Posts Tagged ‘Australia’

Losing someone close to you creates an almost phantom limb-like effect. Often, it feels like they’re a phone call away. But that instant between when you reach for the phone and when your brain delivers the new reality to you is a strange, momentary eternity. It’s both an uncompromising void and maybe as close as you’ll ever come to communing with that loved one again.

Gordi wrote “Sandwiches” as a tribute to the matriarch of her family. Her late grandmother was, in Gordi’s words, “a great feeder of people.” So when she fell ill, Gordi and her mother took it upon themselves to nourish the visitors gathered around her hospital bed. As they passed around sandwiches, “someone called out that she was gone.”

Gordi called on long-time collaborators and Bon Iver production duo Chris Messina and Zach Hanson to make “Sandwiches” at her family home in Canowindra, Australia — an old cottage littered with some of Sophie’s favourite pieces of musical arsenal combined with some flown in from Eau Claire, Wisconsin. The tiny farm town where her family has lived for over a century, Canowindra, and the heart of the matriarch, is embedded in this song.

The writing of Our Two Skins began after a nervous breakdown while pacing around an Etihad flight from Australia to Europe in late 2017.  Payten had finished exams to earn a medical degree and after trading her “nice, safe relationship” for a new one, she began coming to terms with a new truth in her identity.  That identity struggle and her new relationship, which played out against the backdrop of the marriage equality plebiscite in Australia and her Catholic upbringing, led to an isolated internal state. That state was further fueled by distance, trying communication and lost loved ones.  Our Two Skins chronicles the intense and impossible time Payten spent renegotiating who she is and how she fits in the world.

The imagery for ‘Our Two Skins’ was created during the drought and before the most extensive bushfires Australia has ever seen last summer.

It captured the unrelenting and deceptively positive blue sky keep watch over a dusty, dead orange landscape. A mirage of hope and dread.

The colour palette was actualised in my favourite variant of the 12″ vinyl. I’ve been told there’s only a few copies left. If you haven’t already,

In 20 anxious minutes on that lonely flight to an isolated six weeks in Europe, Payten penned the album opener “Aeroplane Bathroom”.  She recalls that time, “I had that sensation of being trapped so I climbed over the other passengers and tried to escape to the bathroom. The fluorescent lights in those spaces are most unforgiving. A terrible mirror.”

“This song is about feeling isolated. It comes at a very strange time now given we’re all locking ourselves in our homes, ‘socially isolating’ from our normal functional lives. There is no more dehumanising experience than to be cut off from everything you know. It can plunge you into total despair.”

Payten’s disposition is open and charming. She says, “A big theme of the record is: there’s nothing to hide behind. We didn’t have all the bells and whistles. You’re just standing there, with your hands in your pockets going: this is me. This is it. This is all I have.“

“Extraordinary Life” the new song by Gordi off ‘Our Two Skins’ out June 26 on Jagjaguwar Records.

hearteyes press shot

Australian producer/songwriter Maurice Santiago, who performs under the alias Hearteyes, is heralding a more genreless future with his latest release, even headbangers get the blues. The project, which dropped last month, is deeply introspective and marks Hearteyes‘ second release. Previously, Santiago performed house music as George Michelle and was a member of the post-punk outfit, Death Bells.

On Hearteyes’ new album, which incorporates everything from acoustic fingerpicking to dark, electronic sounds and trap-inspired beats, Santiago is explicitly interested in challenging conventions of how music should be made. “Genre is no longer a boundary, but a malleable, cross-pollinating tool in helping to further articulate an artist’s story,” he says of wanting to make varied music. “Growing up I loved hardcore, nu-metal and punk. I got into so many different genres of music and artists. I wanted to make a project that was reflective of all my tastes.”

On his vulnerable third record “Rock Album” marks a turning point for Santiago where his transition from producer to artist is made clear. On tracks like the avant-garde opener ‘baby, i’m an angel’ to track six, ‘ny superstar’ where his rebellion against formulaic progressions is made clear, does away with genres and rails against norms – hence the ironic album title.

“Everything I write about is deeply personal; with the past two project I tried to dilute a lot of the storytelling with formulaic pop writing tropes, like repeating phrases and creating hooks, but I still felt so dissatisfied,” said Hearteyes. “Rock Album is where I have finally mustered the courage to put everything out there and felt comfortable doing so.”

Having previously served as a member of Death Bells, fans knew what Hearteyes was capable of when he shared his first mixtape last year. Now, with Rock Album serving as his latest record, it’s well within the realm of possibility to believe it might be his most accomplished work yet. Luscious melodies, intricate production, and heartfelt song writing combine to create this visceral document of music in the year 2020.

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Rock Album breaks all the rules. Hearteyes’ record is a tour de force in unceasing, boundary-pushing creativity. The Sydney producer has transcended seamlessly to a bona-fide artist. Extreme, chaotic and heartbreaking in equal measures — it cements Hearteyes as one of the most gripping, uncompromising artists in Australia’s pop music canon.

Hearteyes has found a growing fanbase within the last year, though if Maurice Santiago wasn’t a household name beforehand, Rock Album might help achieve that. A dizzying fusion of genres, the record if often disorientating, but its self-awareness and powerful song writing show that this is an album that needs to be listened to a few times before you truly understand everything going on.

Released July 24th, 2020

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One of Australia’s best band’s Cub Sport have released their fourth album. Sitting at 13-tracks long, “Like Nirvana” is a beautiful and deeply honest trip through the mind of singer-songwriter-producer Tim Nelson. Navigating topics like gender, personal discovery and ultimately evolution, the alt-pop group from Brisbane the record which is a collection of soft, dreamy pop songs. Originally slated for a May release, Like Nirvana was pushed back due to the COVID pandemic, but the wait was worth it.

Tim Nelson tals about the group’s new LP, Like Nirvana”, is an uplifting release that doesn’t shy away from the shadows, “it embraces both the light and dark with warmth.”

In Confessions there’s a line ‘the truth is I’m looking for myself and I can’t see it in anybody’. And I couldn’t, but now I can. It sounds a little cliché but this album has helped me find and love myself more deeply. I listen to this album and I can see, hear, feel ‘me.’ It’s the gentle and powerful energy of the introvert empath who, for some reason, is drawn to the light, even though they’re scared of it sometimes and feel more at home in the shadows. It’s the acknowledgement of lingering trauma, an embracing of the journey, rather than a need to see and understand the destination.

The track Nirvana is kind of the title track. It embodies some of the most important lessons I’ve learned over the last year. ‘Free myself from ego’s chains, free my body from my mind, leave the painful parts behind.’ It’s about learning my own worth outside of other peoples’ perception of me. In western society, we’re largely taught that our value is tied to the material things we have, how we appear to others, our career progress, what the world tells us about ourselves. I wanted to strip all of that away and form my own self not built by others. It’s by no means easy to do, but being aware of when your actions are motivated by ego/fear rather than love can be a strong guiding force.

In the second verse of 18 there’s a line ‘sorry, didn’t wanna make this sad, guess I wrote this all to try and heal from that, to let me feel all that’. I always wanted this album to be uplifting. I think in my mind I had this idea that to be uplifting it had to sound ‘happy’ but I couldn’t write any happy-sounding songs that I was excited about, but rather these cinematic, all-encompassing laments. I had to write this album as part of my healing process, I had to let myself feel everything and experience and live all of the emotions that were weighing on me. And I feel like that’s what has made Like Nirvana such an uplifting record in its completion; it doesn’t shy away from the shadows, it embraces both the light and dark with warmth and I hope it sets other people free in ways that it’s done for me.

The closing song on the album is Grand Canyon. I wrote this song for someone very dear to me. I wanted them to see them the way that I see them. ‘You’re a mountain, baby, Grand Canyon, you hold all the power if you believe it then you can, yeah. Too much of an angel to be held down, your battles, too much of an angel to be held down.’ It’s anthemic and soaring, pure power and warmth. It ended up becoming a reminder to me of my own power when I needed encouragement. I feel like this song was brought to me for the purpose of inspiring and empowering people who need it. And that goes beyond this song alone, I feel like that’s largely why Like Nirvana the album came to me.

Like Nirvana becomes a landmark moment in Australian pop, contextualising Nelson’s life and art on a universal scale. “Forget the limits that we learned / The light is coming, it’s our turn / You’re a mountain baby, Grand Canyon / You hold all the power,” Nelson sings on Grand Canyon, joined by bandmates united as a choir.

“It really feels heavenly,” Nelson says. “That’s kind of what making this album has felt like for me: finding a more peaceful place; getting to know myself better; acknowledging my whole self, even the parts that are hard to acknowledge sometimes.”

Nelson’s emotional purge continues on ‘My Dear (Can I Tell You My Greatest Fear)’, where his voice and soul are laid bare over spectral guitar fuzz and feather-light instrumentation. ‘I Feel Like I Am Changin’’picks up where ‘Sometimes’ left off on ‘Cub Sport’, with Nelson, back in Brisbane after a period of relentless touring, experiencing a newfound appreciation for home. ‘Be Your Man’ is an ’80s power ballad complete with dramatic Phil Collins-style drums while ‘Be Your Angel’ pays homage to Savage Garden’s ‘Truly Madly Deeply’. Like Nirvana” is an emotional voyage of self-discovery that celebrates the joys of life. This album captures some of Tim Nelson’s most vulnerable moments. Elegantly understated and, for the most part, supremely chill, Cub Sport have stripped back the synth-pop hooks to create mellow clouds of sound intended to provide a little comfort and succour.

Four albums in. It’s evident in their staggering creative, aesthetic, and personal evolution, particularly over the past couple of years. Described by Nelson as more of a holistic release from Cub Sport in contrast to their largely linearearly records, This is a glistening, tightly-woven exploration of religious reckoning, oppressive structures of masculinity, and feelings of inadequacy. Dovetailing with a shift in Nelson’s gender expression they now identify as ‘free’, and use both neutral and male pronouns the record is impressionistic and abstract, pushing aside the brightly coloured realism of 2019’s self-titled record in favour of gauzy lucid dreams. Nelson’s embrace of raw emotion has pushed them and their bandmates, to create a record more fiercely emotive than ever.
Band Members
Tim Nelson, Zoe Davis , Sam Netterfield and Dan Puusaari

Cub Sport’s fourth album Like Nirvana, out July 24th

e4444e has just released his long-awaited debut album, “Coldstream Road” Written, performed and produced entirely by the 22-year-old Australian from Newcastle artist Romy Church, “Coldstream Road” is a stunning showcase of the artist’s refined grasp of melodic, affecting songwriting. The 48-minute sojourn that is Coldstream Road snakes its way through cyclic chord changes and bucolic melodies to invoke a world that is both elemental and full of curiosity. “It’s the sound of me relating to instruments, to melodies, to lyrics. It has a very natural, earthy, wet green feeling to me,” says Church.

With his electro-acoustic musings – influenced by Pavement, Buck Meek and Michael Hurley   and previously compared to the likes of (Sandy) Alex G and Animal Collective – e4444e creates a soundscape that is as celestial as it is grounded in the earth. On Coldstream Road, Church casts aside his samplers and drum machines in favour of acoustic instruments like guitar, piano and drum kits. As writer, performer and producer, opting for a simpler and more traditional approach provided him with an avenue to sound more exciting and unique than ever.

And yet Coldstream Road almost never came to fruition. After having finished most of the tracking and mixing, the hard-drive containing the album’s project files was left on the roof of Church’s car before driving into the night. Along with his phone and wallet, the hard-drive was found a few days later, smashed to pieces by the side of the road. Everything was lost save from the bare acoustic and vocal takes. Rather than wallowing in loss, Church was spurred into action and re-recorded the majority of the album at home in just four days. “I was working pretty much as soon as I got up till about six in the afternoon.”
Channelling Jack Kerouac, a-la his mythical three-week writing binge for On the Road, Church set to re-creating the album with a dogged determination and Zen-like calm. “It didn’t feel rushed, I just knew exactly what I wanted to do and did it. I think it kind of needed to happen. It made the album what I wanted it to be, just me letting the songs dress themselves.”

Coldstream Road, Romy’s debut album. Released in mid-June, it’s a spiralling fifty minutes of transcendent song-writing and forward-thinking creativeness; an adventure through highs and lows – mountains and valleys – that pluck the beauty out of avant-garde minimalism and amplify them ten-fold. It’s something accomplished to the degree you’d expect from someone like Nicholas Jaar – a mastermind of a more electronic-rooted sound – but e4444e, despite being a Newcastle-based musician only just releasing his debut album, is ready to give it a shot.

In many ways, Coldstream Road was a long time coming. It’s less the follow-up to his 2018 EP Mr Dover and The Endless Rovers– which almost feels like an album in itself – but an extension of it, taking the foundations of the past record and pushing it further. “I almost wish I made Mr Doverlonger and built it into an album,” Romy admits, spending 20 minutes on the phone after running off to a Newcastle record store to drop prints of the album, before returning to a nearby pub to soundcheck for a socially-distanced launch. “I had a lot of ideas and I knew what I needed to build the album in a sense, but didn’t do it until this time around.”

Such dedication to his craft has seen the young artist self-release 4 x EPs and a handful of well-received singles, cut his teeth supporting acts like Jens Lekman, GUMBody Type and Hatchie and garner a loyal following.

The Buoys

Sydney band The Buoys have one last little treat for fans before the release of their new EP All This Talking Gets Us Nowhere, on July 10th. The band have now shared some brand new visuals for their latest single ‘Linda’, which is an anthem for anyone who has ever had a gutful of their boss.

The Buoys deliver no-frills rock with ‘Linda’, pairing relatable songwriting with powerful, blistering guitars and thundering drums to get straight down to business. They aren’t messing around, and they have no time for your bullshit. Keeping things simple dressed entirely in white with a sparse background, the band do what they do best in this clip and simply perform the hell out of their song. Letting their music do the talking for them, they hold nothing back and just let ‘er rip, allowing the viewer to experience all that The Buoys have to offer. Considering they were nominated for Best Live Act at this year’s FBi SMAC Awards, they certainly live up to this hype here.

Speaking about the single, Zoe Catterall (guitar and vocals) said of the song, “Linda is for anyone who’s had a shit boss. After being yelled at and begrudgingly working somewhere just so I could afford rent, I wrote Linda and quit.” All This Talking Gets Us Nowhere is the second EP from The Buoys, following 2017’s self-released Soft Boy.
In making the EP, Zoe stresses the importance of working with a diverse crew of people. “There are so many talented women/non-binary/trans people in the arts and we really wanted to do our best to showcase this,” she says. “We recorded the body of work with Antonia Gauci, a music mastermind, and continue to work with an amazing photographer April Josie who even pieces together the clip for ‘WAH’. Speaking of clips we‘ve worked extensively with Director Clover Ryan who always puts together a diverse team, she worked on ‘Inside Outside’ and ‘Gold’. The glue that keeps it all together is our amazing manager Nat Day.”

The four piece have gone from strength to strength lately, with pre-COVID support slots for the likes of Violent Soho and Rolling Blackouts Coastal Fever, as well as sets at Farmer & The Owl and Grampians Festival. Now, with All This Talking Gets Us Nowhere about to be released into the world, the band are making waves for all the right reasons and we cannot get enough. Let’s hear it for The Buoys!

“All This Talk Is Getting Us Nowhere” is out July 10th Released Through Spunk Records.

Teasing new music yesterday, the Melbourne faves followed through this morning and produced a music video to boot. “Honey” is the brand-new single from King Gizzard & The Lizard Wizard. Revisiting the microtonal theme, Honey feels sombre and slightly eery, which seems fitting for the times in 2020.
Honey has an accompanying video by frequent collaborators/studio mates PHC, it’s an  eerie, yet gorgeous tune in ‘Honey’.

“I wrote this song a couple of years ago,” Mackenzie said on Twitter. “It’s nice to have it out in the world.” ‘Honey’ is the first we’re hearing from King Gizzard and The Lizard Wizard since 2019’s Infest The Rats’ Nest album and (hopefully) an early taste of another dive into microtonal goodness. 2020 has kept the band busy so far, delivering three bushfire benefit albums, as well as their first concert movie Chunky Shrapnel, all the while working on a new album which will be their 16th! release.

Filmed at sunsets during Melbourne’s first lockdown Stu Mackenzie performs alone in the video directed by longtime King Gizzard collaborator, John Angus Stewart. Which features Stu Mackenzie taking his isolation to the sunsetting streets of Melbourne. Recently, King Gizz also shared a live documentary film online in RATTY, which gives fans an insight into the making of the record.

The full video is now on YouTube after originally only being available to view with a small price tag attached to raise money for the Indigenous Social Justice Association Melbourne, BlaQ Aboriginal Corporation, Australians for Native Title and Reconciliation and DJIRRA organisations.

Amby: Harmonica Cavs: Drums, Percussion Cookie: Piano Joey: Bass Stu: Guitar, Vocals, Percussion, Keyboards, Bass, Clarinet, Organ

Recorded and mixed by Stu Mackenzie Mastered By Joe Carra

After two critically acclaimed EPs, Flyying Colours are set to release their second album  ‘Fantasy Country’ later this year on Club AC30. Residing in a dream-world that sits somewhere between psych, indie, grunge and shoegaze, the Australian band’s beautifully dynamic new offering showcases their talent for uniting a delicate vocal melody with a satisfying thick wall of abrasive drums and guitars. Flyying Colours premiere their video for Big Mess and let’s just say, we haven’t seen such an aptly named video for a while.

“The video for Big Mess was made with our long time collaborator Thomas Russell,” explained vocalist and guitarist Brodie J Brümmer. “We filmed it in the kitchen at The Bergy in Brunswick, across the road from where the guitars for the album were tracked. We didn’t think we would make such a mess when filming started but as you will see things escalated and we ended up covered head to toe in unbaked sponge cake.

“That’s what happens when you spend as much time with one another as we do and you have an opportunity to crack an egg over your bandmate’s head. “I think the video kind of represents what the song is about – doing what you think is right, but ending up making a big mess of an entire situation. As for the recipe, I wouldn’t suggest trying it at home.”

Leading track and first single “Goodtimes” further stirs the melting pot. Opening with a chaotic looped squeal, the knockout punch of the frenzied opening riff and steady, driving drums sets the bar high for the tracks that are to follow.

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Both new singles from forthcoming 2020 album ‘Fantasy Country’.
The Band:
Brodie J Brümmer,
Gemma O’Connor,
Melanie Barbaro,
Andy Lloyd-Russell,
Released February 7th, 2020

In case you weren’t aware already, here’s a friendly reminder that The Beatles‘ legendary Melbourne concert from the ’60s will be on TV across Australia tonight.

Starting at 9.30pm on Nine, One Night Only – The Beatles In Oz “is a stunning broadcast of the concert, completely remastered, that also includes never-before-seen footage of the Beatles’ tumultuous and only visit to Australia“.

Channel Nine was given access to film The Beatles‘ final sold out Melbourne concert in 1964 which took place at Festival Hall. “When they touched down here in 1964 on their first world tour Australia went into hysterical Beatlemania,” a statement from Nine reads.

“They captivated the nation for 13 amazing and unforgettable days. Wherever they went, tens of thousands of screaming fans lined the streets hoping to catch a glimpse of John, Paul and George, as well as Jimmie Nicol, the drummer filling in for Ringo, who missed some dates of the tour due to illness.” Beatlemania was at fever pitch in the summer of 1964 as the band prepared for its first tour to Denmark, the Netherlands, Hong Kong, Australia and New Zealand. But on June 3rd, the day before the Beatles were to leave, Ringo Starr collapsed at a photo shoot and was hospitalized with tonsillitis.

With hotels and concert halls booked and thousands of tickets sold, manager Brian Epstein understood that cancelling the tour would have been a financial disaster. A scramble began to find a replacement for Starr.

Epstein had to convince the other three Beatles to accept a substitute drummer. And where would he find a musician competent enough to back the biggest group in the world – and fit into Starr’s stage clothes? John Lennon and Paul McCartney accepted that hiring a replacement was necessary but George Harrison balked at the idea. Enter Jimmie Nicol, a 24-year-old London drummer whose studio work had impressed Epstein. McCartney also knew Nicol; the Beatle had recently caught a performance by Nicol with Georgie Fame and the Blue Flames.

After a six-song audition, Nicol was hired, given a Beatle haircut and told to pack for the flight to Denmark the next day. In the hospital, Starr recalled that he’d replaced Pete Best as the Beatles’ drummer two years earlier. “It was very strange, them going off without me,” Starr said in Anthology. “They’d taken Jimmie Nicol and I thought they didn’t love me any more – all that stuff went through my head.”

Jimmie Nicol became a Beatle for 13 days, participating in press conferences and enjoying the adulation of fans. Nicol played eight concerts and taped a TV show as the Beatles’ drummer. Ringo Starr was released from the hospital and rejoined the Beatles in Melbourne, where he performed on June 14th. The next day, Jimmie Nicol did his final television interview as a Beatle and went to the airport for the lonely trip home. Before he left, Epstein presented Nicol with a gold watch inscribed, “From the Beatles and Brian Epstein to Jimmie – with appreciation and gratitude.”.

It was over 50 years ago that The Beatles made their one and only tour of Australia. The Beatles touched down in Sydney on June 11, 1964 and for an amazing 13 days they captivated the nation. Hundreds of thousands lined the streets everywhere, Beatlemania was more intense here than anywhere else in the world. It was a time of massive musical and cultural change and a time for teenagers to challenge and defy authority. Over 300,000 people turned out in Adelaide – it was the biggest crowd anywhere in the world, anytime! The Beatles performed 20 shows across Adelaide, Melbourne, Sydney and Brisbane leaving in their wake a trail of euphoric, captivated youth. Australia was never the same following The Beatles 1964 tour. This montage captures the highlights of their tour and the euphoria that followed.

There’s a loveable charm about Sydney psych outfit The Lazy Eyes. In a video documenting their debut EP, vocalist Itay Shacar anxiously floats an idea over the phone, “Hi Mum, think I’m gonna buy a bass on Saturday… and it’s $2000”. These Aussie teens are blazing a fresh path for psych-pop with a mesmeric throwback sound – and as that dialogue might suggest, they’re not cutting any corners.
Despite having only dropped their first single ‘Cheesy Love Song’ earlier this year, the high school formed band have quickly established themselves as one of Australia’s most promising names. Their blend of vintage instrumentation and explorative feel-good rhythms has lead to comparisons in Tame Impala and King Gizzard. Sure, these names are flung at every new group in their field, The Lazy Eyes debut EP does encapsulate the magic of such heavyweights, packing all signs of another psych giant.

A vast amount of ground is covered in this swirling and sharp three-track release. Opener ‘Tangerine’ brings an instant summer vibrancy with off-kilter pacey basslines and snappy abstract lyricism in lines like, “Tangerine quarantine / My breakfast club’s waiting for me / They’ll do it without me / Marmalade Kool-Aid grade” – you wonder what they’ve been taking and how quickly they can get you some. At the half-way mark, the track breaks down with slowing drums and lurches deep into sludgy stoner-rock territory. It’s an elegant gear shift from dazed-out pop into gritty old school rock’n’roll.

‘The Seaside’ prefers a more reclined groove. There’s cosmic traits and deep production at play here – be it the distant sound of waves crashing against the shore or silky guitar effects. At six-minutes-long, the track lends itself nicely to a meandering and delicate jam, with a crunchy guitar squall to liven things up.

‘Cheesy Love Song’ – fittingly titled – closes as a bells-and-whistles piano ballad. The song flits between pastiche and sincerity, building on the outlandish playfulness of seventies revivalists The Lemon Twigs. Such dizzying romance also bears stark similarity to the sweetened Lennon imitations of Tobias Jesso Jr – it’s all in the execution though. There’s a maturity that suggests this band have been working hard on building on those influences, not solely depending on them.

Dusting off such well-loved old-school sounds can be risky for any band but The Lazy Eyes don’t dwell on imitating the past for too long at any point here. Perhaps it’s their youthful drive – but with an array of psychedelic soundscapes, they seamlessly find fresh joy in old methods. This vibrant introduction easily lives up to some of those heroes they’ve been compared to against – though they’re rightfully too busy having good time to worry about such expectations.

The Lazy Eyes are a 4 piece psychedelic rock band based in Sydney.
The band are Harvey Geraghty (vocals, guitar, keyboard), Itay Shachar (vocals, guitar), Noah Martin (drum kit) and Blake Wise (bass guitar).

In just a few years, Fremantle four-piece Spacey Jane have gone from playing small local shows to selling out tours across the country, starring on massive festival line ups  Now after a series of well-received EPs and singles the indie-rockers are unveiling their debut album Sunlight. It’s the kind of first record you’d hope your fave new band would deliver. Building on the immediate charms of previously released singles – like ‘Good For You’, ‘Good Grief’, and ‘Head Cold’ – it’s an album brimming with glistening hooks and choruses you can imagine belting out in big venues and festival fields.

Fronted by singer/guitarist Caleb Harper’s distinctive voice and introspective lyrics, Sunlight balances breezy-sounding songs with emotional weight and heft. It might not reinvent the wheel, but it’s easily one of the smoothest indie rock rides you’ll enjoy from an Aussie guitar band this year.

“The feelings that overran my head were in the songs before I could stop them and I didn’t see the point in hiding it,” frontman Caleb Harper said, Given the maturity of the song writing on Spacey Jane’s Sunlight, you’d be forgiven for thinking the group are 20 years into their tenure rather than around 20 years into their lives.

Following the Western Australia’s group’s 2019 breakout BIGSOUND appearance, there couldn’t have been more buzz around their debut album. Fast forward some nine months and Sunlight is more than fitting of its hype. Spacey Jane have the potential to be our next big indie export so if you’re not already on them, take this as your warning.

Spacey Jane? More like “really good band,” am I right? An amazing group of people with amazing tunes and an amazing live set (bonus points for a very aesthetically pleasing collection of guitars). It’s always a pleasure to catch Spacey’s chirpy indie-rock bangers live and we’re really looking forward to witnessing the world domination that is surely coming their way.

A few months ago we shot a video for Good Grief and had a total blast doing it. But, sometimes things get delayed, and the tapes got held up for a coupla months at German customs. We’re stoked to finally get this out there, better late than never we reckon!

Spacey Jane have the potential to be Australia’s next big indie export, As most bands do, Caleb, Kieran, Ashton and Peppa came together through blooming friendships and lucky connections. A few jams later, the bond was cemented and the debut gig in Caleb’s dad’s backyard kicked it all off. In the year that followed, Freo’s very own garage pop outfit Spacey Jane went from backyards to bright lights, sharing the stage with the likes of Car Seat Headrest, Nothing But Thieves, Alex Lahey, The Jungle Giants & more, As you’d expect of an album titled Sunlight, there’s a summery sheen to everything. Affable melodies and jangling guitars are lounged in with warm back-up vocals and the occasional sparkling synth part. Even when they up the tempo, leaning into their wiry energy on ‘Good For You’ or the bouncing ‘Weightless’, 

Band Members
Caleb, Kieran, Ashton & Peppa
Sunlight is out 12th June via AWAL Recordings.