Posts Tagged ‘Australia’

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Cable Ties are frenetic lead lines tethered to a hypnotic rhythm section. They take the 3 minute punk burner and stretch it past breaking point. Suddenly the garage rock gives way as primitive boogie, kraut and post-punk take things way out to the horizon. Formed in Melbourne in mid 2015, CABLE TIESJenny McKechnie (vocals/guitar), Nick Brown (bass), Shauna Boyle (drums) – have developed a dedicated, cult-like following with just two self-released 7″ singles in their arsenal. A testament to their scorching live show, Who The Hell says this three-piece “could confidently pick you up within the first few bars of a song and hurl you across the room,” with Raven Sings the Blues noting that they’re “tearing into an X-Ray Spex brand of post-punk that’s packed with gnashed teeth and crushed gravel.

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Mid 2016 Cable Ties stepped into an icy warehouse in the dead of winter with Paul Maybury (The Pink Tiles, Rocket Science) to record the eight tracks that would eventually form their debut album. The record captures CABLE TIES in lockstep at the end of their first year of gigging – stretching their songs past breaking point, searching for that joyous rush. McKechnie’s captivating vocals tackle creeps, capitalist propaganda and music industry “tastemakers”. The result is 44 minutes of tense, smouldering punk rock that sits you down, shuts you up, and forces you to listen. Welding punk ferocity to the endless chug of kraut and boogie to produce a formidable rock ‘n’ roll trio.

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Today we give a big warm welcome to Melbourne’s HEXDEBT! Ahead of their forthcoming album, we’re releasing their new single ‘Covenant’ - premiering tonight on PBS 'Mixing Up The Medicine’ and offically out world-wide this Friday. Don’t miss them at...

Today we give a big warm welcome to Melbourne’s Hexdebt Ahead of their forthcoming album, Poison City Records are releasing their new single ‘Covenant’ – premiering tonight on PBS ‘Mixing Up The Medicine’ and offically out world-wide this Friday. Don’t miss them at HEXFEST/ Gasometer Hotel on November 5th and GIZZFEST – December 1st at Melbourne Showgrounds. Hexdebt are one of the most ferocious and engaging Australian bands right now. We’re delighted to be working with them!

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Agnes Whalan on vocals and guitar, Isobel D’cruz Barnes on bass and backing vocals, Aife Larkin on guitar and Lucy Fry ondrums.

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Crushing is exactly that: crushing. It’s an understatement to call Australian indie rocker Julia Jacklin’s 2016 debut Don’t Let the Kids Win impossibly impressive. But she still managed to deliver on exceed, even — the mountain of promised potential with her follow-up. Harnessing her uncanny penchant for the spacious, the haunting, the chilling, Jacklin spins fragility and crushing tenderness into the pointed emotional nuance and strength we all desperately long for.

Second single from my new album ‘Crushing’ which is out February 22nd

Courtney Barnett started Milk! Records in 2012 to release her first EP I’ve Got A Friend Called Emily Ferris. Soon aftercame the second EP How To Carve A Carrot Into A Rose. She took her band overseas with a condensed back catalogue called The Double EP: A Sea Of Split Peas. In 2015 Barnett released album Sometimes I Sit And Think, And Sometimes I Just Sit to worldwide critical acclaim. 

“Small Talk,” is an outtake from Courtney Barnett’s 2018 album Tell Me How You Really Feel sounds a lot like most songs on the LP: an expansive, vamp-based affair with sunny choruses. Barnett’s hook-writing has only gotten sharper as time goes on. Where her early work would have been satisfied to let the interlocking organ/bass line groove ride for the entire runtime, here she injects an immediately felt, warmly rendered chorus of group singalongs. Her lyrics are, as always, sharp as a tack.

She takes the title seriously, regaling us with the shaggiest of shaggy-dog stories about whatever seems to float into her mind. “I’ve got a brother, Blake / he’s four years older than me / and I guess he always will be,” she sings, somehow managing to be both hilarious and weirdly philosophical. If she never got into business as a musician, Barnett could roundly kick all of our asses at this writing thing.

‘Charity’ is taken from Courtney Barnett’s album ‘Tell Me How You Really Feel’

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Released May 18th, 2018

Courtney Barnett – Guitar, Vocals
Bones Sloane – Bass, Backing Vocals
Dave Mudie – Drums, Percussion
Dan Luscombe – Keys, Organ, Guitar, Backing Vocals
Kim Deal – Backing Vocals (Tracks 5 and 7), Guitar (Track 7)
Kelley Deal – Backing Vocals (Track 7)

All songs written by Courtney Barnett

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Methyl Ethel share ‘Scream Whole’; the first new music from the Perth act since their second record Everything Is Forgotten was released in March 2017.

Premiered yesterday on Australia radio station triple j’s Drive with Veronica & Lewis show, ‘Scream Whole’ is a nimble art-rock cut which Jake Webb describes as, “That cold sweat.  That swollen throat.  That sick feeling bubbling up from your guts.  When midday moves dredge suppressed memories that scream for closure.  What to do?”

The video was premiered via Consequence Of Sound – ““What’s the point/ Undo, undo again,” Webb wails against crystalline synths that electrify the senses and, upon disappearing, conjure a sense of chilly, awestruck isolation. Each word feels careful and deliberate, emerging with a concentrated effort from Webb’s mouth, which, fittingly, serves as the centerpiece of “Scream Whole‘s accompanying video. By the time the song descends into its woozy, drunken bridge, it’s stained in dirt and restrained with rope.”

Methyl Ethel is the musical project of Jake Webb with a five-piece live band that includes Thom Stewart, Chris Wright, Lyndon Blue and Jacob Diamond.  Methyl Ethel has enjoyed phenomenal success in its native Australia in recent years.  ‘Ubu’  along with fellow Everything Is Forgotten single ‘Drink Wine’.  Methyl Ethel also won in the Best Album and Best Pop Act categories in 2017

‘Scream Whole’ is the new single from Methyl Ethel. Out now on 4AD Records:

“Pastel Blues” is the new single – the band’s Cameron Wade says “it’s the least serious thing we’ve written in years. It’s a playful exploration of the phrase on repeat in the chorus, “wondering how it feels bad to be good all the time”. It’s a really dumb set of words, but a funny thing to think about in depth. So we’re exploring that with this kind of wandering commentary, reconfirming that life would be super bland if we only ever did what we were told we should. I think you can almost feel the music taking a few steps back and lazily fall into line with the idea.”

I just love the spirit and the pace of this poppy groover. C’mon let’s all go out, swing in the streets and save this troubled world, at least today…The Attics claim it’s the least serious thing they have written in years and the whole song focuses around the phrase “wonder how it feels bad to be good all the time” and is an exploration of those words. ‘Pastel Blues’ is wrapped up in a nice little package, measuring three minutes and ten seconds long, containing catchy lyrics, cool guitar sounds and a heavier break-down towards the end.

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Written and performed by The Attics

Parcels press shot by Antoine Henault

Berlin-based band Parcels today announce their self-titled debut album will be released on October 12th via Kitsuné/Because Music. The quintet have also shared their new single and video for Lightenup, was written in Berlin, the band’s home of choice. Originally from Australia, Louie Swain (synths), Patrick Hetherington (synths), Noah Hill (bass), Anataole Serret (percussion) and Jules Crommelin (guitar) moved to the German capital 3 years ago and have since gained an international fan base. After Daft Punk discovered them in 2016, they took the boys to the studio to collaborate on their single Overnight.

Like their previous releases, “Lightenup” lives and breathes the funky sound of disco music.

After two 7-inch singles and a demo cassette (recently pressed to wax), Melbourne quintet The Shifters finally unveil their first full-length album “Have a Cunning Plan”.

Recorded at Al Montfort (of Total Control/Terry)’s home studio, “Have A Cunning Plan” ups the fidelity a bit, tempering the up-front crunch of their previous demo/LP. The sonic space suits the band, allowing the unpretentious complexity of the songs & lyrics to generate the “oomph” rather than bludgeoning the listener with treble and feedback.

The album showcases ten new tracks by the band at their best; scrappy, self-destructive, stumbling and brilliant pop music that seems tossed off or nonchalant on the surface but is rife with rewards upon further listening. Early album bangers like “Molasses” and the first single “Work/Life, Gym Etc” are instant earworms, (as are “Straight Lines” & “Pyramid Scheme”, the latter reworked from a recent 7-inch) but it’s the simple-yet-sophisticated songcraft of tunes like “How Long?” or the languid strum of “Andrew Bolt” that are heavy on mood and are vehicles for vocalist/guitarist Miles Jansen’s erudite lyrics that simultaneously celebrate and decry the banality of life, while also tackling larger issues of colonialism conservatism’s effects on society at large.

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Released July 2nd, 2018

Miles Jansen – vocals, guitar, melodica
Tristan Davies – bass, guitar, melodica
Louise Russell – keyboards, vocals
Ryan Coffey – drums, vocals
Chris Gray – guitar bass

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The Dandelion weave an old kind of magic. A mix of musical spells not unlike those woven in the 1960’s.

With a sound like seeds turning into flowers
They bring gifts for the Goddess of magical powers

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This song is from the album “ Old Habits New Ways of The Dandelion”

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Written recorded and performed by Natalie de Silver in 2018

These guys seem to be getting everywhere these days and they totally deserve it. This album has many strong points and things that set itself apart from others in their genre. Having burst onto the scene in their homeland, releasing their first two LPs to widespread national acclaim, alongside supports with Royal Blood, Dune Rats and Black Mountain, the band have developed a staunch grassroots following with their captivating blend of psychedelia. The albums are fuzzy, heavy and echoes in your cranium with every beat. An epic detour of neon flavoured noise grows to entangle your dissolving brain. Savagely mutant energies bubble through the air. Your body is out of reach, turning itself into a sponge as your mind floats towards another dimension.

I had trouble writing this review because I was too wrapped up in listening to this album on repeat. Absolutely fantastic!

The quartet have delivered an entrancing video for Cornflake, discussing their ideas in detail: “Existence is a strange concept so we wanted to create an animation that explores the idea of how weird life is. Even after all the soul-searching, religious preaching and spiritual journeys there is not one answer to anything”. “The video salutes to the song perfectly, venting more energy, colour and strangeness that leaves most people perplexed. It’s sometimes hard to grasp we’re one of a billion grains of rice in a huge sushi roll; the video reinstates that awareness, so stop worrying and do something you care about before the aliens invade”.

Psychedelic Porn Crumpets is Jack McEwan (lead vocals, guitar), Luke Parish (guitar), Danny Caddy (drums), Luke Reynolds (bass).

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High Visceral {Part 2} also contains some interesting new ventures in rhythm and melody. The rhythm interaction between the percussion and guitars in “Move” are pleasant to the ears. “Move” also contains a riff-reference to previous track “Gurzle”, a nice touch for the progressiveness of the album that makes it all feel a little more intertwined.

There are also some really interesting influences apparent on the album that come as a pleasant surprise.“Coffee”, a smooth relaxing track that goes down well with your morning cuppa, oozes with influence from Unknown Mortal Orchestra. The last half of the track also contains some incredibly colourful synthesizers that reminded me of those found on Tame Impala’s Lonerism. The closing track, “November”, also warmly reminded me of riffs played by the likes of Stevie Ray Vaughan and Jimi Hendrix.

“Dependant on Mary” has a poppy riff that will be getting plays at house parties across Australia. The second act of the track breaks down into a slower descent into the cosmos, but before you doze off into space the track crawls back up to pace with your head banging again.

Psychedelic Porn Crumpets describe themselves on their Unearthed page as “Space Fuzz”. That description applies more than ever to High Visceral {Part 2}. Some tracks will have you feeling as if you are indeed floating through space. “Coffee”, as I mentioned before, and more-so in It’s Not Safe to Leave this House.

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Psychedelic Porn Crumpets songs are filled with long, hypnotising riffs that lock you in with your jaw drooling as if something just hit your serotonin receptors”. I still strongly stand by that statement, and having those tunes refined in the studio with extra polish is an excellent final touch.

Released April 14th, 2018

Recorded & Produced by Psychedelic Porn Crumpets 
Drums Recorded by Dave Parkin at Blackbird Studios

Artwork by Zouassi

Ben Caddy – Violins/Viola
(All String Compositions)
Jon Tooby – Cello
(First Light Move, Coffee, Mary
Safe House, November)
Jamie Canny – Saxophone (Gurzle)
Zoe Gol – Vocals (Move)
Chris Young – Piano/Synth
(Dependant on Mary)