Posts Tagged ‘Australia’

Terry returned this week with the first track from their new album ‘I’m Terry’.
The Whip kicks the jangles aside, clips a driving punk guitar line to a curdled coif of organ squeal and gives this track an off the rails quality that’s biting harder than usual for the laid-back bunch. While I love the band’s cowpunk preening and clang-hearted dirges its good to see them go for the pop pounce – albeit with enough squirm to make it pure Terry.
‘The Whip’ is taken from TERRY’s brand new, third album ‘I’m Terry’, coming out August 31st through Upset The Rhythm Records.

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murmurmur (pronounced mer-mer-mer) was born in February 2017 when Will Fletcher stumbled across the idiosyncratic guitar riff that provides the defining moment in “I Can’t Stop Thinking About All The Time I’ve Taken From You”. Fletcher was soon joined by Alex Crosara (guitar), Fintan Bradley (synthesiser), Jack Davies (bass) and Luke Haaja (drums), who helped to bring his prog/psych-pop odysseys to life.

Across the four songs that comprise murmurmur’s debut self-titled EP (produced by Oscar Dawson of Holy Holy), Fletcher’s haunting, emotive vocal blends with guitar hooks that sink into the recesses of your mind and stay there. There is an urgency to murmurmur’s soundscapes – they sound like a time and place you’re not aware of but which you’re desperate to find.


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Pack Animals’ is the second single from Cash Savage and the Last Drinks’ forthcoming album Good Citizens, out September 21st on Mistletone Records.  The lyrics paint a dismal picture of an all-too-familiar scenario for female musicians being mansplained after the show.

“Pack Animals” is dedicated to all the men that have offered me unsolicited advice over the years”, Cash Savage says with a wry grin. Over the past 6 years, the phenomenon of men approaching the women of the Last Drinks with advice prefaced by “The gig was great, but…” has become a running joke that’s not funny anymore for Cash Savage and her bandmates.

“I’ve been told the dumbest shit”, Cash recalls. Examples: “You play guitar too rhythmically, let the drums do the work” .  Dumb, yes but not harmless. “The givers of the opinions will eventually become offended and sometimes aggressive”, ‘Pack Animals’ calls out this behaviour as a manifestation of toxic masculinity and how it affects everyone, regardless of gender.

“We have all had moments in our lives where we’ve had to placate a man who is on the verge of becoming aggressive,” Cash notes. “It’s not fun for anyone. I look forward to a time when shit behaviour is called out before it gets to that point.”

The song’s refrain “Everything’s fine, everything’s gonna be great” carries a heartfelt belief that a new day is dawning. “Some people are resisting this undercurrent of change because they feel threatened by it”, Cash observes, “but I mean it when I say that the change is going to be for the better. I hope we’re on our way there.”


‘Pack Animals’ follows searing single ‘Better Than That’, the first single from the forthcoming Cash Savage & The Last Drinks album Good Citizens, she tells us how. And she does it with such strength and vulnerability that it’ll take a cold heart not to appreciate it…. It’s stark, simple and something that everyone should hear, regardless of your politics.”


Psychedelic Porn Crumpets could be Australia’s next great psych band with trippy mission statement ‘Cornflake’

If there’s one thing that Australia’s good at, it’s producing brilliant psych bands with very stupid names. From Methyl Ethel to King Gizzard and the Lizard Wizard, via the semi-questionable Tame Impala, the two go hand in glove.

The next pretenders to the crown come in the form of Psychedelic Porn Crumpets. Also ridiculous name and thus, predictably, but also very good band.

Though ‘Cornflake’ was actually given a low-key release over the pond a while ago, it’s now been given an all-guns-blazing reboot, complete with suitably acid-trip visuals by way of a proper introduction on these shores.

Full of big, overblown riffs and heady, woozy interludes, it’s both everything you want from a psych band and brilliantly worthy of a second piece of the pie.

Watch ‘Cornflake’ below and catch the band at their inaugural UK shows this autumn

Limited Edition High Visceral Pt 1 & Pt 2 Double Gatefold Vinyl – released 10th September 2018.

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Sugar Still Melts In The Rain is Sarah Mary Chadwicks 4th solo work. It was recorded and mixed by friend, musician and filmmaker Geoffrey O’Connor in Vanity Lair and Phaedra Studios in Melbourne. The album came together so quickly partly as a result of the duo’s commitment to efficiency and partly due to Sarah’s lack of attachment to the idea of “the perfect vocal take.” She knows she isn’t a virtuoso; tongue firmly in check, she is quick to reference those limitations mockingly. Yet, it’s within those boundaries that she thrives, disinterested in the perfect take in lieu of her best take – unique, somber and raw.


Fourth album release from Sarah Mary Chadwick ‘Sugar Still Melts In The Rain’. This pre-order comes with a limited edition art print by Sarah Mary Chadwick.

This LP is, a ripper. Perfect from start to finish with it’s jangly sounds and melodies, but still with a fair bit of an edge to it. It’s hard not to listen to it all in the one sitting, though at only 22 and a half minutes you pretty much can anyway. The short length of the album is the only fault I can find, and Chitter Chatter is the standout track.  was among my Top 100 Albums Of 2016 .
Terry is the bastard child of everything great about Australian post-punk and for lack of a better word ‘slacker’ rock. Live they become something even more powerful. A true cult classic


TERRY a band from Melbourne, Australia. Divide him in half and you split the genders, into quarters and you get Amy Hill (also of Constant Mongrel, School Of Radiant Living), Xanthe Waite (Mick Harvey Band, Primo), Zephyr Pavey (Eastlink, Total Control, Russell St Bombings) and Al Montfort (UV Race, Dick Diver, Total Control). Guitars, bass, drums, all four sing. Terry are busy people and Terry is a particularly active project too, having released two EPs and a full length album (‘Terry HQ’) last year on Upset The Rhythm Records.

The Stevens aren’t as patient as other Australian bands like the Rolling Blackouts on their two albums they constantly jump from idea to idea and song to song, often moving on after only a minute or so. Their songs rarely feel like fragments, though—they’re all fully realized ideas, even if they only run for 70 seconds. That’s obviously unlike Rolling Blackouts, who tend to explore their songs for three or four minutes. They both have that Flying Nun approach to guitar pop, though, with intricate and tuneful guitar interplay and matter-of-fact vocals that might sound resigned but rarely feel dejected.

Centred around guitarists Alex MacFarlane and Travis MacDonald, scratchy pop foursome the Stevens released a 6 song EP in 2012 that was without doubt the catchiest non-Chapter release of the year. Originally on CD-R and cassette only,

Melbourne scratchy pop favourites the Stevens return with their second album “Good”.
Good picks up where their 2014 debut A History Of Hygiene left off – 18 short songs, alternately frenetic or laconic, packed with twists and hooks that merge lo-fi outsider songcraft with 70s prog wizardry and classic rock swagger.


After establishing a shared obsession for bedroom recording and favourites such as Wire, Guided by Voices, R. Stevie Moore and Flying Nun releases, they began combining their home projects. Together they started writing songs and soon enlisted the help of Macfarlane’s old school friends, Tam Matlakowski and Callum Foley. In 2011 they officially coalesced as a band, which also meant picking a name. They all agreed that Steven was a name

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Little Ugly Girls, the legendary Hobart riot grrl band, are set to release their first ever album. First formed in the early nineties, Little Ugly Girls are forgotten heroes of Australian punk, a howling tesla coil of energy that left a mark on the genre without ever releasing a full album. The quartet, made up of vocalist Linda Johnston, her brother Dannie Johnston on guitar, Brent Punshon on drums and bassist Mindy Mapp, played with icons throughout the nineties and 2000s like Fugazi, Bikini Kill and The White Stripes, but have never released anything more than a few cassettes and a CD-R.

Chapter Music are to release Little Ugly Girls, debut album that’s been in the works for over two decades. Built from skeletons first recorded in the nineties, the album was finally completed over the past few years. A dirty, raging piece of punk, Little Ugly Girlsis an exhilarating record of crackling guitar and pummelling drums, all built around Linda’s gruff, caustic wail.


Lead single “Tractor”, puts Linda at the fore, her unhinged vocal performance moving from outright screams to a bridge teetering on the edge of spoken word performance. “‘Tractor’ is about a world of injustices perpetrated by misogynistic, homophobic, religious hypocritical lying bullies,” Linda says, “

Frequently tipped as one of the world’s best live bands, Australian five-piece Parcels will be coming to the UK this November, with must-see shows in Manchester, Bristol and Leeds.

Parcels are a funk-pop group from Byron Bay, Australia conceived in mid 2014. Patrick Hetherington, Louie Swain, Noah Hill, Anatole Serret and Jules Crommelin forged a tight musical bond in the years previous, performing in an array of projects ranging from metal bands to folk ensembles. Thereafter, the broad spectrum of the members’ influences and sensitivities jelled instantly, resulting in a unique blend of contemporary electronica and matured funk disco.

Parcels create wide synth soundscapes through an electronic rhythm section with spirited guitars and five-part vocal harmony. On stage, their live set is consistently energetic but is a different, more organic spin on their recorded tracks, .


Band Members
Patrick Hetherington, Louie Swain, Noah Hill, Jules Crommelin, Anatole Serret

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Teddywaddy is a slumbering patch of country just off the Calder Highway in northwest Victoria, now mostly farmland. It sits 90 minutes from Bendigo, where East Brunswick All Girls Choir frontman Marcus Hobbs grew up, and he knows the drive all too well from regular visits there to see his father’s family. It’s also the namesake of the Melbourne ensemble’s long-awaited second album.

That makes it a resonant backdrop for the album Teddywaddy, which encompasses both smouldering studies of isolation and open-air eruptions of catharsis. Co-produced with Anna Laverty (Courtney Barnett, The Peep Tempel), the album is etched deeply with such contrasts. For every spacious swath of majesty like ‘Rounds’ or ‘Never/Never’, there’s some punked-up exorcism like the calm-to-squall ‘DOG FM’, the nerves-fraying ‘Cicada Chirps the Chicane’ or ‘Essendon 1986’, an old song revisited and accelerated.

“I like the contrast of power and surprise in music. Something that makes your head tilt back when it hits,” reflects Hobbs, who shares the band with bassist/keyboardist Rie Nakayama, drummer Jen Sholakis and guitarist Rob WrigleyEast Brunswick All Girls Choir debuted with the 2009 mini album Dead Air, then followed it up with 2014’s Australian Music Prize-longlisted Seven Drummers.  To say it was worth the wait is an understatement: Teddywaddy is the most profound and riotous statement of the band’s career, anchored at every turn by the ragged glory of Hobbs’ eruptive singing and the piercing details of his lyrics.

The second single to be lifted from the new album from East Brunswick All Girls Choir. Out June 29th on Milk Records.