“This documentary zooms in and out, and juts into spaces that we might not be cognisant of, yet. Deep Time and the Sparrowhawk is both a challenge and an invitation to hold infinity in our mind. It’s an offering to dissolve self-driven concepts of time … Jaye is a master of her craft.” — ArtsHub, 14 of the Best Podcasts of 2019

INTERVIEWS

WINNER’S SPOTLIGHT INTERVIEW with JAYE KRANZ: 2019 NEW YORK RADIO FESTIVAL AWARDS

WORKING WITH WORDS: JAYE KRANZ WHEELER CENTRE for BOOKS WRITING and IDEAS

PRODUCER PROFILE SESSION: JAYE KRANZ 2016 AUDIOCRAFT FESTIVAL (SPOTIFY)

BEHIND THE SCENES with JAYE KRANZ THIRD COAST AUDIO FESTIVAL

FINE TUNE: JON TJIA and JAYE KRANZ 2018 AUDIOCRAFT CONFERENCE & FESTIVAL

 JAYE KRANZ INTERVIEWED ABOUT THE RADIO HOUR by MICHAEL CATHCART for BOOKS & ARTS ABC RADIO NATIONAL

MONDAY MUSE: BRIGHTER LATER: ABC RADIO NATIONAL ‘DRIVE’ PROGRAM

INTERVIEW & LISTEN :: BRIGHTER LATER FBI RADIO

Q&A with BRIGHTER LATER NATIONAL GALLERY OF VICTORIA

~ OTHER PRESS ~

REVIEWS for ‘THE WOLVES’

and follow-up single

‘BRACE’

"Some of the most beautiful music I've ever heard ... [It's] dreamy, wistful and deep. If you like music you can imagine to, then this is for you." — Hugh McClure, Indie Shuffle

“Spend a little time with these songs: their layers contain seemingly infinite expanses." from Border Breakers: 21 Australian Female Musicians You Should Know’ — Pigeons & Planes (USA )

“A solid and bewitching set, The Wolves is a beautiful dreamy collection of indie-pop. [Kranz] has one of the most peculiar and most beautiful voices in Australian music. It is reminiscent of Silversun Pickups’ singer Brian Aubert, and enhances every song on The Wolves to a dreamlike status.. [ … ] Add in a soft chanted opening melody, a slow steady drum beat, and harmonious hushed choruses and you have the perfect entry into Brighter Later’s mysterious and enchanting world.” — Al Newstead, Tone Deaf

"This subdued blend of lo-fi indie-folk and dream pop has been put together with such commendable discretion. The Wolves is hauntingly complex; yet still sounds effortless and organic, making it nothing short of a masterpiece.” — Justine Keating,, The Music

“Beach House's Victoria Legrand made some bizarre asides when they played here a month ago, mumbling it may be the last time we see them. We needn't worry. An artist named Jaye Kranz has arrived with a fully formed vision of pastoral, swooping dreampop. . . In a word: sophisticated.” — 4/5, Mikey Cahill, Herald Sun 

“This debut collection by Melbourne's Brighter Later could be the pencil sketches of a masterpiece.. {The Wolves'] overwhelming organic beauty means this music could drift into the untouched environment of a distant wilderness and not disturb a moment of peace. But if it did that, we would never get to hear it." — 4/5 Chris Martin, Sydney Morning Herald

“The Woods could be She & Him gone nocturnal, while All the Great Lakes' applies amorphous harmonies like a hymn summoned dimly from a dream. The opener All the World is typical of this atypical record – a thing of mysterious moving parts and late-night mystique. This is the kind of record to spark genuine word-of-mouth enthusiasm. We may as well let that enthusiasm start here. Go on,  inhabit The Wolves."  — Doug Wallen, Mess+Noise

"In their eerie grandeur and sparse beauty, the songs sound like an earthier Sigur Ros or less psychedelic Beach House. In short, this is stunning stuff." — The Weekly Review

“[Brace is] an unimaginably gorgeous song full of tiny moments” Chris Johnston, The Age

"Hearing [The Wolves'] opening track ‘All The World’ is as much like experiencing weather as listening to music. The overall sensation is rich and soothing and I am drawn closer to the sound as seconds lapse into minutes and songs slowly model themselves into a record.

There are many notable tunes on this album, ‘The Woods’ and ‘All The Great Lakes’ boast choruses that many songwriters would give half an arm to have penned] but it is moments – a rhodes hook, a repeated vocal phrase, a soft percussive flourish – rather than songs, that define the steady and cohesive landscape of The Wolves. The real craft in the Brighter Later sound lies in the skilful and … elegant choices of what to feature and what to let blend. The subtlety employed in this selection process exhibits an almost culinary finesse and suggests, to my ears, a painstaking [in its best sense] recording and mixing process.

Comparisons, for those who need them, could be drawn with the gentler side of The Velvet Underground, the deluxe swoon pop of Mazzy Star or even the lush sonic washes of Underground Lovers, but in talking about The Wolves I felt little urge to discuss genres or make comparisons. This album stands up on its own as a delightful listen." — 4/5, The Orange Press

"This is an album of tracks that should be shared … to make sure everyone and anyone firstly knows who Brighter Later are, and secondly that they have an absolute gem of an album here. This is indeed an album that not only should be listened to in the dark, dimly lit hours but pretty much anytime and every time you get a chance." — Graham Porter, Your Music Radar

"The best records offer their own unique world to inhabit. But few do it quite the way The Wolves does. It draws us in with its beauty, yes, but also with its ghostly strangeness and the faint echoes of the familiar recast into something else entirely. — Doug Wallen, Mess+Noise

"There is a precision in the way these sounds are arranged which could only have been crafted. All the elements are carefully mixed to create a unique and fascinating texture, which surprises at every listen. It’s the kind of sound you’d expect from a dozen musicians in a world-class studio .. When people remember this album, and they will remember it, I promise .. Each of these songs is good enough to last." — Timber & Steel 

“Enigmatic. Mysterious. At times exuding such warmth that the listener cannot help but melt. Haunting. Evocative. Beautiful. Brighter Later’s The Wolves is all of these things. Casual listeners beware, this record demands attention. . . There are disparate elements working from song to song. But the distinctive vocal delivery of Jaye Kranz (imagine a cross between the frail beauty of Lisa Mitchell and a more bluesy, tender Alison Goldfrapp) constitutes the vital thread. Kranz has in spades a knack for writing a killer chorus (‘Slow Roller’ and ‘Magnolia’ in particular). More remarkable however, is her ability to meld the sheer number of instruments at her disposal into a compound that works. . . . it’s an overriding sense of nature that is perhaps the LP’s most alluring quality. The record is warm and embracing, making it the perfect soundtrack to a rainy, frosty Sunday afternoon.” — Lip Mag

'“[Brace] is gorgeously hypnotic. Melodies drift in and out of focus, a soft palette of furry synths and guitars sparkling like Orion's Belt. It's introspective sounding, for sure, but never dour. Combining dreamy atmospherics, silk-smooth vocals, post-rock textures and a pop sheen, the Australian outfit nod to their influences, but never linger long enough to be steeped in them.” — Line Of Best Fit (UK)

“Brighter Later are a little bit like a softer Fleet Foxes, or perhaps a more deeper-timbred First Aid Kit with additional synth. Comparisons aside, we're sure liking The Woods off their forthcoming album." — Rip It Up

"Kranz exudes an alluring cool and that quiet intimacy found only in the early hours of the morning. Throw in some riffs, beautiful chants, and some lushly textured soundscapes, and you’ve got some serious indie folk." — Aesthetes Anonymous