Posts Tagged ‘Australia’

Following on from their acclaimed 2015 debut Down Time (released on Bedroom Suck in Australia, Fire Records in the UK), Her is a shining jewel of an album. Elizabeth Mitchell’s voice is a thing of unearthly beauty, capable of soaring and swooping in shiver-inducing ways. As a songwriter she is equally arresting, addressing desires and dreams with affecting frankness.

In Totally Mild she is joined by guitar magician Zachary Schneider, drummer Ashley Bundang and bassist Lehmann Smith. In the last few years the band have developed a quasi-psychic intensity, surging forward or pulling back in seamless unison. This intensity has been captured in crystalline form by producer and one-time Architecture In Helsinki member James Cecil. Her is polished and spacious, while never losing the feeling of a band in full flight.

After Down Time’s release, Totally Mild toured UK/Europe in 2015, then hit the US in early 2017, playing SXSW and a string of LA/NYC shows. In Australia they have played Meredith Music Festival and shared stages with the likes of Real Estate, Kurt Vile, Best Coast, DIIV and The Chills.

About the new album, Mitchell says “Her is a record of failure and victory, new desire, stale romance, queer domesticity and what comes when the party is over. I was torn between a new domestic life and the impulse to tear it all away with bad choices. I fell in love, but I wrestled for independence. I was always trying to prove that I didn’t need anyone; my wife, my friends, my band. Her is a document of a woman struggling with the idea of potential. We are told that we could be limitless, but we wrestle with unseen personal and structural walls.”

Mood rises and falls expertly throughout the album: Working Like A Crow, originally written for a children’s choir, is simple in its self-sufficiency. From One Another is an eulogy for a toxic relation- ship given the most graceful pop setting. Mitchell’s love for piano balladry is showcased on Lucky Stars, while Today Tonight is kinetic, dynamic guitar pop at its finest.. 


Across their powerful, delicate, luminous second album Her, Totally Mild move through light and shade with silky finesse.

“A shining talisman for the heartbroken” – Pitchfork
“Engorged, engaged, empowered bedroom sulk music” – The Guardian “Sweet, harmony-rich, pointedly concise jangle-pop” – NPR
“Skewed pop gold” – Noisey
“An ethereal voice…lovely songs and just-so jangly arrangements” – BrooklynVegan


Cathedral is the first single from Golden Rise, Mt. Mountain’s third LP in as many years.  Recorded at Studio Sleepwalkers Dread with Ron Pollard (Tangled Thoughts of Leaving, Meniscus, Hideous Sun Demon), it follows on from 2017’s conceptually ambitious Dust. Whereas Dust unfolded like a long-take of harsh but beautiful desert landscapes, Golden Rise’ reveals itself like a series of photographs in song form; 10 tracks that stand on their own, yet best experienced in reference to each other and the album’s celestial evocations. Harking back to Mt. Mountain’s 2016 debut Cosmos Terros, Golden Rise is mood music for all occasions – equally fit for night drives, contemplative stasis or revelations in darkened rooms.


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With the new digital reissue of their 2017 album ‘The Weather’ – produced by Tame Impala’s Kevin Parker – released this week, Aussie band Pond have shared a music video for ‘Fire In The Water’, a bonus track from the work.

Directed, filmed and edited by acclaimed visual artist Kristofski, the clip features POND frontman, Nicholas Allbrook dancing joyously through the streets of Tokyo.

Of the video’s origin, Kristofski states: “Jay [Watson] hit me up on Instagram and said “Hey Kristio, do you wanna come meet us in Tokyo in two days and shoot a clip?” and then I was in Tokyo and by far it was the most rude trip of my life. We got lost a lot and kinda just followed Nick around because he kept wanting to find this rainbow bridge which I don’t think ever existed. Sometimes we would just stop and film where ever we were.

“The original idea was Nick turning into a jellyfish, floating over the buildings looking down on all these people eating ramen and sushi but that idea didn’t really fly. That was Nick’s idea, by the way.  I like how we have those koi fish in the clip, because they are like fire in the water. It was also Joe’s birthday, which was nice.”

Band Members
Urethra Franklin,
Kirk Kobain,
Spready Hazel,

“Hey there, ho there, do you wanna go there?” Yeah Nah? Then man you better get the fuck out of the way because Lazertits are quickly joining emus and roos in the ranks of Aussie icons that never evolved any interest in backing down. Triple J’s Home & Hosed host Dom Alessio called Boss Bitch “a late contender for the Best Lyrics Of 2016 award” and their full-length debut in November had all the wit, sarcasm and furious guitar fuzz of the 2016 single nine times over. Catch them live ‘round the country in Jan for the Swim Tits summer tour.

Melbourne’s BATTS aka Tanya Batt has released her melancholic debut EP ’62 Moons’ alongside single ‘Somedays’. Her previously released singles ‘For Now’ and ‘Little White Lies’ received fans from FBi, BBC, triple j and Radio X for her signature shoe-gaze, psych-tinged, folk/pop similar to the sounds of Mazzy Star and early Daughter. Recently  signed to THAA Records alongside lanks as their first two signings. What an absolute dream come true! To infinity and beyond



Homeless29 amyl cover hi res

The new best band Australia have to offer at the moment. Snarling, exciting and totally punk. If you love Australian 70’s style proto punk n’ roll look no further. Amyl and the Sniffers are a garage punk band who sing about biffs, blowjobs and Chiko rolls. They’re proudly sporting shitty tatts and they named their band after a seedy drug that provides a brief, intense euphoria, followed by a brutal headache – which may or may not be a metaphor. With the mullets, the aggression and the unflinching embrace of Australiana, Amyl and the Sniffers have been likened to the sharpie subculture of the ‘70s – a pre-punk movement that was birthed in Melbourne and characterised by ‘sharp’ outfits and that quintessential Aussie larrikin attitude. The soundtrack to this era was Australian boogie: bands like Skyhooks, The Coloured Balls and AC/DC. AMY says she and the boys are definitely influenced by that ‘70s Aussie rock, but lyrically, she’s also intrigued by the storytelling of country singers like Dolly Parton; she likes the cheek of a Southern woman in the 1960s singing about cheating on her husband.

Every music industry type in Melbourne is falling over themselves to drop this self-described “Pub Punk Sharpie Rock” band’s name.  that buzz is set to spread nationwide. The video was shot live at Howler by Darcy Kinna, Sabine Battel


The Grease Arrestor describe their second album, ‘Volume Two’ as a pastiche of different ideas and influences, including the 60s golden era and elements of 90s movements, blended with their signature drone and fuzz groove combination.Groove-drones and jangle freak-outs.
12 string guitars and 60s organs. Jiving rhythms and Shoe gazey fuzz-tones.
The Grease Arrestor are the Sydney 5 piece dedicated to bringing you the very best of the sounds you know and L.O.V.E. please also check out these other favs of ours. The Citradels, The Babe Rainbow, Spirit Valley, The Dandelion, Dead Radio, The Frowning Clouds, Hurricane Heart Attacks, Mezko.

Band Members: Richard Snowden, Elizabeth Tillman, Ryan Lloyd, Samuel Potter & Joshua Hutchins-Smith


Another wonderful Australian band you should be listening too, Instead of calling this an album, Black Springs chose to call “When We Were Great” a compilation of songs from their past giving you the idea that the band are no longer together maybe lets hope not ?. Mystery aside, this record has elements of dreampop, shoegaze and jangle and a confidence that has me pulling for them to make another record.

Sydney four-piece Black Springs have released their debut LP. Mixed by Caleb Jacobs (aka Plum) and boldly titled ‘When We Were Great’, it sure is a moody collection of guitar reverie. The buoyancy of singles Boys In Blue and Slinky Day make way for more fragile yet equally catchy moments throughout with a healthy dose of the band’s trademark wig-outs thrown in for good measure (Bitter and Twisted, Staying in Again).


all songs by black springs (shaun donovan, leighton holloway, tony lopes, tim story)

mixed by caleb jacobs (aka Plum)

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Sleep Club’s debut single’s is a mellow dreampop debut from this Brisbane dreamy pop trio consisting of sonic complexity and soothing ambience. Stemming from similar influences, all members create a unique blend of eclectic vocal harmonies and intricate drum and bass rhythms. Sleep Club is most known around Brisbane for its textural and complex musical development and slowly driven and moving performances.

The band formed as a project in 2016 through mutual band connections such as Death Tourism, Post Dream and Sweater Curse, which this year have began recording their anticipated debut single. As all members are multi-instrumental the band’s writing process is very collaborative and detailed which has led to such a unique collection of pieces.

It’s a bit of a tingly one in its last textural 60 seconds is ‘Cut You’. The three multi-instrumentalist member outfit – Amber Ramsay (Cloud Tangle), Monica Sottile (Sweater Curse), Vanessa Marousopoulos (Keeskea), are an Australian styled Warpaint, with a sonic soothing ambience, and those kind of vocal harmonies to make you feel all warm and fuzzy inside.

HATCHIE – ” Sure “

Posted: January 4, 2018 in ALBUMS, MUSIC
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Brisbane’s Hatchie may have only released two singles this year, but when they’re your first two and they’re at the quality that Hatchie delivered with “Try” and “Sure”, you would be impressed too. The shoegaze-pop figurehead has sold out shows and graced festival stages across the country off the back of these two singles alone, with her indie-pop charm and spectacular, genre-merging songwriting proving unavoidable for much of the year. On “Sure”, the most recent of her two singles, this brilliant songwriting truly comes to light. The Brisbane name combines her inviting vocals with a stripped-back, acoustic instrumental that’s packed with this dreamy vibe that you could easily hear rolling behind the end credits of a big budget rom-com. It’s full of flavour and love, something we hope Hatchie continues to work with on her forthcoming releases in 2018.