Posts Tagged ‘Australia’

With a sonic style that swirls effortlessly inside a generous melding of warm psych-folk, explosive garage psych and entrancingly fuzzy sixties sounding musings (or retro-psych as the kids like to call it these days), ‘The Dandelion’ began life as a solo project by ‘The Dolly Rocker Movement’ frontman, Daniel J Poulter, eventually releasing it’s debut long player ‘The Strange Case Of The Dandelion’ back in 2013. Shortly after the release however,  Poulter walked out and the super talented Nathalie de Silver took over songwriting duties, subsequently releasing some impressive collections of music alongside a revolving door of live musicians.

With a brilliant self-titled EP released in 2014, a very interesting sophomore release in 2015 called ‘Seeds Flowers and Magical Powers of The Dandelion’ and a dedicated worldwide following, ‘The Dandelion’ have announced a brand new thirteen track album entitled ‘Old Habits & New Ways Of The Dandelion’ via the Greek-based independent record label ‘Blackspin Records’, and have just launched a lengthy European tour throughout April taking in France, Spain, Greece, England, Scotland, Belgium, Austria, Croatia & Germany to support the album. ‘Old Habits & New Ways Of The Dandelion’ is penned in for official release on April 1st 2019 and will be available on various vinyl formats


The Dandelion (Sydney, Australia) The unstoppable 60’s garage druids are back after a 2 year break…
THE NEW LP “Old Habits & New Ways of The Dandelion” will be out April 1st! On Deluxe SpiderChild cassette with foldout lyric sheet & CD / colored Vinyl via Blackspin Records,


The current line up though, consists of Nathalie de Silver – vocals/guitar/songwriting/producer,Laura Murdoch – organ/vocals/theremin, Josh White – drums/vocals & Lauren Crew – bass. 

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The Babe Rainbow was formed in the summer of 2014 by Angus Dowling and Jack Laughlan Crowther in the coastal surf town of Rainbow Bay, Australia. Students of English, lovers of permaculture, riders of waves – the pair also found common ground in the 60’s music like The Incredible String Band and Swing Mademoiselles. Their early singles attracted the attenion of Flightless Records who went on to release their breakout single Secret Enchanted Broccoli Forest. The band, which now includes Lucas Mariani and Jessi Dunbar, caught the attenion of US record producer, artist and now label owner Danger Mouse who signed them to his 30th Century Records. The album was produced by Stu Mackenzie (King Gizzard and the Lizard Wizard).


They come loosely from the same staple as King Gizzard and the Lizard Wizard, and are similarly enamoured of the less murky side of 60’s psychedelia. Their album, Double Rainbow epitomises the summer vibe with its mellifluous harmonies, second-gear beat architecture and bright acoustics. Double Rainbow has some influences from the 60’s such as The Beatles and Grateful Dead, as you’ll read elsewhere, but what it really reminded me of was J.J Cale’sNaturally. Listen to ‘Darby and Joan’ and tell me you don’t hear ‘Call Me the Breeze’. Not only the song structure but J.J Cale’s easy swagger and insouciance. Front porch therapy. Replete with tropical aromas, gentle breezes and cool temperament.

‘Eureka’ clamours successfully for that vibe as well, but ventures more into sunset party territory with accentuated wah-wah and a drummer riding the cymbals with free abandon. The album starts out with a song, ‘The Magician’, so assured, so beautifully written, it’s hard to believe these guys have been only hanging together for a year and a half. Probably longer as surfing mates if the truth be known.

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The prolific Sarah Mary Chadwick returns with ‘The Queen Who Stole The Sky’, an album performed and recorded live on Melbourne Town Hall’s 147 year-old grand organ. Originally built in 1872, rebuilt in 1925 and refurbished in the 1990s.

In 2018, Sarah Mary Chadwick was commissioned by Melbourne City Council to create an entirely new body of work, to be written and recorded in just three months on an instrument grand in size, sound and antiquity. A daunting task to some, but Sarah Mary Chadwick’s trademark writing style is one that instigates itself furiously – she feels and then begins to write, without ruminating or long periods of drawn out self-reflection.

What results from this process are songs that are completely undiluted in their spirit, and an ability to create vast volumes of work over relatively short periods of time.

The Queen Who Stole The Sky’ is a body of work that is undeniably commanding, yet punctuated by quieter points of intimacy. The songs have a narrative-like quality, unfolding themselves before their audience. Sarah Mary Chadwick’s command of the grand organ is testament to her musicality – the sheer size of the instrument could so easily drown out the nuances of the songwriting – but not so for Sarah.

Sarah describes the songs as being mostly about rural isolation, death, and “the fact that I’m always waiting for life and it never arrives – it only ever leaves”.


‘The Queen Who Stole The Sky’ was performed live at Melbourne Town Hall in the winter of 2018. The album is a masterful production by Sarah Mary Chadwick, and in Sarah’s own words, is dedicated to “anyone who ever wanted a little bit more than what life had to offer them”.

The Queen Who Stole The Sky’ will be released via Rice Is Nice Records + Heavy Machinery Records (AUS) April 12 + via Sinderlyn Records (US / EU) April 19th.

Amyl & the Sniffers

Australian hellions Amyl & The Smiffers have announced their self-titled debut album will be out May 24th via Rough Trade Records, ATO Records and Flightless Records. The first single is the anthemic, rocking “Got You.” The video for it has singer Amy Taylor taking full control of the rest of the band, bathing them with a hose, brushing their teeth by force and leading them around on leashes…which may or may not be an accurate depiction of tour life.

The band have been wowing the U.K with their awesome live sets. ‘Got You’ is taken from Amyl and The Sniffers‘ self-titled debut album out on Rough Trade Records,

“Goodwill” is the third Vacant Smiles album. Created to fill a gap left by our original third album—which will arrive sooner or later—and released only 27 days after our first recording session, it is an album that celebrates the glorious shining light of randomness, weirdness and wrongness that is so often trampled on by our 21st century lives. Especially in the face of the impending cyber-doom of the modern world, with the rise of smartphone abuse, addiction, egomania and shitty public transport, while monolithic companies tower over us with their supposed goodwill held close to themselves, Goodwill recognises that while cynicism may be increasingly becoming our default setting, we must open ourselves up to the imperfect mess that we’ve made and take time to rejoice in goodwill.


The Band:
James Lynch – vocals, guitar, bass, drums, keys, percussion
Seamus Whelan – bass, vocals, percussion
Francis Tait – guitar, bass, percussion
Tom Clapp – drums

Alex Lahey is a songwriter based in Melbourne. She enjoys cats, Coopers Sparkling, her blue 1999 Corolla, Allen’s Party Mix, fuzz pedals and soft poached eggs.

On her sophomore LP, The Best of Luck Club, 26-year-old Alex Lahey navigates the pangs of generational ennui with the pint half-full and a spot cleared on the bar stool next to her. Self-doubt, burn out, break-ups, mental health, moving in with her girlfriend, vibrators: The Best of Luck Club showcases the universal language of Lahey’s sharp songwriting, her propensity for taking the minute details of the personal and flipping it public through anthemic pop-punk.

Lahey’s 2017 debut I Love You Like a Brother encases Lahey’s knack for writing a killer hook and her acute sense of humor delivered via a slacker-rock package – and, in a way, The Best of Luck Club picks up where that record left off, but sprinting forward. Lahey dives headfirst into a broader spectrum of both emotion and sound through polished, arena pop-punk in the vein of Paramore with the introspective sheen of Alvvays or Tegan & Sara. Here, Lahey documents “the highest highs and the lowest lows” of her life to date.

The first inklings of The Best of Luck Club came together on a shitty guitar while Lahey spent the bulk of her time on the road. The break-out success of I Love You Like a Brother took her beyond the adoration of Australia to her first taste of global touring; festival slots at the likes of Lollapalooza, Bonnaroo, and Osheaga; and her American TV debut on Late Night with Seth Meyers. Amidst the frenzy, Lahey found the time to tinker with her thoughts, eventually landing in Nashville for intensive songwriting sessions. Lahey would lock herself in a room for 12-hour days, and ended up churning out more than half the songs for the record. Most importantly, Lahey found The Best of Luck Club thesis while she was there – which explains the familiarity and relatabity through Lahey’s new LP.

“When I was writing all the stuff in Nashville I was really inspired by the dive bar scene there and the idea that at these dive bars there’s no pretentious energy,” she explains. “Whether you’ve had the best day of your life or the worst day of your life, you can just sit up at the bar and turn to the person next to you – who has no idea who you are – and have a chat. And the response that you generally get at the end of the conversation is, ‘Best of luck,’ so The Best Of Luck Club is that place.”

For recording, Lahey returned home to Melbourne, Australia and set up shop for a month at Sing Sing South. Lahey co-produced the album alongside acclaimed engineer and producer Catherine Marks (Local Natives, Wolf Alice, Manchester Orchestra), and plays nearly everything on the record save for drums. The blare of saxophone across several tracks marks Lahey’s first return to the instrument in years, which she said began as a tongue-in cheek decision but more than anything pays homage to her past. Lahey credits Marks for improving her attention to detail, self-confidence, and guiding the process through with a sense of humor.


Barnstorming album opener “I Don’t Get Invited to Parties Anymore” recounts Lahey struggling with the often isolating pressures of adulthood, explaining,  “It’s funny to think that there are people out there who are sort of putting their social life on ice in order to get their professional selves together, and as a result they’re not getting invited to parties anymore, and it sucks.”

The relatable “Don’t Be So Hard on Yourself” grapples with the overwhelming feeling of burn-out as Lahey reassures it’s okay to have bad days, while the electrified “Misery Guts” hammers at the other end of the emotional spectrum, marking the first time Lahey has written a song in the midst of anger. “I Need to Move On,” which Lahey says began as a musical ode to The Cure in its demo form, is guided back to pop sheen by Marks’ deft hand, chronicling the struggle of getting over a break-up before you’re ready.

“When we were making the record, Catherine and I would refer to different songs as playing dress-ups,” Lahey recalls, explaining all the different roles she deftly inhabits on The Best of Luck Club. “I really think that if you saw a montage of a person writing and making this record – and the places where it all happened – it kind of does look like playing dress-ups, in a way.”

“These songs are almost written for each patron of a dive bar,” Lahey says, “because they’re so varied in the experiences that are being presented and it’s almost as if each one of the songs is someone’s day. I feel writing these songs is me going into The Best Of Luck Club and reflecting, and coming out with each individual song.”

Releases May 17th, 2019

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Garage Rock from Sydney Australia. Our new single “Manipulation” is about the inability to change. In the face of contradictory evidence, it takes something truly special to trust one’s own experiences & knowledge above all else.’

“Manipulation” is the newest single by Australian band Los Tones
Band Members
Bodie – Guitar/Vocals
Shaun – Bass/Vocals
Leigh – Drums/Vocals
Rohan – Guitar/Vocals

Released April 1st, 2019
Performed by: Los Tones

Flightless heroes The Murlocs are extremely excited to announce their fourth album ‘Manic Candid Episode’ is out today! It’s been a long time between drinks but Uncle Murl is at the peak of his powers from travelling his deliciously dangerous, distorted and dynamic RnB to packed houses around the world.

Five skinny kids with roots firmly placed in their own blown-out, distorted brand of soulful RnB.
Formed in early 2011 by harp player Ambrose Kenny-Smith, The Murlocs have already played alongside Thee Oh Sees, Graveyard Train and Dave Graney.
Their up-tempo snare cracks and noisy doom guitar – accompanied by Ambrose’s vocal screech – has been described as a mesmerising demented dance party.


To celebrate the release the band have announced a Massive five state, six date Australian tour taking them to Perth, Adelaide, Brisbane, Sydney and Melbourne. 

Amyl & The Sniffers have just made huge impact at the Austin Texas based SXSW Festival, confirming their status as one of the most talked-about bands of the festival, barrelling their way towards the release of their debut album with intoxicating energy, all channelled through the relentless, scrappy charm of Amy Taylor.


Proudly reviving a Seventies punk they’re far too young to have experienced, Amyl & the Sniffers move at a breakneck speed. Pounding through tunes so quickly, it seems that they’re indifferent to hooks. But they’re not; rather, they’re just impatient to get to the next one. While the Sniffers seem on the verge of falling apart, Amyl prowls the stage, and her restlessness lends the band a coiled energy. At their best, Amyl & the Sniffers sound like Blondie deciding they’d be better off as a dirtbag bar band who dabbled in hardcore. It’s a combination that results in some glorious noise.

Releases September 21st, 2018

Some Mutts (Can’t Be Muzzled) and Cup of Destiny by Amyl and the Sniffers.
7” available through Flightless in Aus and Flightless via ATO in America. Limted to 1000.
Drums- Bryce Wilson, Bass – Gus Romer, Vocals Lyrics- Amy Taylor. Guitar- Dec Martens.

After a landmark 12 months for Rolling Blackouts Coastal Fever, who released their debut album Hope Downs to worldwide critical acclaim in June 2018 – Sub Pop Records is excited to reveal new music from the Melbourne band in the form of single, “In the Capital.” The track will also feature on a limited edition 7-inch alongside a B-side titled “Read My Mind.” The vinyl will be released on Friday, April 26th and is available from Sub Pop Records.

Rolling Blackouts C.F.’s Fran Keaney describes how “In the Capital” came together: “I first had the idea for the melody and some of the lyrics when I was swimming. It’s taken a while to finish the song, to make it feel like the initial feeling. I can’t neatly describe it, but something like connection despite distance. I was thinking about transience and water and death and big cities and fishing towns and moon river.”

“In the Capital”‘ (Release Day: April 26th, 2019)