Posts Tagged ‘Australia’

Skegss Vinyl Giveaway

Hailed by Rolling Stone as “one of the most intoxicating acts to come out of Australia in years,” Byron Bay power trio Skegss deliver their new Catherine Marks (Manchester Orchestra, PJ Harvey, The Killers) produced album “Rehearsal”. A thrill ride through the band’s laissez-faire lifestyle and sun kissed narratives of love, friendship and youthful musings, they combine surf, garage, and slacker elements to create their dynamic sound here. The trippy cover art comes courtesy of frequent collaborator Jack Irvine

Released today, the highly-anticipated album from the Byron Bay rockers offers up 13 tracks of garage rock goodness.

Described as a “thrill ride through the band’s laissez-faire lifestyle and sunkissed narratives of love, friendship and youthful musings,” the second full-length record from Skegss sees the trio create a collection of tracks that “push the band’s ethos of rolling with the punches and making it out on top.”

Now that the album is finally out in the world, we thought we would celebrate it with everyone by running a very special Skegss giveaway!

Thanks to Loma Vista Recordings and Caroline Australia

New album “Rehearsal” Under exclusive license to Loma Vista Recordings. Distributed by Concord.

Khan from Melbourne, Australia meld hazy psychedelia and heavy stoner riffs with progressive rhythms and song structures. The songs are lyrically evocative, exuding a sense of despondency and vocally shift from gentle crooning to impassioned wailing. Mitchell Kerr’s driving bass mixed with Josh Bill’s chilling vocals and Beau Heffernan’s delicate drumming confirm 70’s prog still lives on fuzzed up and tripped out. The group does a fantastic job building up to impacts that feel as though they bring clarity but only for a moment before slipping back into misty noise. Defiantly a Table worth Turning

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Seriously intoxicating. So Dreamy Blend of Fuzz and Bluesy riffs that causes life-threatening Euphoria.

Released April 2nd, 2018

Josh Bills – Vocals/Guitar/Synth/Keys
Mitchell Kerr – Bass
Beau Heffernan – Drums

Recorded, produced, mixed and mastered by Josh Bills at Vagabond Studios

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From their first, self-titled EP in 2017, to debut album Lost Friends, the Sydney band has always had a knack for wrapping their listeners up in warmth and instant comfort. On their folow up album, “Today We’re The Greatest”, Middle Kids keep up that spirit of optimism. Yet in the song writing and delivery of its 12 tracks, “Today We’re The Greatest” feels more grown up. 

There’s no denying that Middle Kids are very good at what they do. They’re pros – consummate songwriters and performers. But what happens when the impressionable indie kids grow up? When life takes hold and points them in different directions, how does that affect the musical output?. For Middle Kids, it’s made for an album that reflects not just the change in their band and their personal lives, but also a realisation that your relationship with music can change over time.

“I want to make music that loves its listener,” songwriter Hannah Joy says. “Music that makes people feel seen, seen in the tiny little places that hide away in their hearts. I want people to hear our music, and feel a sense of love. And when I say love, it can be challenging, intense and tough. But it’s in the guts.” It’s an interesting way to describe music’s effects. When that unique connection is struck, a moving piece of music can make you cry, get you through, rile you up, make you intensely happy.

The way Today We’re The Greatest deploys Middle Kids’ sentimentality and romanticism stands out as one of its biggest drawcards. The front end of the album is stacked with moods. The slow burn of album opener ‘Bad Neighbours’ with its stream of consciousness storytelling. The shimmering nature of ‘Cellophane (Brain)’ that punches things into bright indie rock territory. 

Songs like ‘R U 4 Me?’ and ‘Questions’, which revel in the type of emotional upswings that could easily put them on an Arcade Fire record. 

Although all of the above are different in their energy and impact, the boldness that Middle Kids have applied to their production and creation – that we see throughout the rest of the album – shows how they themselves have changed in between albums. Notably, Hannah and bandmate/husband Tim Fitz were preparing to become first-time parents while making the album.

Recorded at the end of 2019, Today We’re The Greatest would be in mixing and post-production for much of 2020. It proved to be a shift of pace for Middle Kids who, before this point, had been living life largely on tour. Now, settled in Sydney with a new life about to come into the world, the band was given the opportunity to look at the way they made music differently. For the first time in a long time, they had the opportunity to breathe.

“We use the word ‘beauty’ in terms of shaping it,” Hannah said, reflecting on the recording process. “I think because we were trying to create more beautiful moments, there’s been a different emphasis [compared to] some of our older stuff. I think there’s beauty in there, but I think it’s been more edgy, empowering…those classic indie pop sounds. This has been about trying to sit in the space a little bit more and seeing what happens.”

Middle Kids’ forthcoming album ‘Today We’re The Greatest,’ out March 19th, 2021.

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Maple Glider’s aka Tori Zietsch striking emotionality is at the centre of her performances, leaning into an intimacy that is achieved by way of deeply personal reflections and velvety melodic compositions. Her vocals melt into layers of plucked acoustic guitar and lulling piano, drawing on the sombre styles of folk contemporaries with a stark tenderness and introspection that assumes the listener is inside her bedroom as she plays for herself. After experiencing falling in and out of love, traveling extensively, writing non-stop, and basking in the lengthy European summer hours, Tori returned to Melbourne late 2019 with a soundcloud account full to capacity of demos. Maple Glider was officially set to take flight.

Tori enlisted Tom Iansek (Big Scary, #1 Dads, The Paper Kites, Lisa Mitchell, Hockey Dad, ) to produce and record some of the many, many songs she was ready to get down. During the shared time spent at our studio BellBird, the wider team (Jo & Tom F. lol) got to fully appreciate the wonderful artistry and beauty of Maple Glider, and welcomed her to the family.
To date Maple Glider has released two gorgeous singles – “As Tradition” and “Good Thing”.

 Both songs’ music videos were made with creative collaborator and housemate Bridgette Winten, in the 5km radius around their Brunswick home (a limit due to COVID lockdown measures). Working with colour and contrast, and shot on Super 8, Maple Glider plays off her surroundings, whether it’s lush creek-beds, neighbourhood rose gardens, or a party for One at home.

We’re also very happy to announce we’ve teamed up with the very passionate Partisan Records (Laura Marling / Fela Kuti / Cigarettes After Sex / John Grant) to release Tori’s music all over the world!

Great songwriting, wonderful arranging and a great voice. electric first moment when you hear a song for the first time that sounds like a classic that’s been part of your soundtrack for years but you know you haven’t it’s just perfectly constructed. a restorative for the soul.

One of those special occasions when a new song becomes an instant classic in the blink of an eye – Triple J Unearthed

Beautiful and devastating… ‘Good Thing’ is a gorgeous indie folk number and a perfect example of that uninhibited, vulnerable quality. – American Songwriter

A series of hairs-on-the-back-of-your-arm moments – For The Rabbits

 ‘Good Thing’ is a delicate ballad, but with all the emotional resonance of a greek tragedy – The Rodeo

Channelling a rich and supple aesthetic throughout, her bold yet tortured voice reigns supreme on this light and airy composition – Mystic Sons

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Middle Kids from Sydney, Australia, will release sophomore album “Today We’re The Greatest” on March 19th via Domino Records. Today the Australian-based trio have released another single from the album with “Stacking Chairs,” which follows previously released singles such as “Questions.”

The band has found this sweet spot between chugging anthemic rock and an undeniable power-pop sound that combines to such a winning degree. The band toes the line between the two sounds so well. ‘Today We’re The Greatest’ is the second studio album from Australian indie-rock trio Middle Kids. Inspired by the marriage and parenthood of two of the band’s members – singer Hannah Joy and instrumentalist Tim Fitz – there’s an exuberance and openness here that was absent on 2018 debut ‘Lost Friends’.

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Written by Hannah Cameron and Timothy Fitzmaurice

Released October 15th, 2020

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Maple Glider is the project of Lismore-born, Melbourne-based songwriter Tori Zietsch, a brand new face on the scene. She’s also a brand new signing to Pieater, the Melbourne record label home to Big Scary, #1 Dads, Airling, and more. 

Zietsch originally rubbed shoulders with the label during their Pie School initiative, where she entered a winning demo and ended up recording a track with label head Tom Iansek and the crew. The single unfortunately never saw the light of day – it was recorded under a two-piece band Zietsch was in at the time which has since folded. The music I create as Maple Glider exists because I write to make sense of my experience, to learn, and because to me, it has always felt like my easiest form of communication. However, it wasn’t to be the end of her story. In 2019 Lansek was enlisted once again to produce and record a series of songs Zietsch had written for her solo project, Maple Glider. “As Tradition” was the first song to be released from that collection of tunes, and you can see why the label wanted to sign her.

My songs centre around the lyrics, exploring intimate themes that are often cathartic to write. I don’t have rules when I make music. I play around, express freely, let go of my expectations, have fun, and stay open

Many of you will know I started working with Pieater last year and it has been the best ever. More recently, I have signed to the incredible Partisan Records to release these songs worldwide. I am so grateful to be working with such a hard working and passionate group of people!!! I want to say a massive Thank You to everyone who has worked on the release of “Good Thing” and supported it thus far. It is a song very close to my heart and I’m damn lucky to be able to do this.

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Fans of shoegaze have long been praising the miraculous music of Australian four-piece Flyying Colours. Ever since the release of debut album Mindfulness in 2016, they have shot into the worldwide consciousness and developed a cult following. Now, with the release of second LP “Fantasy Country”, that underground audience is bursting at the seams and looks likely to break the band right into mainstream popularity.

Released through acclaimed indie label AC30, “Fantasy Country” is a delightfully playful revamp of 90’s psyche and alternative rock which recalls the best of the past whilst being energetic and innovative enough to always feel fresh, vital and new over the eight tracks.

“This album was supposed to now be 6-12 months old. We take touring and supporting our music live pretty seriously so it would have been very difficult for us to put out this album during the early stages of the pandemic. We are very lucky to be in Australia right now where shows are starting up again, and we of course hope to be touring internationally again soon”.

Flyying Colours have announced headline dates to promote their new material. Don’t miss them playing spectacular shows at The Chameleon in Nottingham, The Prince Albert at Brighton and The Lexington in London.

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The Sydney-based three-piece Middle Kids release their second album, “Today We’re The Greatest” . Recorded and produced in Los Angeles by Lars Stalfors (St. Vincent, Soccer Mummy, Purity Ring), the follow-up to the band’s award-winning 2018 debut, Lost Friends, is their most personal and courageous effort to date. Moving away from lyrics of a more conceptual nature,Today We’re The Greatest is the open, uninhibited product of fearless collaboration. Showing a real vulnerability, Joy is pulling directly from her own experiences and breaking down barriers she had previously set for herself.

The album includes “nervy Strokes-esque floorfiller” (The Guardian) “R U 4 Me?” and their monumental new single, “Questions”, a charged three-minute odyssey which sees Joy struggle poetically with concepts of honesty and intimacy over an explosive rhythm section and a stunningly orchestrated brass-filled climax.

Here is our new song ‘Cellophane (brain)’. sometimes i picture my noisy brain as a crinkly bit of coloured cellophane. not sure what jung would say about that but i think it just means i don’t have a good grip on human anatomy.

Other tracks like “Run With You”, were written when Joy was a few months into pregnancy with her and Tim Fitz, her husband and bandmate’s, first child. They recorded her 20-week sonogram, and wove the gentle, rapid thump of their baby boy’s beating heart into the last 20 seconds of the track -an exuberant declaration of devotion. Joy’s journey to motherhood and her marriage with Fitz has imbued her songs with a vibrancy that’s unabashedly romantic yet free of clichés. There’s also “Stacking Chairs,” with its unique allegories and Joy’s sunny vocals, that strikes this delicate balance beautifully: it’s a testament to her deep connection with Fitz and the new, “infinitesimal” love that transformed their lives with their son’s arrival.

“Cellophane (Brain),” the new single from Middle Kids’ forthcoming album ‘Today We’re The Greatest,’ out March 19th, 2021. Domino Recording Co Ltd

Mere Women Sydney post punk new album Romantic Notions Amy Wilson

Romantic Notions’, the fourth album from Sydney post-punks Mere Women, confronts its listeners with a question about the nature of “romance” itself. We tend to think of romance, broadly speaking, in its simplest and most wholesome terms – a rose-tinted equivalence with love and fulfilment. But what of the word’s more sinister connotations? That is, the romanticising? If romantic notions are ultimately just that, how do we come to terms with the way they shape how we move through the world?

That tension forms much of the new record’s conceptual background. ‘Romantic Notions’ is not an easy listen, as it focuses on the coercion, obsessive love and controlling behaviour faced by women throughout time, and interrogates the way idealism can become a coping mechanism in otherwise fraught circumstances.“That term ‘romantic notions’, for me, it’s really double-edged,” explains singer and keyboardist Amy Wilson. “It’s really beautiful, and it sounds so lovely, but it’s also quite a naive state to be in, I think. It can be quite disempowering to live in a dream world of romantic notions.”

Wilson’s song writing is direct, economical, and plays a lot with repetition and motif. It’s a style well-suited to an album like this one, where lyrics are presented as intimate internal monologue. On album track ‘As You Please’, against a wave of discordant guitars and frenetic rhythms, she repeatedly sings, “Take what you want as you please / I’ll wear my heart on my sleeve”, a crescendo that epitomises the desperation, yearning and quiet hope that underpins ‘Romantic Notions’.

Women’s lived experiences have long informed Wilson’s song writing. They were particularly influential on Mere Women’s previous album, 2017’s ‘Big Skies’, written largely while Wilson was living in regional NSW. Exploring the expectations placed on women of her grandmother’s generation, along with the experiences of women in remote communities, the record juxtaposed its spacious textures with lyrics about being penned in and held back by tradition. ‘Romantic Notions’ – which is out this Friday – continues to examine those themes, with Wilson drawing heavily on her generational family history.

“This record was kind of brought about by my family, and particularly my grandmother, who recently gave me a whole stack of her mother’s diaries. And they’re amazing to read – how intensely she felt about everything, and how she was held back and mistreated by people around her, but she still held onto these really romantic ideals about how her life should be and would be.”

Given its subject matter, Wilson says it’s the most personally connected she’s felt to a Mere Women album, the closest to home she’s ever written. NME asks what it was like delving into such personal content, and about the kind of responsibility that comes with communicating stories like the ones Wilson does on ‘Romantic Notions’.

“I get obsessed with certain things, and it goes over and over and over in my mind,” Wilson says. She pauses.“It’s really complex, because I look at people in my family, especially women of older generations – I see all the things that they struggled with, how hard it’s been for them to find their identity, to find their way in the world independently of whoever their partners were. For me, I feel so lucky. There’s still challenges, of course, but these stories have affected how I’ve turned out as well. I feel so honoured and privileged that they’ve been able to share those stories with me, and I just want to be able to pass them on.”

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‘Romantic Notions’ is Mere Women’s most accessible and cohesive record, the culmination of the 11 years spent finding their identity. It’s a refined version of what they’ve always done best: pairing urgent, angular guitars with atmospheric soundscapes, propulsive rhythms with Wilson’s Siouxsie Sioux-esque vocals. While ‘Big Skies’ was an album full of masterful performances, ‘Romantic Notions’ feels more focused on the band locking in with each other, each part in service of the song.

That may be due in some part due to the conditions in which the songs on ‘Romantic Notions’ first came together. Much of the album was written in a rustic house on the Hawkesbury River shared by Wilson, guitarist Flyn McKinnirey and bassist Trisch Roberts. An hour out of Sydney, it takes driving through national park for 15 minutes to get to the small town the house is located.

The trio – along with drummer Mac Archibald, who makes his recorded debut with the band on ‘Romantic Notions’ – crafted a huge deal of the record collaboratively, all crammed together in the house’s living room.

“It was really nice to not be in a studio in the city at 9pm on a Thursday night, trying to jam,” Wilson says. “We’d spend the whole day or the whole weekend just hanging out and playing, having lots of tea and coffee breaks and diving into the river when we felt like it. “It was just such a different way to write a record than we’d been used to in the past. This was a way less isolating experience, even though we’re still in a remote sort of place. We could all easily be together.”

Wilson formed Mere Women back in 2010 alongside McKinnirey and drummer Katrina Byrne, who played with the band up until 2017. Debut singles ‘Sun Rising’ and ‘Waves’, released shortly after the band’s formation, were stark no-wave cuts that commanded attention in the makeshift warehouse venues the band emerged from.

Following on from members’ previous acts like Ohana and Little A, Mere Women became a distinctive figure in Australia’s underground punk scene, finding their peers more through a shared DIY ethos than similarities in genre. Debut album ’Old Life’ arrived in 2012, with its follow-up ‘Your Town’ two years later. Roberts joined in 2016, and Archibald after the release of ‘Big Skies’ in 2017.

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Throughout the decade, across a handful of records and line up changes, they found a home in the community fostered by the likes of inner west institutions like Black Wire Records and the Red Rattler, along with Beatdisc in Western Sydney. They were part of a sea of fiercely independent bands creating esoteric music, by and for the small niche who passionately championed it.

In 2021, things look different. Black Wire’s physical store and venue on Parramatta Road in Annandale, where the band regularly performed and rehearsed, has been gone for a few years – leaving a gap that has yet to be filled. Similar venues have had to weather the impacts of the pandemic over the last year, and the small, intimate shows that bands like Mere Women found an audience in were stopped dead in their tracks. While the band’s recorded output is captivating listening, they’ve always thrived most in a live context.

“I miss it so much,” Wilson says mournfully. “It’s like a piece of me is missing. I love playing live, and it’s such an important part of my life. And I knew that, but you don’t know what you’ve got until it’s gone.”

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Though shows in Sydney have been able to safely return in recent months, the way they’ve been able to take place feels somewhat incongruous with the kind of community Mere Women emerged from. Large venues capable of hosting seated, socially-distanced shows may have begun to recover, but the impact on small, community-oriented spaces remains yet to be fully seen. Wilson says that while they haven’t found the right setup just yet, they’re planning on eventually touring ‘Romantic Notions’, excited at the prospect of bringing these urgent, visceral songs to a sweaty room once more.

‘Romantic Notions’ is out March 5 on Poison City Records

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Australian five-piece Mt. Mountain will release their fourth album, ‘Centre’, on February 26th 2021 via London’s Fuzz Club Records. Hailing from Perth, Australia, Mt. Mountain deal in a sprawling, motorik psychedelic rock sound that journeys between tranquil, drone-like meditations and raucous, full-throttle wig-outs that’ll blow your mind as much as your speakers. Taking cues from Krautrock pioneers like Neu! and Can whilst existing in a similar world to contemporaries like Moon Duo, Kikagaku Moyo and Minami Deutsch, Mt. Mountain are formidable torchbearers of the minimal-is-maximal tradition. 

Musically, the band’s sound is born out of long improvised jams so naturally much of the album was recorded live to capture the band at their most freewheeling. Growing up surrounded by religion but not a follower himself, Stephen Bailey (vocals/organ/flute) describes how, thematically, much of ‘Centre’ is a dissection of faith – both spiritual and secular – and his personal, often complicated relation to it: “The album for me, lyrically, is mostly about my experience of religion. It explores these concepts and the rules that were told to me from childhood to adulthood and my thoughts on my own connection to them. Similar themes arise between the tracks whether it be lyrically or structural, both a play on repetition and simplicity.”

With a number of EPs and singles and three albums behind them – their 2016 debut ‘Cosmos Terros’, 2017’s ‘Dust’ and 2018’s ‘Golden Rise’ – the Perth quintet have picked up a formidable reputation in their homeland and further afield, thanks especially to their wildly all-consuming live shows. Constantly touring across Australia with each release, they’ve also shared the stage with notable down-under comrades like King Gizzard & The Lizard Wizard and ORB, as well as a long list of international heavy-hitters including Sleep, MONO, Thee Oh Sees, Acid Mothers Temple and Moon Duo.

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Fuzz Club members will receive the deluxe vinyl as part of the February 2021 membership package. Deluxe Edition: Limited to 300 copies on 180g ultra-clear vinyl with white and black splatter, hand-numbered tip-on gatefold sleeve and polylined innersleeve, Standard Edition: Limited to 700 copes on 180g grey vinyl

Released February 26th, 2021