Posts Tagged ‘Australia’

Bad//Dreems were born during an Adelaide heatwave in the summer of 2012. The band who have a loose new wave-cum-rock ‘n’ roll sound influenced by ‘70s Australian bands such as Coloured Balls and US bands such as DevoTelevision and Wipers.

Their 3rd album, ‘Doomsday Ballet’ is due for release October 18th 2019, which was recorded in Adelaide with production from Burke Reid & Jack Ladder. Live wise, the band have toured extensively in Australia and abroad, appearing at Splendour in the Grass, Falls + Laneway festivals, and supporting acts such as At The Drive In, The Avalanches and Cold Chisel

It is this world, constructed or not, that Ben Marwe (vocals, guitar), Alex Cameron (guitar), James Bartold (bass) and Miles Wilson (drums) attempt to capture. A sound, which draws from the Australian underground of the late 70s and 80s, while also taking cues from US indie outsiders like The Replacements and Wipers. Mundane meets morbid; the humdrum meets the horror; nostalgia meets nightmare. Big dreams meet bad dreams.

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Band Members
Ben//Alex//James//Miles

releases October 18th, 2019

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Image result for KELSO - " Always A Godmother, Never A God "

After three self-released singles, Kelso (the new project from Camp Cope bassist Kelly-Dawn Hellmrich) has just announced a debut EP ‘Always A Godmother, Never A God’ to be released October 4 via Poison City Records. Lead by the dreamy single ‘I’m Okay, Life Goes On, I Don’t Mind’ the new EP was produced, mixed & mastered by Jo Née at 3BS on Darug / Gundungurra land in Kelly’s home state of NSW. Kelso’s self described ‘cute weird songs, for cute weird people’ weave together moody lo-fi/ indie pop with gentle hooks and tales of love, homesickness, loss  always searching for those meaningful little connections in life.

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Releases October 4th, 2019

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A year ago, Melbourne musician Grace Cummings started playing her own songs armed with nothing but an acoustic guitar and a harmonica. She has since fascinated local Melbourne audiences as she sings simple and honest songs with a powerful recklessness. Within a year she has shared bills with the likes of J Mascis and Do Re Mi as well as a breakout performance Boogie Festival. Her very first collection of solo songs will be released by Flightless Records in late 2019.

Grace comments ,A little while ago I started playing my own songs and writing more and more of them.
I went over to Jesse Williams’ house and recorded a bunch of solo songs in an afternoon… These have become my first album.

I am lucky enough to have it put out by Flightless Records who are the absolute coolest. The album ‘Refuge Cove’ comes out November 1st.

Gena Rose Bruce‘s debut album “Can’t Make You Love Me” is out worldwide now on Dot Dash Recordings.

Can’t Make You Love Me showcases Bruce’s unmistakable brand of smokey rock; smouldering vocal performances, pulsing rhythms, echoes of Mazzy Star and Lynchian undertones. It’s is an intoxicating ride through love, lust, surrender and revival

Gena Rose Bruce comes from Melbourne songstress. ‘The Way You Make Love’ is all soft and subtle psych-rock, with guitar riffs reminiscent of Brian Jonestown Massacre and vocals harking back to Mazzy Star. We’re into it.

Gena Rose Bruce’s debut album Can’t Make You Love Me is an intoxicating ride through love, lust, surrender and revival. It’s a distinct and dynamic debut from a young artist with a clear vision. Bruce’s vocals drive this album; a stirring force amidst the pulsing rhythms. A vibrant youthfulness and deep maturity underpins her writing, allowing songs to swing effortlessly between earnest introspection and cool detachment with utter sincerity. With it’s infectious melodies and biting lyricism, Can’t Make You Love Me is as playful as it is confessional. Instantly timeless and unmistakably contemporary.

The album has received widespread praise nationally and abroad, including 4+ star reviews and Album of the Week / Feature Album on NPR (USA), The Age, Herald Sun, The Sydney Morning Herald and Brisbane Times. Available now worldwide through Dot Dash Recordings.​

“Her voice just sends me…David Lynch made that third season of Twin Peaks a year too soon, cause she should’ve been playing in that bar.” – NPR Best New Music All Songs Considered (Can’t Make You Love Me)

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Melbourne-artist Sandy Hsu releases her stunningly bold and soothing new EP, “She Comes to Me in a Fever Dream”.

In the lead up to Sandy’s new EP, her single Angel Energy has reached #2 on the AMRAP charts, and the vivid and nostalgic Limbo was premiered by Frankie Magazine and featured on Purple Sneakers who described her music “beautifully effortless”. A transitional and reflective release, She Comes To Me In A Fever Dream explores themes of tenderness, strength, femininity, change and self-reconciliation. Sandy describes the release as having ‘many moments of inward looking, observing my own growth and possibly how that reflects outwardly’.

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Taken from the forthcoming EP She Comes To Me In A Fever Dream (Healthy Tapes), Sandy Hsu’s second single ‘Angel Energy’ is a reminder that change, while potentially overwhelming, can also be beautiful.

Hsu has realised that she knows nothing, and has accepted this, embracing growth, learning and transformation. Hsu’s lyrics bleed self-awareness, sometimes harshly so, and she threads them delicately through a swirling, ethereal mist.

Sandy Hsu’s upcoming EP She Comes To Me In A Fever Dream is out via Healthy Tapes digitally and on limited cassette on September 26th.

releases September 26th, 2019

Written, Produced and Performed by Sandy Hsu

Brief Habits latest single “Teleport” is a cathartic unwinding of Distance, Time and Separation. Peppered with interplay between guitar lines, drawn out vocal hooks filled with imagery and drums that hit home – the song conveys an overwhelming sense of longing for something that is out of reach. At its core, Teleport collates an array of emotions that unravel the bittersweet complexities of distance while savouring the small moments between.
That bird on the wire must have so much to write home about. A drive through the morning to take away a night you could have done without
An Ikea skyline is bouncing back a brilliant sun. The coffee and kindness makes the distance between us not seem so long. But it’s only ever half enough. I could never get enough of your light. Just know that tomorrow there’ll be nothing to be sorry about. Reality’s coming through to cast these dreamers out. But there’s so much I want to say to you that the conversation never leads to. Like how I really need you. But it’s only ever half enough. I could never get enough of your light. That bird on the wire must have so much to write home about. A drive through the morning to take away a night you could have done with.
releases September 20th, 2019

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With only one week to go until Boy & Bear’s new album drops, the band has unveiled a new clip for title track “Suck On Light”. The new music video was captured on Super 8 film and takes fans behind the scenes of the sold-out Australian leg of the Hold Your Nerve Tour. After the most tumultuous period of their lives both personally and professionally, Boy & Bear are back with a triumphant new single, ‘Hold Your Nerve’, their first new music since 2015’s Gold-selling Limit of Love.

“The song is about hope,” frontman Dave Hosking said, after revealing in May he has been suffering from a debilitating illness since the release of Moonfire in 2011.

“The moment I personally started to feel like I was on the improve, the moment things started to look up. The choruses always felt like a celebration of life and I think that sentiment carries across the song as a whole.”

Band Members
Dave Hosking , Killian Gavin , Tim Hart , Jon Hart , Dave Symes

Suck On Light is out next Friday, September 27th.

Alex cameron miami memory

Alex Cameron’s newest and most musically expansive LP, the glistening Miami Memory”, takes a surprising turn. Cameron’s flair for narrative and character are still on full display; yet Miami Memory’s most frequent narrator is, for the first time, Cameron himself—singing with stunning candor of his three-year relationship with his girlfriend.

“When you listen to these songs, and you’re waiting for the twist, or the joke, or any kind of discomfort, I can assure you none of those things were there when I wrote them,” says Cameron. “These are true stories, of actual events. Specific but never esoteric. And graphic but never offensive. Miami Memory is the story of a couple balancing sex with contemporary family values…It’s my gift to my girlfriend, a symbol to hoist on the totem of love.”

Though remnants of his synth-driven earlier work sneak in to unsettle the tone, the bulk of Miami Memory, produced by Jonathan Rado (Weyes Blood, Father John Misty) and recorded and mixed by Marta Salogni (Björk, Kelela), revels in the emotional overdrive of classic dad rock, its warm, anthemic songs driven by bass, guitar, sax, and layers of Vegas wedding chapel-ish organ.

Cameron’s dad rock funhouse of an album ultimately twists and subverts the genre: it recalls classics the white male ego has historically visited for its regular adrenaline injection, and morphs them into a singular “stepdad” rock that largely turns its lens away from the dads, celebrating the demise of old norms of gender and power. In his depiction of his relationship, Cameron reveals a striking honesty about love and sex in a time where a palpable fleetingness hangs over everything from relationships to human life on this planet—but also where constricting mores have deteriorated enough to let “family life,” in all its morphing forms, exist outside of social obligation. With arresting straightforwardness, Cameron now sings as himself, paying tribute to sex, female empowerment, family and responsibility, and, to his love.

’Stranger’s Kiss (Duet With Angel Olsen)’ from ‘Forced Witness’ out Sept 8th on Secretly Canadian

The debut album from Melbourne, Australia quintet Possible Humans has been a long-time coming. Since forming in 2012, the band (comprised of Samuel Tapper, Leon Cranswick, and the three Hewitt brothers; Steven, Adam, and Mark) have self-released a “live improv” cassette & a two-song 7-inch on Sydney’s Strange Pursuits label while periodically teasing a forthcoming full-length and burning up live venues across Australia. Resulting album“Everybody Split” was announced to arrive on April Fool’s Day of 2019 on ex-Twerps drummer Alex MacFarlane’s (very excellent) Hobbies Galore label. Thankfully, it wasn’t a prank & the edition of 200 LPs sold out in a flash. Trouble In Mind is proud to re-release Everybody Split worldwide in a more substantial pressing in hopes of getting this amazing album into everyone’s ears. The album reminds me of why I fell in love with that 80s/90s alt rock sound. Melodies are on point, hooks are plentiful and the guitars are warm and nicely distorted. All is as should be. Early GBV and REM fans, this is your jam

All five members have shared songwriting duties on “Everybody Split”, & the album’s nine tracks jangle and clang with that urgent, nervous energy felt in some of the best DIY/underground rock from the past three decades, R.E.M., Guided By Voices, Feelies et al, but also absolutely of the NOW, swooning with a smoothed, amber patina of melancholy and longing (see opener “Lung of the City”, or “Nomenclature Airspace”).

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There’s a palpable crackle emanating from the tunes on Everybody Split, throwing sparks thru a myriad of interesting melodic/lyrical twists & turns, like the earworm riffage on “The Thumps”, that hotwire solo on “Aspiring To Be A Bloke” or the stutter stops / breakdown in the raging “Stinger”. Stick around for “Born Stoned”, the album’s undeniable highlight, packing its near-12 minutes with nods not only to the aforementioned R.E.M. & Feelies dark jangle, but also the smoke & velvet solos of Heyday-era Church or Blue Oyster Cult. Yes, it’s really that good. Everybody Split was recorded by MacFarlane himself & mastered by Oz-legend Mikey Young for maximum oomph.

released August 2nd, 2019

Possible Humans is: Leon Cranswick, Samuel Tapper, Steve Hewitt, Adam Hewitt and Mark Hewitt.

Taken from the Melbourne band’s debut album “Everybody Split”. released by Trouble In Mind Records on August 2nd, 2019

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Highly anticipated second album, one and a half years after their critically acclaimed debut LP. Featuring members of the now-defunct band The Drones. Recommend If You Like: King Gizzard and the Lizard Wizard, Nick Cave, The Slits, Protomartyr, The Drones, Gang of Four, IDLES.
“I’ve invented fake news as a genre of music,” Gareth Liddiard observes with a laugh. Heʼs talking about Maria 63, the closing track on Tropical Fuck Stormʼs sophomore LP “Braindrops”. The song takes aim at the once-marginalized alt-right conspiracy theories that now seem to be a driving force behind the rise of fascism in global politics. “It may be the most stupid song ever written,” Liddiard jokes. Heʼs wrong, Maria 63 is emblematic of Tropical Fuck Stormʼs keen ability to mine the extreme edge of pop cultureʼs periphery for potent musical and conceptual spice.

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Tropical Fuck Storm were formed around 2017 in the city of Melbourne, Victoria along Australiaʼs south-eastern coast. The band released their debut long-player A Laughing Death in Meatspace on Joyful Noise Recordings in 2018. Each of the bandʼs four members bring considerable experience to the group. Liddiard and Fiona Kitschin were part of the long-running and critically-acclaimed act The Drones, while Erica Dunn and Lauren Hammel have performed in a variety of well-received projects. Perhaps itʼs that wealth of rock and roll experience that allows Tropical Fuck Storm to so expertly deconstruct and distort the genreʼs norms. “Everything we do, we try to do it in a weird way. The whole album is full of weird beats, and just weird shit everywhere,” Liddiard explains. He cites Doc at the Radar Station-era Captain Beefheart as a key sonic touchstone, and Braindrops certainly shares the Captainʼs penchant for pounding abstract grooves.

It’s a amazing doozy, perhaps even more so than its predecessor — and keep in mind, this is coming from a band known for slinging tales of Soviet chess machines, shellfish-related conspiracy theories, and “antimatter animals.” Consider the tremulous guitar riff leading off album opener “Paradise” a facsimile for the record’s sun-poisoned strain of dadaist pop: an prolonged, paranoid sirens’ song peppered with references to Pokémon, Eugene Leary, global warming, and leg-humping dogs. Highlights include “The Happiest Guy Around,” a rowdy cut that, with its chattered vocals and ebullient energy, recalls a Beegees simulation gone awry; and the bristling title track, a sprightly, staccato race against the doomsday clock.

Tropical Fuck Storm have achieved a uniquely off-kilter sound on Braindrops.

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