BIG DATA is the paranoid pop brainchild of artist/producer, Alan Wilkis. With a healthy dose of
distrust, Big Data’s music explores the relationship between man and machine, and the ways in
which technology is reshaping the human experience.
In 2014, BD made waves with the #1 alternative hit, “Dangerous (feat. Joywave),” which has
since been certified Gold in the US and Canada, and with nearly 40M streams. Big Data’s 2015
debut album, 2.0, featured collaborations with Kimbra, Rivers Cuomo, Twin Shadow, and Jamie
Lidell.
3.0 is the long-awaited upgrade from Big Data. In creating 3.0, Wilkis became obsessed with the
subject of artificial intelligence and its many possible applications in our not-too-distant future.
While AI may become humanity’s greatest achievement, it carries with it a potential risk that is
both existential and irreversible...one of many reasons why experts refer to AI as our “final
invention.” This tension is both fascinating and terrifying all at once, and it is the chief inspiration
behind Big Data’s latest effort.

Fitness

what is FITNESS?
well, first of all, why are you reading this? don’t you get it? FITNESS is
alpha, omega, and beta wrestling in a vat full of molten G.I. Joe action
figures. it’s the feeling when you’re only drinking tap water at the bar
due to an acute absence of funds, but it doesn’t even matter because
your friend is the embodiment of gin anyway. this is nazi-punching
music. this is kafkaesque in that it’s not really kafkaesque at all. he
would love that. also, FITNESS is a band. i mean, i guess? pretty
limiting term, band. the wonders were a band. steel dragon was also a
band.
but anyway, back to my central inquiry: why are you reading this? did
you catch the first show with tanlines and gina turner? did you hear “i
don’t feel anything,” immediately super-felt everything, then clicked
your way to here? perhaps you accidentally ended up on this page
after deep-diving into fitness-related hashtags on instagram, scrolling
through copious sweaty bodies only to eventually stumble upon what
is inarguably the musical equivalent of a sweaty body?
at any rate, welcome to FITNESS. i’m glad you could make it. to make
your trip truly worth the time and apparent lack of effort, let’s see what
max collins (eve 6) and kenny carkeet (ex awolnation) have to say
about the FITNESS vibes and what the fuck they expect us to do with
them.
reached by cellular telephone while preparing for future FITNESS
fuckeries in the form of an EP, collins expressed optimism regarding
the band lowkey cult’s current vibes. “i have no fucking idea who you
are,” collins said. “please stop calling me.” FITNESS, he added, is
undoubtedly the new wave. “seriously,” he said. “stop calling me.”
[inaudible expletive] *dial tone*

carkeet, in a separate interview conducted via the last known
payphone in existence, echoed collins’ enthusiasm. “who?” he said.
“i’m not sure i know who you are exactly? am i supposed to know
you?” [vaguely more audible expletive] *seemingly louder dial tone*
but what do they know? hell, what do i know? [nothing]

Castlecomer

“When I wrote ‘Fire Alarm,’ I decided then and there to quit my day job and focus solely on
music,” says Castlecomer frontman Bede Kennedy. “That song marked this cathartic moment
where I really put a stake in the ground and committed to going all in. For the next twelve
months, I did nothing but write for nine hours a day, every single day.”
Kennedy clearly sensed he was on to something special with “Fire Alarm,” but little did he know
he’d just written the tune that would lead the Sydney rockers halfway around the world and
propel them from local favorites to international breakout stars. With its driving beat and
earworm of a melody, “Fire Alarm” was a runaway hit on Spotify, where it reached #6 on the
Global Viral chart and racked up more than five million streams. The band garnered widespread
airplay and drew comparisons to The Strokes and Daft Punk, with Rolling Stone Australia
praising their “amalgamation of emotion and unashamed catchiness.” The band played more than
500 shows and festival dates Down Under, building up a devoted fanbase and honing their set
into a concentrated blast of pure energy and ecstasy. By the time they got to SXSW in 2017,
Castlecomer was ready to take America by storm.
“We didn’t know anybody in the industry,” says Bede, “but we felt confident that if we had the
opportunity to get onstage in front of a lot of people, that would be enough. We played eight
shows in three days and just tore it up. From those gigs, we got management, a record deal,
publishing, and a booking agent. We’re like the poster boys for what you can still achieve at
South by Southwest.”
Castlecomer has never been lacking when it comes to drive and ambition, and their tenacious
belief in the potential of their band goes all the way back to its earliest days. Consisting of four
cousins and a close childhood friend, the group began playing live during their teenage years and
took their band name from a plaque mounted outside their grandfather’s house, one they later
found out referenced the Irish village his family had emigrated from. Much like the band’s
music, their name possesses deep personal meaning while still retaining an air of evocative
mystery, hinting at places they’ve never been but still somehow course through their veins.
Australia’s in their blood, too, and Sydney will always be home, but after signing with Concord
Records, the band took a leap of faith in early 2018 and moved to Nashville.
“We wanted to live in a 24/7 music community,” says Kennedy. “As soon we arrived, we
discovered that there was live music happening from 1pm onwards in every bloody corner of the
place. It was exactly what we needed.”
Despite their newfound love for Music City, Castlecomer won’t be spending too much time
there this year considering the already-extensive headline and festival dates lined up behind their
track, “Move.” Recorded with producer Adrian Breakspear (Gang of Youths) and mastered by

GRAMMY-winner Joe LaPorta (The Weeknd, The Killers, Foo Fighters), the track is a funky
dance jam that pairs Kennedy’s silky-smooth vocals with a disco-tinged arrangement that’s pure
1970’s bliss.
Such is the contagious energy of Castlecomer. One listen and you’re hooked, sucked into their
rapturous world of angular guitars and hypnotizing grooves. With a sound this meticulous and
infectious, it’s hard to believe that the band hasn’t even released their debut LP yet, but these
singles are only the tip of the iceberg from a group that’s doggedly determined to fulfill every bit
of their seemingly limitless potential. It’s already been a wild ride, but Castlecomer is just
getting started.

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