Posts Tagged ‘Australia’

POND – ” Colder Than Ice “

Posted: September 24, 2017 in MUSIC
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POND aren’t a band who need any extra help when it comes to exuding sheer weirdo cool, but we’re never going to complain about too much of a good thing, so their new clip with Kirin J Callinan is about everything we could rightly ask for.

Fresh off his own clip that, thanks to the impeccable use of a Jimmy Barnes cameo, is already a lock for best of the year, Callinan wanders onto Pond’s set for the glorious throwback tune ‘Colder Than Ice’ – taken from their new Kevin Parker-produced album The Weather – proving the ideal man to complement its perfectly-weighted ’80s pastiche. Callinan is just the crouton in this synth-driven salad, though, drenched as it is in delicious synth bass and echoed wink-and-a-nod vocals – one of the warmer moments on a record that, belying its falsetto theatrics and synth sheen, often shows the band at their darkest.


‘Colder Than Ice’ isn’t just a palate cleanser between the more melancholy moments, though; it’s one of the tracks that, along with singles like ‘Sweep Me Off My Feet’, most clearly illustrates Pond’s perfectly-executed shift from their beginnings as a straight-faced psych-rock band to the multi-faceted gem they’ve become, with The Weather yet another big step along a path that already delivered us the brilliant Man It Feels Like Space Again just two years back.


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Hideous Towns is a Melbourne based band that has been independently active since 2013. With their winning combination of chiming gazed-out guitars, dynamic female vocals and buoyant, no-frills drum propulsion, Hideous Towns have nonchalantly secured a stronghold on the world’s tuned-in dream-pop fans.

They self recorded and released their first single ‘Joy/Don’t Look Up’ in April 2014, performing extensively throughout 2014. The group then released a debut EP earning themselves a reputation as a notable live act.

In August 2015 they toured nationally with their single ‘Heart Attack’ released through Melbourne’s Lost And Lonesome Records. After receiving positive reviews from local community radio and Triple J, Hideous Towns went about recording their Debut Album.  The album was recorded by Matthew Hosking in the outer eastern suburbs of Melbourne and the inner northern suburb of Northcote over the summer of 2015/16. Since then Hideous Towns have released two singles from the upcoming debut ‘Don’t Forget’ which also a music video was created by James Thomson (Contrast) and was played on Rage in the following weeks of release. Their most recent release ‘Wake Us’ shows their softer side musically and was well received by community radio stations nationally.In the coming months of 2016, Hideous Towns will release their Debut Album ‘Disquiet Living’.


Latest single from Hideous Towns’ debut LP, due in late 2016 via The Lost and Lonesome Recording Co.

Band Members
Alana West, Ashley Stirling, Chris MacLean, Ryan DeCoite

Written and performed by Hideous Towns
Produced by Hideous Towns and Matthew Hosking


Right out of the gates the debut new album from Australian band The Fountaineers, “Greater City, Greater Love” buries both a sharp critique and loving homage to Australian culture in the red dirt of a synth-laden outback pastiche, born of the band’s rural upbringing in country Victoria.

The record is gripping, in both its music and lyrics, and tracks like album opener ‘Sirens (Parts 1 & 2)’ have the ability to lull you down into the beautiful depths of deep, moody, distorted vox, before prodding you in the ribs.

Abrupt sonic about-faces – like the transition from the uplifting crescendo of ‘Sirens’ into the sharp, electronic snap of drums that heralds moody standout single ‘Still Life’ – also serve to keep you guessing, as the record walks a line between the desert-dry tones of The National and the more playful theatre of The Killers’ Sam’s Town.

The album carves its home out at the meeting point between cynicism and nostalgia, exemplified on the soaring synth of lead single ‘The Cricketers’ as it balances against the weary refrain of “I don’t think I care enough about you”, or the skewed optimism of ‘Grand Old Flags’.

Through the lens of small-town AustraliaGreater City, Greater Love captures the universal struggle to break away from a place that leaves you haunted by fond memories and bitter feelings in equal measure, and to reconcile its worst traits with its best. As we see the world around us seeming to move forwards and backwards at once, Fountaineer’s debut perfectly translates a feeling many of us can relate to.

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From early beginnings, singer/songwriter, Hayden Calnin has carved out a path refusing to adhere to convention and genre. By the time the multi-instrumentalist had graduated from film school, a major in sound design had set the scene for Calnin to take an interest in music production.

On his first two self-produced EPs, he explored the realms of everything from folk through to downbeat, melting together powerful melodies with understated electronic production. The 2016 release of his highly anticipated two-part album ‘Cut Love Pt. 1 & 2’ saw him gain support from the industry through international blogs such as Pigeons and Planes, Stereogum and Earmilk and spins on renowned radio stations Triple J (AU), BBC6 (UK) and KCRW (USA).

No stranger to having his music synced on international TV, Hayden has landing himself various syncs over the past few years on shows such as Suits, Teen Wolf, The Vampire Diaries, The 100 and So You Think You Can Dance USA. Add a sold out London date on his first ever EU/UK tour and it’s bitingly obvious that Hayden Calnin is an artist to keep an eye on… 


‘Cut Love’ is taken from the album ‘Cut Love Pt. 1’


Beaches are a band is celebrating their 10th anniversary and releasing their first album in four years, they can be forgiven for sharing a 17-track, 76-minute marathon. More bands should follow the lead of Melbourne quintet Beaches and use the milestone to unveil their most ambitious and expansive output to date. This is exactly what Second of Spring is. It is a monster of a record.

From psychedelic to noise-pop to post- and even doom, Beaches cover the entire rock landscape and then some. The album kicks off with the bombastic “Turning”, which features smooth guitars, groovy rhythms, and tribal-like chanting. There isn’t much lyrical content, but one wouldn’t expect to arrive at the Pearly Gates to a sermon. This is just the welcoming mat, and once inside the party gets started. The record kicks into another gear with the searing doom rocker “Void”, which is three-and-a-half minutes of joyous, psychedelic eruptions. Next up is the swirling psych-rocker “September”, which is like Wooden Shjips on Red Bull.


“Be” slows things down ever so slightly by offering a groovy, throwback garage-rocker. A Siouxsie Sioux and The Banshees vibe percolates throughout, from the deep echo of the lead guitar to the deadpan vocals. Following the reverb-drenched, instrumental “Natural Tradition”, Beaches uncork the gritty and melodic “Calendar”. It’s more of a slacker-rock tune than a full-blown psych number, but that changes quickly when “Contact arrives.

We have now left the party and started our ascent to another world. As the title suggests, “Contact” is a far-out, space trip. Methodical head noodling is on the menu for this track, as the pounding rhythms and transcendent guitars create a throbbing atmosphere. The trip, however, has only begun. The rip-roaring “Divers” is intoxicating, and it will cause plenty to showcase their best air guitar skills. Meanwhile on “Wine”, Beaches channel their inner Preoccupations and deliver a menacing post-punk blazer. The soundscape is stark and even frightening. The distant vocals and lyrics heighten the song’s suspense, and they reveal a woman searching for light. A woman seeking to be found.


When the light shines through, “Arrow” arrives. The shimmering guitar riffs, the head noodling rhythms, and dazzlingly hazy vocals combine to create a summertime vibe. This song, as such, is meant for long road trips,. The shoulder-shimmying continues with the ’60s-influenced, psychedelic-pop-rock gem “When You’re Gone”. It’s the one track on the album that might cause a bit of dancing.

Those two songs represent the zenith of the album, and the trip back home commences with the rapturous “Golden”. The fall starts slowly with this dark and majestic number, which is akin to the post-punk and industrial sounds that dominated the Manchester scene in the late ’70s. But as the laws of gravity dictate, a free-falling object accelerates over time. The velocity slightly increases on the stirring and sun-drenched psychedelic track, “Walk Around”, which includes the surprising addition of a saxophone.

This trip, however, isn’t a linear one. A detour is encountered on “Bronze Age Babies”, and the song is more akin to the India-inspired and quirky psychedelia of King Gizzard & The Lizard Wizard. Things get hazier with the gentile and melodic “Grey Colours”, which feels like a lullaby. The album, however, is far from finished. Instead, this song represents the slow descent that comes right before landing.


Welcoming us back is “Mothers and Daughters”. It’s not a joyous occasion, however, as the sound of sirens swirl in the background. The song starts off with a perilous attitude before easing into a post-rock anthem. It’s a mesmerizing number that is only exceeded by the album’s grand closer, “Mutual Delusion”. This nine-minute epic is a ride in itself, as a hallucinating one that is. As the song comes to an end, we ponder what we have just experienced. Are you back where we started or is this some sort of mind trick like the TV show Lost was? Whether this is reality or some alternate universe, this one hour and sixteen minute journey has been worth every second. So what do we do next? Spin it again and again because this album is like one continuous loop. Kind of like life should you believe in the afterlife.

Second of Spring is out Friday, September 8th via Chapter Music. It is available on Bandcamp.

Beaches are Allison Bolger, Ali McCann, Antonia Sellbach, Karla Way and Gillian Tucker.

HACHIKU – ” Hachiku ” EP

Posted: September 14, 2017 in MUSIC
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We are very excited to share with you Hachiku’s touching new clip for “Zombie Slayer”, the second single of their brilliant debut EP released earlier this year. Directed by Roxanne Halley with cinematography by Felicia Smith featuring friendly ghosts, salsa-dancing grandparents and Anika’s 10-year-old self.

AND ON TOP OF THAT: Hachiku will be going on Australian tour

The debut self-titled EP from Hachiku

1. Zombie Slayer
2. Song For Jeffrey
3. Moon Face
4. Al’s Wisdom List
5. Polar Bears

Sydney's Middle Kids, and pop-punk legends Blink-182

Sydney’s Middle Kids are currently one of the most successful musical exports that Australia has produced in recent times. With the group already riding high on a wave of success, they’ve just gone and released a brilliant acoustic cover of Blink-182’s ‘All The Small Things’, the group’s new “sad folk version” of the classic pop-punk anthem comes as part of an upcoming compilation album by online retailing giant Amazon

“We don’t play covers in our live set, but we are interested in the infinite discovery of what makes a ‘great’ song,” the band said. “In this recording, we were attempting to re-imagine a pop-punk classic as a sad country ballad. We kept the beautiful words and the melody, but changed instrumentation to bring out different emotion.”

The group’s cover of the track comes from the new Amazon Acoustics playlist, which is set to drop tomorrow. The playlist also includes a number of other brilliant artists performing acoustic originals and covers, such as Beach Slang, Cody ChesnuTT, Richard Edwards of Margot & The Nuclear So and So’s, and Ruby Empress.

You might also recall the other brilliant covers that Middle Kids have tackled lately, including their astonishing version of Crowded House’s ‘Don’t Dream It’s Over’ for triple j’s Like A Version, and their cover of Car Seat Headrest’s ‘Fill In The Blank’ for the SiriusXMU Sessions. .

Middle Kids are a Sydney-based bundle of sheer buzz at the moment, but in our books it’s more than justified. Their debut EP is a lovely piece of work, and hit single ‘Edge Of Town’ bowls us over every time.

Middle Kids’ Car Seat Headrest cover might be the best thing you’ll hear this week

Today, they have a new gem for us in the form of a glimmering piano take on ‘Fill In The Blank’ by Car Seat Headrest, performed as part of their live SiriusXMU Sessions recently. The guitar-based original makes it through the translation brilliantly, maybe even ending up as our preferred version as it comes out the other side.

Middle Kids are currently in the middle of a US tour, but they’re set to make their way back onto home shores back in November,  Check out Middle Kids’ cover of Blink-182’s ‘All The Small Things’, below.



Swamp Fat Jangles

Sydney based indie-folkers Swamp Fat Jangles have just released their gorgeous new single “You Only Say I Love You When You’re Drunk”.

The etherial track is brimming with dreamy vocals, subtly picked banjo and beautiful cello work from guest musician Gabrielle Brennan. The song also features fellow Sydney indie-folkers Echo Deer as the “boy choir” in the track’s crescendo. The band comments Who brings you a spare pair of sunnies at sunrise? Or a sympathetic ear after a heinous family christmas? Or rolls down a hill with you, howling and laughing at the drunken moon? Its not your bloody grandma but i’m sure you tell her you love her more than you tell your mates. And thats what this song is about…
To the greatest times and the worst times with the greatest people. Take a listen to “You Only Say I Love You When You’re Drunk”



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Buzzworthy Melbourne punks Amyl & The Sniffers have announced a solid string of east-coast tour dates through August and September, bookending their impending appearance at Brisbane’s Bigsound Festival next month. The ascendant garage-punk gurus have made a considerable impact in their home stomping ground in a relatively short time, swiftly picking up a deal with increasingly punk-savvy agency Premier Artists and earning a reputation for hectic live performances that have accrued them a dedicated following already.

They’ve released two EPs to date — last year’s “Giddy Up” and this year’s “Big Attraction” — and are sure to come away from their upcoming interstate adventure with a raft of new conscripts to the Amyl army.

Check out the mildly NSFW clip for 70’s Street Munchies below,

Band Members
Amy Taylor – Vocals
Dec Martens – Guitar
Bryce Wilson – Drums
Fergus Romer – Bass

Compiled here are 25 tracks, including their Evan Dando-worshipping satire “I Wish I Was Him,” the Thurston Moore produced demo, choice cuts from their Grand Royal-issued EP and LP, and covers of “Let’s Lynch The Landlord” and “Back In Your Life.” The entire sordid adolescent tale is covered in incredible detail inside the black and white 16 page zine. And finally, for the first time in the history of record pressing, and for no good reason at all, the cover for 10,000 Kids With Guitars doubles as a working chalkboard.

Noise Addict “10,000 Kids With Guitars” – double vinyl Record Store Day Exclusive – includes never before heard recordings produced by Sonic Youth members Thurston Moore and Lee Ranaldo .

“What does teen spirit smell like, anyway? It might smell something like Noise Addict. Like the real life stars of some sort of choose-your-own-adventure book about pursuing rock stardom, few bands ever led a more charmed existence, springing from the Sydney suburb of Bondi into seemingly overnight international fame as friends and collaborators of Sonic Youth, Fugazi, and the Beastie Boys. Through a combination of relentless drive, luck, and an admirable lack of self-doubt, Noise Addict spanned puberty to surpass the haters and join Radio Birdman and Nick Cave as a strange but permanent piece of Australian punk history. Cover art doubles as a working chalk board