’t Go Easy, guitar by singer/songwriter Luke Doucet, piano and clarinet performances by Spencer Evans (Sarah Harmer) and a special duet with her brother Matthew Barber. The album was mixed by Andre Wahl (Hawksley Workman, Anne Murray) and mastered by Chris Potter (Sarah McLaughlin, Rufus Wainwright.)

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Matthew Barber - Ghost Notes - Release Date: 20/9/08

Ghost Notes is the title of a stunning new record by acclaimed Canadian singer-songwriter Matthew Barber, his first since 2005's Sweet Nothing. Produced by Barber and engineered by Ken Friesen, Ghost Notes departs from Barber's most recent efforts in that it emphasizes the moodier, more stripped-down side of his songwriting. Recorded in six gray November days at the famed Bathouse studio near Kingston, Ontario, Ghost Notes is the culmination of almost two years of writing and demoing, and stands as Barber's most mature record to date. It will be released on the Code One label in Australia on September 20th, 2008. Accordingly, Matthew will be teaming up with his sister Jill Barber for the much anticipated SIBLING REVELRY TOUR across Australia. Complete tour dates will be announced shortly.

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King Farook - 4 Piece Feed - Release Date: Out Now

To coincide with their new 4-piece line-up, Sydney’s King Farook is releasing a 4-track EP of brand new material entitled 4-Piece Feed. King Farook are a critically acclaimed, award-winning Funk/Rock/Hip-hop band based in Sydney who’ve been selling out shows and blowing away festival stages and awards ceremonies across the nation. Reviewed by Drum Media as “the tightest band in Sydney”, and featured on the cover of the Sydney Morning Herald Metro Magazine as the “Next Big Things”, they’re set to become the next in a long line of musical exports that Australia has proudly given the world.

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Steve Poltz - Traveling - Release Date: Out Now

He trick-or-treated at Liberace’s house, planned a two-day stay in Amsterdam that ended a month later with him escaping the city under the cover of darkness, and was Bob Hope’s favorite altar boy. Alone, these anecdotes go well with a fistful of peanuts at a cocktail party. But on top of all this, he also co-wrote the longest-running song on the Billboard Top 100 (Jewel’s “You Were Meant for Me”), had a debut solo album that earned three and a half stars in Rolling Stone, and was awarded the title of “San Diego’s Most Influential Artist of the Decade” at the San Diego Music Awards. What you end up with is one of the most engaging, twisted, and prolific songwriters of our time — Steve Poltz. Poltz has cultivated his reminiscences into a heartbreakingly gorgeous collection of songs for his new album, Traveling.

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Joel Plaskett Emergency - Make A Little Noise - Release Date: Out Now

Dear Australians, I’d been hearing for years that we Canadians have a lot in common with you. It was only after visiting your warm, rugged country in April 2006 that I realized how true this is. Like your country, Canada is also a penal colony, long imprisoned by rock and roll. The only differenceis we make our records from snow and sleet instead of surf and sand.

My first trip to Oz was as a “troubadour” in support of my solo record, LaDeDa. But thereare two sides to every planet and performer. The compact disc you hold in your hand reflectsthe other side of what I do with my band, The Emergency. This compilation features songs fromour three releases from 2001 through 2006 and many of the tracks chosen are the heart of our live show, which we intend to bring your way soon.

The DVD also included in this package features live band and solo performances from1998 through 2005, as well as all our music videos to date. It’s an adult portion but I wanted Australia to feel the Commonwealth love.I hope you enjoy the music as much as we enjoyplaying it. From New Scotland to New South Wales, Joel PlaskettDecember 2006

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Dead Letter Chorus - Listen Carefully (We Shall Say This Only Once) - Release Date: Out Now

The charming debut Ep Listen Carefully (We Shall Say This Only Once), has garnered strong reviews and airplay around the country, and they’re proving to be a shiny jewel amongst the indie music scene. Brag Magazine - Indie Album Of The Week "...expect from these young Sydneysiders a lush, rich sound; a dreamy soundscape with wistful melodies...They work beautifully together on ‘Drifting Along’, an introspective slow-burner which builds into an epic finale. The sounds of 70’s folk and early 90’s indie rock swim through their songs, creating subdued, heart-warming music...Rejoice, for the bearers of melody carry the torch onward." Time-Off Magazine "Sydney folk collective Dead Letter Chorus deliver a strong debut EP, offering six tracks of introspective retro-based fare, ... they mine the classical side of country and folk (think The Band, Dylan, Young et al). The choir effect on ‘Wait All Night’ works nicely, but it’s the strong songs and haunting arrangements across the whole release which makes this such a powerful opening salvo." inthemix "Vocalist Gabrielle Huber is excellent in Laces Bound, her voice is simply stunning as it floats atop her acoustic guitar, think Beth Orton on morphine... expect their follow up full length album to be excellent" Stone Free Magazine If you dig honest, harmonious music then Dead Letter Chorus is for you. From the opening track Wail All Night, you get an immediate feel of what this band is all about – and that’s strong melody and delicious harmony. This is evident in Winter Solace, a slow and sure number that’ll make Damien Rice wince with admiration. Laces Bound is simply gorgeous and if there is a song for that slow summers day, this is it.

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Joel Plaskett - La De Da - Release Date: Out Now

It's a long way to Arizona, and it's a longing that carries Joel Plaskett home to Halifax. His new album, La De Da, is about what happens when you know you have to go away; what happens when you know you have to go home; and what you do on the road in between. Plaskett recorded La De Da far from home, in Phoenix, AZ, when a fan made him an offer he literally couldn't refuse. Although Bob Hoag first invited Plaskett to record at his Flying Blanket studio about two years ago, at first the seasoned indie rocker didn't do anything about it. "But when I was thinking of making another record," says Plaskett, "I e-mailed Bob and said 'What are your rates?' Toying with the idea. He e-mailed me back and said 'I'd love to have you here. I'll record you for free and you can stay at my house. My wife and I, we've got a pool,'" says Plaskett, laughing broadly at his own good fortune. By the time he got to Phoenix, Plaskett had driven clear across the continent in his old Suburban truck. The trip was something like the travelogue described in one of his best new songs, a lazy, panoramic riff-rocker called "Natural Disaster: "I left Nova Scotia/ Headed down the coast / Tore a strip off Memphis/ Before I left for Roanoke / I punished Pecos County/ And headed for Las Cruces." Not to mention the barren badlands, and a Texas tornado. "I didn't have all the songs done, and I wanted to present myself with a challenge," says Plaskett. "A chunk of time on my own where I would just be traveling and thinking about the record. But when I got there, I still didn't know exactly what I was gonna record." Which left a lot of room for spontaneity (like vocal asides, thuds and clunks), even if Plaskett did play almost all of the instruments himself. "With my last album, Truthfully Truthfully, I demo'ed everything and was going for a kind of 'modern rock' sound," says Plaskett. "But with this record, I didn't know what I was doing!" he adds, laughing. "I'd never played 'Lonely Love' for anybody. I had no idea how it was going to go, and I wrote two of the lines as the mike was on. I tried to let the ideas flow through and not second-guess them. The album was recorded in about two weeks." Although it contains his travels, La De Da is bookended by songs rooted in Halifax, and in Plaskett's memories of his good old early days: The mid-'90s, when he led Thrush Hermit - alongside Sloan, Eric's Trip and jale - to glory, as the then-booming Haligonian scene went from local to international. The opening song, "Absentminded Melody," finds our grown-up rocker hanging out at the same old club, noticing the bittersweet differences between then and now; the closer, "Love This Town," is a warm tribute to the city -- which he never left in the old days, even when all of the aforementioned bands got signed to the big time. "Halifax is a big part of my identity," says Plaskett. "It's where I choose to hang my hat. It's a great town, and I wanted to have a kind of weird connect-the-dots between Halifax and Arizona." "Lying on a Beach," a poppy song about the salvation of daydreaming in a dreary job, could happen in either locale, although it originated in a hometown job. "I worked in the public archives of Nova Scotia for a couple of years," says Plaskett, "dubbing radio shows onto CDs, in a large vault. It was mind-numbing work, but it paid really well. It bankrolled Down By The Khyber [Plaskett's second-last album], but it turned me into a kind of zombie." In Plaskett's world, zombification can be a daily staple of stability. If "Lying on a Beach" describes a day spent dreaming to escape work, the spastic, electric-piano new-wave of "Television Set" catalogues a night spent hypnotized by the cathode-ray tube, and "The Truth Be Told" portrays the wee hours spent in a bluesy, boozy haze of free-associating jabber. Not to mention the self-explanatory "Paralyzed." The spirit of "Natural Disaster" and "Nina and Albert" battle that numbness with a restless urge to travel, while the soulful ballad "Lonely Love" and the simple, heartland country-rock of "Happen Now" -- anchored by a killer banjo riff -- accept the toll that such travel takes on romance, when somebody's left waiting at home. And somewhere, sometime in those travels, Plaskett found himself questioning the existence of a God. The result, "Non Believer" finds him hedging his bets on redemption by the time the last chorus comes around. "It's about the fact that if you make a decision you have to live with the consequences," he says. "The punishment isn't something that happens later. I grew up in pretty much an atheist environment. That's done some good things for me, but it presents you with a whole other set of questions. Like, 'what do I do with myself?'" If you're Joel Plaskett, you drive away, you come home, and you record a great new solo album in between, singing "La De Da" all the way.

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Hawksley Workman - Lover / Fighter - Release Date: Out Now

The Coolest Thing to Come from Canada in Many a Year Delivers his Fourth Studio Album. This Special Edition features Four Extra Tracks on the CD Itself and a Bonus Dvd featuring Two Live Video Tracks and a Short Documentary "Making of "Lover/Fighter" and a Photo Gallery. A musician of incredible velocity, Hawksley Workman is at the top of his game when he has the solitude and serenity to write and record his music in atomic bursts, focused into monastic postures, accessing grace and brilliance in fluid, sweeping motions. With his increasing rock triumphs, growing fan communities and formidable body mass, Workman has evolved from the slight, pin-striped oddball with a critically-acclaimed diamond voice, to the panoramic, guitar-punishing superstar with no performance limits. “...The most mesmerising performer I’ve seen in yonks. Imagine a world where David Bowie, Nilsson and Harold Lloyd co-exist for the first time and you don’t come close to grabbing this dashing man’s waistcoat. He was so brilliant I felt sick and had to go get some air. If you see only one man play this year, then make damn sure it’s Hawksley Workman”… The London Evening Standard “.. built on an epic theatrical scale, recalling Sparks and Bowie (hurrah!), Tom Waits, Jeff Buckley and Radiohead (marvellous!) and Queen”.. Time Out “..stunning songs filled with sublime hooks and clever wordplay”… The Guardian Amid the pines and the poplars, the elms and the birches, lies a house. The neighbours stare and wonder. Differently-attired people and their improbable sedans come and go at all hours. In violation of local codes, the snow piles over the mailbox and there are grapefruit rinds on the lawn. In the house, activity goes on unabated. Hawksley Workman is in his self-assembled studio, where writing and recording are underway. This century-old, one-room schoolhouse has the task of keeping it all together for one turbulent season –the nastiest on record for some years- in which the lover and the fighter within will periodically compete and collaborate. The basement will flood, the walls will first sweat then freeze and tuning the piano will become a never-ending task. Workman has elected to spend the winter in isolation, keeping it simple and secluded in the countryside. For company, the occasional conspirator drops by, a first for Hawksley and, as he puts it, “a refreshing experience. It was new to be joined in the process of creation. It was both scary and exhilarating to share such an intimate exercise.” Of course, Hawksley continues to draw inspiration from his unseen muse, Isadora. As the title implies, lover/fighter examines differing motivations: ones that alternately work at odds or in harmony. In its origins, the album began by examining the lyrical themes of “Anger as Beauty” and “The Future Language of Slaves”, the literal underpinning of the album title, before growing in scope. lover/fighter is true to the qualities established by Workman’s previous outings and also moves into foreign territories. Certainly, he has gone to the cellar for some vintage Workman; themes of lovers courted and promises betrayed are explored. There is whiskey, loyalty, duty, prayer, cigarettes, lust and ache. The intangible qualities of love, the ideals of beauty, the changing of the seasons, longing and spiritual renewal are also motifs to be navigated. The thrust of the album is most overtly evidenced in the opening minutes: “we will still need a song to carry our hearts away.” This is a record that recognises our thirst for inspiration and its potential to transform. All vistas are explored. Whether by a plaintive piano or fiercely defiant drumbeat, an impassioned growl or whispered aside, lover/fighter seeks a salve for the spirit and charges the task of finding resolution within. Beyond a poet and record producer, Hawksley Workman is a true multi-instrumentalist, having played virtually every part on his records. This proficiency affords a foundation on which to pin his lyrical proposals and the assurance to improvise and depart from the page when performing live. His vocabulary is such that he can seize upon a train of thought to be expanded. This definitely means taking some risks. You can’t use a script or your performance can become safe or flavourless. Improvisation is critical to creating something special. Artists must have faith in their abilities if they are going ask the audience to contribute equally with their imagination. Hawksley lays everything on the line for the chance to enthrall. This same improvisation is warranted in recording. When there is spontaneity, a moment can be captured. You can’t attempt to recapture a pure, energetic, truthful performance because it depends on being in that moment. It can’t be bottled in order to be apportioned out at the proper occasions. As Hawksley notes, “much of the entertainment we’re accustomed to has a false quality, as though it never actually happened.” lover/fighter rails against this sterile landscape. The period since 2001’s (last night we were) the delicious wolves, has been one of furious activity. It was in that Autumn that Workman relocated to Paris for nearly a year. With his albums being released in Europe, he took the step of immersing himself in another culture to bring forth still more facets of his art. And he was embraced in turn. The European press was not shy about singing his praises as he toured with such luminaries as David Bowie, Patti Smith, New Order, The Cure, Marianne Faithfull and Noir Désir. He collaborated with French superstar Johnny Hallyday, writing a song for his disc, A la vie, à la mort. Hawksley also wrote with Techno artist Tommy Hools and French indie rockers Aston Villa. Somehow, he found the time to release a mini-album, almost a full moon, which celebrated family, winter and community. In the spring of 2002, he was honoured at home when the Junos awarded him Best New Solo Artist and touted “Jealous of Your Cigarette” as Best Video. During the World Cup, Workman’s rendition of The Beatles’ “Revolution” provided the soundtrack for a commercial featuring French soccer star, Zinedine Zidane. Hawksley returned to Canada briefly to contribute to the film and soundtrack for Stormy Weather: The Music of Harold Arlen, providing his take on “I’ve Got the World On a String”. He further collaborated on an as-yet-unreleased film with Mary Margaret O’Hara, in which he portrays an apparition. In an A&R capacity at his own imprint, Isadora Records, Hawksley has also signed his first artist, Serena Ryder (no relation to shaun). lover/fighter calls for a nobly-intentioned uprising. Workman asserts, “It’s about a revolution for truth and beauty, honesty and integrity. It’s a call to action for fighting for all that makes us wonderful and elevates us.” It is stark opposition to contemporary distorted preoccupations. lover/fighter is a record of rebellion and Hawksley Workman invites you to communicate as each and both.

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Sins - Mourning The Night - Release Date: Out Now

This debut for The Sins was recorded at Megaphon Sydney with excellent earsman Steve MacMillan at the helm.

The dark and sulty atmosphere of The Sins live experience is captured acurately here and the album has moments of serene beauty and screaming mania, dipped in soul, folk, jazz and even punk.

The album is available through MGM distribution

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Handsome Young Strangers - Shane Warne - Release Date: Out Now

Colonial bush rockers, Handsome Young Strangers have hit the ground running with their debut release 'Shane Warne -a brand new Aussie legend'. HYS incorporate all the colour, humour and energy of traditional bush bands such as the Bushwackers, yet deliver it all with the intensity of a runaway Victa lawnmower. Backed with tunes varying from the sublime to the rollicking, 'Shane Warne' showcases the great range of this 6 piece. Bush music for the 21st Century.

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Tripgauge - Engaged - Release Date: Out Now

Tripgauge are a melting pot of heavy rock and metal hardcore, drawing on influences such as sevendust, deftones and TBE. Formed late 2003 Tripgauge have played gigs with bands like Sunk Loto, Cog,Karnivool, Dreamshifter, Full Scale, MM9, Switchkicker, Walk The Earth, Five Star Prison Cell, The hollow Cell, Brace, King Mungi, Escape Route,Antonomasia, Three Point Tilt, S.E.X, among others over the past two years.

Based in Sydney, N.S.W The five piece have been generating a solid fan base and have rewarded them with a six track EP out now through MGM and Code One Entertainment, with the help of D.W Norton and Music Oz studios - gaining some airplay on regional radio stations, and receiving solid reviews across Oz.Tripgauge are Mark Spiteri (drums,percussion), Murray Kennedy (main vocal), Mitch Croker (lead guitar, backing vocal), Mitch Falconer (bass, backing vocal) and Andy James (guitar).

The greatest accomplishment for the band is yet to come, although receiving several nominations for Music Oz Awards, and securing tours with Sunk Loto and Karnivool in recent months have helped kicked things off. "The best part of playing gigs is when we see the crowd getting into our set. To have new people come and share a beer after the gig is by far our biggest kick, and thankfully it's happening more and more". The boys are set to have a big year after having their first song "Snap" included in the Crusty Demons Of Dirt Aussie Assault dvd which is expected to be out soon - as well as taking their debut EP around the coast with some of Oz's heavy hitters.

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Max - Music is the Mistress - Release Date: Out Now

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