Posts Tagged ‘Australia’

THE PAPER KITES poster image

The 80s influences have once again be ramped up on The Paper Kites 2018 album “On The Corner Where You Live”, but their folk roots are still there to be uncovered.

“Our hotel window in New York City looked straight into the apartment building across the street. You could see all these windows lighting up and people getting home from their nights out. We just sat there and watched them. It was fascinating. It was living art.”

Sam Bentley, frontman for The Paper Kites spoke of the moment the album’s concept clicked together. “It’s a collection of stories about these characters all living in an apartment building; I wanted to capture moments, feelings, it’s about people and their stories,” he says of On the Corner Where You Live (released September 21st via Nettwerk Records), the Australian band’s melancholic, mid-tempo companion to the recently released album, On the Train Ride Home.

Give them your tired, your lonely, your lovesick, your unsure, The Paper Kites have a song for each of them. “I created a world based on the idea of watching other people, but a lot of the songs are extensions of myself or people I know,” he says.

Such artistic insight has earned The Paper Kites (which also includes vocalist Christina Lacy, guitarist Dave Powys, drummer Josh Bentley and bassist Sam Rasmussen) a loyal, organic fan base. In the eight years since they formed, what’s followed is an impressive reach of their music, with steady international touring, nearly 47 million combined YouTube views and over 260 million streams on Spotify.

On the Corner Where You Live wafts evocatively with noir-ish saxophones, guitars, ambient traffic, even the languid sound of rain. Its levitating and bittersweet, heavy-hearted stories that are resoundingly universal.

Expanding on the group’s acclaimed second full length, 2015’s twelvefour, Sam says “I’m still very much drawn to the late nights and the sound of them: rich, honest, compassionate music.” The group originally planned to release On the Corner Where You Live and On the Train Ride Home as a double album, but decided to split them up due to the difference between the tracks – “We had these earnest, minimal, almost acoustic songs and these bigger songs you hear in On the Corner Where You Live. Like two sides of a coin, it’s the same feeling, just different expressions of them”.

The Paper Kites co-produced On the Corner Where You Live with Grammy-winner Peter Katis at his studio in Connecticut – a 120 year old victorian era home that the band lived and recorded in for 5 weeks.

On the Corner Where You Live’s opening instrumental “A Gathering on 57th” bridges the gap between the two records, the first thing you hear is the sound of the train running along the tracks and a street busker wailing into the night. The albums’ concept came to Sam while on tour – “It came from watching people really, being in unfamiliar cities, observing other people’s lives. I remember the band was staying in a hotel on 57th street in Manhattan and we’d come home from wherever we’d been. Our hotel window in New York City looked straight into the apartment building across the street. You could see all these windows lighting up and people getting home from their nights out. We just sat there and watched them. It was fascinating. It was living art.”

“Give Me Your Fire, Give Me Your Rain” takes over from where On The Train Ride Home left off. Josh Bentley’s punching drums making a statement that the record is a slightly different affair from the quiet solitude of the previous offering. A lush sonic tidal wave of midnight melancholy sets the tone of longing, loss and hope echoed through everything that follows.

The band recorded the Manhattan street noise from the window of their 57th street hotel, adding it to the lilting meditation “Midtown Waitress,” Sam tells the story of being alone in London bar years ago, where an elderly woman who turned out to be a pianist for the ballet scribbled down a melody on a piece of paper, gifting it to him, naming it “The Encounter.” During the recording session, Sam dug out that piece of paper, transforming it into a woozy, sax-based coda to “Midtown Waitress.”

“Music is so much more purposeful and devastating when it makes you feel exposed,” says Sam. Take “Deep Burn Blue,” a song about a girl who won’t leave her room. “It’s that feeling of being so inside your own thoughts that it’s debilitating.”(If that weren’t gutting enough, the song even references Nick Drake with the line, “You like the sound of a pink moon cry/Lying on the floor as the day goes by.”) Its foil is “When It Hurts You,” a harmonic lament about a man, locked-out of his apartment, making phone calls and yelling apologies from the street below. Says Sam; “You’re hoping the next morning things will smooth over, but you know it probably won’t.” Sam wrote 30 songs across three months. “It certainly consumed me. I was exhausted by the end of it,” he says, “I didn’t stop writing until Christina told me I had to stop.”

Christina Lacy takes lead vocals on “Mess We Made”, her first lead song since the bands debut album. Sam says “I remember we had planned to have her singing lead vocals on the last record (twelvefour) – but our producer at the time felt it sounded as if she was just singing my songs and wasn’t making them her own – so we decided that if she was singing on a record it had to be songs that she’d written and had an emotional connection to, and she did just that.”

Authenticity is important to Sam, who penned many of the lyrics for both albums while on the road, composing both albums in Melbourne. Amongst his many influences – film played a part. “I had films playing on the wall of my studio: ‘Lost In Translation,’ ‘Rear Window,’ ‘Lost Highway’,” he explains. In that vein, he wrote the piano-based track “Does It Ever Cross Your Mind” while working at a cinema.

Immersed in an aural diet of blues and jazz, “I was also listening to these ’50s mood albums like Jackie Gleason’s ‘Music to Make You Misty’ and Frank Sinatra’s ‘In The Wee Small Hours.’ I wanted to do a tribute to a mood album.” In a similar style to the covers of such albums, the artwork was painted by Los Angeles American Noir artist Gina Higgins, who also painted the cover for On The Train Ride Home and worked closely with the band on the concept.

While The Paper Kite’s songs explore longing and compulsions, Sam’s own obsession lies in breaking elusive sound-emotion barriers. “It’s a delicate responsibility to try and be sincere, but I think if there’s never a lack of feeling, it’s earnest to say the least”.

New Album ‘On The Corner Where You Live’ is available now

Band Members
Sam Bentley,
Christina Lacy,
Dave Powys,
Sam Rasmussen,
Josh Bentley,

Crushing   album artwork

Julia Jacklin followed up her strong and promising 2016 debut, Don’t Let The Kids Winwith something decidedly different: A chill, laidback indie rock trio album with some buddies under the name Phantastic Ferniture. The album was unfairly overlooked by most folks, but had a shaggy, loose vibe that, when paired with Jacklin’s songwriting wit and floating voice, made it impossible to ignore once you heard it.Jacklin’s solo again with “Crushing” her sophomore LP as a solo act, and neither of her previous albums could have prepared anyone for this: Crushing is an organs-on-the-table dissection of a breakup, absolutely harrowing and wrenching in its lyrical specificity and its openness. Crushing’s 10 songs examine the tumultuous waves present in each breakup. Separating in a relationship is not linear; it comes in wave after crushing wave. The anger gives way to sadness gives way to regret gives way to trying to forget them gives way to grim acceptance. Jacklin captures it all in Crushing.

Crushing opens with “Body,” a song recounting an apparently real fight with her boyfriend over him getting kicked off a flight for smoking in the bathroom, culminating in her wondering if he’ll use the nude photos he took of her to hurt her in the future. “I’m gonna leave you / I’m not a good woman when you’re around” Jacklin sings solemnly over the trace drumbeat and a strummed guitar, capturing so much with so little, the hallmark of Jacklin’s songwriting.

The album rolls like the cover of Unknown Pleasures through the feelings post-breakup, often accompanied by instrumentation that matches the ups and downs. “When the Family Flies In,” which ends with a pained ponderance over the music video she sent her ex the last time they talked, is all piano, and dulcet tones, while “Pressure to Party,” a song about wanting to force yourself out into society after the breakup, but taking the time before trying to love again soon, is upbeat, shredding and shouty. Crushing, as much as it is a breakup album, is also a showcase for how varied Jacklin’s songwriting has become in the last three years; she can do loosely tied indie rock and piano ballads and acoustic campfire songs and gruff tell offs effortlessly in a row here.

Crushing’s arc is one of reclamation; through these songs, Jacklin is able to regain some control over her body, how she wants to be loved, and her own headspace.

The album closes with a personal affirmation and a confirmation that she’s ready to let go. “I’ll be OK / I’ll be alright / I’ll get well soon / sleep through the night / don’t know how you’re doing, but that’s what I get / I can’t be the one to hold you, when I was the one who left,” she sings quietly over a Chemtrail guitar line. Crushing might be the story of Jacklin’s personal breakup, but it’s also her most universal record; it’s a salve for when you’re in the pit of a breakup and eventually you’ll get a hold of yourself, try the restaurant your ex always wanted to go to, say “fuck them,” and move on.

Produced by Burke Reid (Courtney Barnett, Liam Finn) and recorded at The Grove Studios, Crushing sets Jacklin’s understated defiance against a raw yet luminous sonic backdrop. New album ‘Crushing’ will be out February 22nd

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Methyl Ethel will release their third album “Triage” on Friday 15th February 2019.

The album was written, produced and performed by lead singer Jake Webb, recorded in Jake’s home studio in West Perth and mixed at Mute Studio in London with Marta Salogni.

With his thirtieth birthday, and the ceremonial cap on three records and three EP’s, Webb felt a sense of closure in the making of Triage. Methyl Ethel has always been a surrealist outfit – a dark and obscured expression of life set to the backdrop of dream pop hooks. But Triage is a more reflective album – one that explores the notion of coming of age, only to reference it for the snapshots and passing memories that it has become.

Methyl Ethel is the musical project of Jake Webb. As a live band it expands to a five piece and includes Thom Stewart, Chris Wright, Lyndon Blue and Jacob Diamond. 


Methyl Ethel has enjoyed phenomenal successes over the last years. ‘Ubu’ became an ARIA Accredited Gold single earlier this year off the back of landing at #4 in triple j’s 2017 Hottest 100. The band have clocked up over 25 million Spotify streams alone and all of their tour dates in Australia and the UK since 2016 have sold out.

released February 15th, 2019

All songs written and recorded by Jake Webb 

All instruments played by Jake Webb 

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Flightless Records family members The Murlocs have returned with their first slice of new music since 2017. Presenting you Comfort Zone; four minutes of pure madness!

Five fellas with roots firmly placed in their own blown-out, distorted demented dance party brand of soulful RnB. Formed in the end of November 2010 and originally from the coastal town of Ocean Grove the group has since gone on to play such music festivals as Meredith, Queenscliffe, Boogie and Falls. As well as supporting such acts as Gary Clarke Junior, Mac Demarco, Ty Segall, Thee Oh Sees, The Pixies, Earthless, Stephen Malkmus and The Jicks, Wavves and King Gizzard and the Lizard Wizard.

Band Members
Cal Shortal,
Ambrose Kenny Smith,
Matt Blach,
Cook Craig,
Tim Karmouche,

Melbourne garage-rock quintet The Murlocs are back with new track and video “Noble Soldier”, which comes via Australian indie label Flightless Records. The group are mostly comprised of members from fellow Australian psychedelic rockers King Gizzard And The Lizard Wizard, meaning they’re pretty much two for two with regard to brilliantly ludicrous band names.

“Noble Soldier” garage-guitar amble recalls Shannon And The Clams or even some of the more restrained Reigning Sound stuff, while the brisk crackle of Ambrose Kenny Smith’s vocals allow the track to maintain its casual saunter.

The track also comes with an accompanying video, which features a deeply surreal take on fitness and plastic surgery.

King Gizzard & The Lizard Wizard return with their first new music since 2017. Cyboogie b/w Acarine is a limited-edition 7” featuring two brand new songs from Australia’s freewheeling seven-piece band.  “Cyboogie” is a step in a new direction for Gizz with five of the seven members playing synth on the track and not a guitar in sight. It’s an incredibly fun, upbeat disco boogie track reminiscent of Stevie Wonder, Devo, Trans era Neil Young and everything that is good.

Cyboogie comes complete with a regulation Jason Galea video, which sees the band cast as a bunch of identikit analogue droogs.


Australian quartet The Jungle Giants will be bringing sizzling hot indie rock anthems to Liverpool Sound City this summer 2019! Creators of music that ‘makes you want to dance, but also clench your fists,’ singles such as ‘Used to Be in Love’ and ‘Feel the Way I Do’ have been racking up millions of streams in their homeland. With 3 albums to boast and a number of sellout tours under their belts, it is only a matter of time before The Jungle Giants make a name for themselves on this hemisphere. check out the album “Quiet Ferocity”:

Listen to The Jungle Giants third studio album Quiet Ferocity and one thing becomes clear: they’ve found their sound. The band – featuring Sam Hales on vocals/guitar, Cesira Aitken on lead guitar, Andrew Dooris on Bass Guitar/Backing Vocals and Keelan Bijker on drums/trombone – met in Brisbane at Mansfield State High, and since their first performance in 2011, they’ve released two EPs (The Jungle Giants, 2011 and She’s a Riot, 2012) and two studio albums (Learn to Exist, 2013 and Speakerzoid, 2015).

Quiet Ferocity combines the signature melodic arrangements of their first album with the percussion-laden production of their second and catapults them into asonic stratosphere that is entirely their own sound.
“After Speakerzoid I didn’t write for a while,” Sam says. “I needed to figure out what I wanted to do. I had to get out of my head. Then one day I was in the pool. It came to me, and I made this conscious decision. I told the band I wanted to make banging indie rock. I wanted to make a strong record that I would be happy to play live.” 

Band Members
Sam Hales – Vocals/Guitar
Cesira Aitken – Lead Guitar
Andrew Dooris – Bass Guitar/Backing Vocals
Keelan Bijker – Drums

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After the colourful detour of Deep Heat (2012), Oh Mercy’s ARIA-winning singer Alexander Gow relocated to the USA, where things didn’t go necessarily as planned. Recorded across three cities, “When We Talk About Love” is rife with homesickness, lovesickness and nods to Gow’s heroes – from Raymond Carver, to Burt Bacharach, the Triffids to the Go-Betweens. Opener “Without You” is expansive and evocative, with sweeping string arrangements and the kind of honest vocal delivery that pours out like an open wound. “I’m always thinking of you with some other guy,” he deadpans. Songs like “I Don’t Really Want To Know” and “Sandy” pull off that great songwriter’s trick of pairing a melancholic lyric with an optimistic melody, but it all comes to a head on Lady Eucalyptus, a lush finger-picked take on Ovid’s Metamorphoses. “My cards are all dealt and done,” he sings like a man who’s burned everything to the ground just to start again.

After the swaggering glam of the Portland-recorded ‘Deep Heat’, Alex Gow holed up in the NSW coast with producer Scott Horscroft to craft a breakup record for the ages. Largely eschewing the characters he filtered his emotional point of view through on the last record, Alex (playing almost every instrument here) marries a lyrical vocabulary tied to the mature pop of the sixties and early 70s (Bacharach/David, Carole King) with a timeless sonic approach that gives his tender melodies room to breath. The vividness of ‘Lady Ecalyptus’ and ‘I Don’t Really Wanna Know’ is devastating, but the album is never a depressing or unpleasant listen, just a collection of great pop tunes.

Is this stretching the word “rising” too far? Purple Skies, Toxic River was pretty much the best album from 2013, and there’s been nary a peep since from Canberra’s TV Colours since, a one-man project from Bobby Kill. The band did release some new t-shirts in 2018, with a note promising more music soon—that Facebook post is almost a year old at this point. That first LP was criminally underheard in the States, though, even with a domestic release on Comedy Minus One, and so it’d be negligent of us to leave them off a list like this. On Purple Skies TV Colours delivers a pop-punk album in the best possible meaning of the term, a modern day successor to the terminally catchy disquiet of bands like the Buzzcocks and the Mice, but recorded on what sounds like a four-track from the early ‘90s.

Bobby Kill squeezes more warmth and color than you can imagine out of that lo-fi set-up, brightening up the programmed drums and classic riffs tightly coiled together on every song. Look, it’s true: “Beverly” is a song that should be on every “best of ” list, and blasting out of every bored, anxious, unsettled kid’s window every summer night for the rest of existence. And hey, it’s from Australia, so good job, island continent.

Body Type

This effortlessly cool Sydney quartet offer everything we want from indie-rock in 2019: lush guitar melodies, a willingness to mix things up, and a readiness to sing about feelings with feeling. Last year, they released their anticipated debut EP:

Band Members
Sophie Mccomish (guitar + vox) // Annabel Blackman (guitar + vox) // Georgia Wilkinson-derums (bass + vox) // Cecil Coleman (drums)