Posts Tagged ‘Australia’

If you’ve ever heard an Angie McMahon song, then you’ve heard just how big her voice can be, and how cleverly she can craft a phrase. In person, though, she’s more soft-spoken, her words carefully chosen—the former due to a compromised immune system thanks to a pretty hectic touring schedule. Not that McMahon’s complaining.

The Australian singer-songwriter is on one of her rare visits to the United States, where she just wrapped her first U.S. tour, which included several headlining gigs, a stop at South by Southwest, and opening for the Pixies in Knoxville. “We had a gig in Nashville that was a headlining show and it was really chill—it was a cool little venue which are the most fun to play,” she said. “And then we drove three hours to Knoxville to open for the Pixies at the Tennessee theater, which is this giant old cinema from the ‘20s. It was amazing. I’ve found the crowds really attentive. The hardest gig that we’ve played was the Australian South By showcase, because Australians are very chatty. That took a lot of energy. But mostly, the crowds have been so nice.

If you didn’t get the chance to check out McMahon or if you’ve never even heard of her at all, that’s soon about to change. Today, she’ll roll out her latest U.S.-released single, the crowd favorite “Slow Mover,” making the States aware of what Australia already knew: McMahon could be the next big thing.

Only in her mid-twenties, McMahon has been playing music since she was a teenager. “I started covering pop songs,” she explained. “I was really obsessed with female single-songwriters, but I would also cover like Maroon 5 or Bon Iver. I started uploading them to the Internet, and thank God they are taken down now, because they were not good. I just really love doing that in school, and I started taking singing lessons which didn’t last very long. After I left school, I joined a soul band and that was really good practice to play gigs and learn how to deal with crowds. I got sick of being around boys and the loudness, so I went back to doing my own thing.”

Over the past few years, she’s released a string of singles in her home country, and toured the area several times over. Soon, she’ll release her first full album, to be named Salt, which by McMahon’s own account, has been a long time in the making. “I wanted to take my time with making a record, so some of those songs are written a year or three ago. I feel like they’ve lived several lives,” she said. “It was probably a good thing, because it gave me time to feel good about my decisions. Because this is my first record, I didn’t want to fuck it up or rush it.”

Fans of the singer are already familiar with some of the songs that will appear on the album, including last year’s “Missing Me” and crowd favorite “Pasta,” which McMahon has taken to introducing by simply saying, “This is a song about pasta.”

“It’s about being tired and being down on yourself, but it’s easier for me to be like, ‘This a song about pasta.’” McMahon clarified with a laugh. “Now it’s a joke, though, so I should probably dial it back and be like, ‘I’m a serious songwriter.’ But it’s good to have humor. Even this industry can be sort of harrowing and I don’t want to lose this sense of humor that I have in my writing.”

She’s also trying to keep her stamina up, as well, thanks to a pretty busy schedule leading up to the album that includes a European tour and a stop at London’s All Points East festival alongside The Strokes and Interpol. “I’m trying not to get too burnt out,” she said. Luckily, there’s nothing like the adrenaline of releasing your first album—and what comes next—to keep you going. “I want to give this one away and have people enjoy it,” she said. “I’m ready to pass it on, so I can wash the slate clean creatively. And I’m excited to write new ones.”

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Psychedelic Porn Crumpets are pretty much unlike any other band out there. A truly unique live proposition, their other-worldly psychedelia is melded into some startling shapes on incoming album ‘And Now For The Whatchamacallit’.

Due out on May 31st, the record is previewed with bold new cut ‘Bill’s Mandolin’, the title (and concept) seemingly sparked by an object gifted to singer Jack McEwan before the band’s last European tour. Jack McEwan: “I wanted to write an ‘Ode To Bill’ and the travels with the mandolin that summed up the tour and sounded as chaotic as the adventures that ensued…”The video traces a ghostly path to an abandoned castle, where the titular mandolin is magically reconfigured into a sword.

‘And Now For The Whatchamacallit’ will be released on May 31st.

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Sit back and strap yourself in as the seven-headed Aussie rock beast King Gizzard & The Lizard Wizard return with Fishing for Fishies”, perhaps their most perfectly-realised album to date. Here is a world where the organic meets the automated; where the rustic meets the robotic. Where the past and future collide in the beautiful present.

The thirteenth album since their 2012 debut – and their first following the release of five vastly different albums in 2017 – Fishing for Fishies is a blues-infused blast of sonic boogie that struts and shimmies through several moods and terrains. From the soft shuffle Outback country of the opening title track through the sunny easy listening of ‘The Bird Song’ (think the lysergically-soaked Laurel Canyon circa 1973) and on through the party funk of ‘Plastic Boogie’ (which somehow summons the spirit of Stevie Wonder’s Innervisions) the road-trucking, Doors-like highway rock of ‘The Cruel Millennial’ and ‘Real Is Real’ – what The Carpenters might have sounded like had they existed entirely on vegemite and weed – it’s a dizzying, dazzling display.

Hell, The Gizz make it look so easy.

And that’s all before we even get to ‘Acarine’, a futurist blues tune which heads off into previously unchartered territories of shimmering Eno-esque ambient and dark John Carpenter-style electro, and the electro squelch of album-closing single ‘Cyboogie’, on which five of the seven King Gizzard & the Lizard Wizard members play synths. It’s a stomping vocoder-lead anthem akin to Georgio Moroder or Trans-era Neil Young and a triumphant conclusion to an album that is as surprising as it is thrilling, as unexpected as it is effortless.

“We tried to make a blues record,” says frontman Stu Mackenzie. “A blues-boogie-shuffle-kinda-thing, but the songs kept fighting it – or maybe it was us fighting them. Ultimately though we let the songs guide us this time; we let them have their own personalities and forge their own path. Paths of light, paths of darkness. This is a collection of songs that went on wild journeys of transformation.”

“I didn’t really know who I was by the end of 2017,” continues Stu, of the band’s never-to-be-repeated year, which concluded with the fifth album being released on New Years Eve 2017. “It was a good kind of spent feeling though, as I like being busy. For most of the holiday period I was in the studio doing the last of the recording and mixing on Gumboot Soup. And as soon as it clicked over to 2018 I stopped worrying about recording for a while and started living instead.”

Out of this period came Fishing for Fishies, an album in which musical motifs recur: lush piano, mellotron and synth flourishes (the bulk of the album was written on piano); Ambrose Kenny-Smith’s distinctive harmonica, which brings to mind sidewinders crossing dusty widescreen vistas; a generous dose of vocoder; and a plethora of creative U-turns that conspire to create a general overall sense of man and machine melding together in a thrilling chrome-covered hybrid.

Because Fishing for Fishies is an album looking out across the horizon through mirrored sunglasses while twenty-tonne juggernauts thunder past. Here, perhaps, is a place where the spirit of two key songs released in the same year – Ram Jam’s ‘Black Betty’ and Kraftwerk’s ‘Trans-Europe Express’ – linger somewhere in the mix. And what may sound absurd on paper is actually the genius work of a band of musicians entirely simpatico with one another after nearly a decade of constant evolution.

“We have travelled a lot – we’ve seen the world – but it all still feels like discovery,” says Stu, in trademark self-effacing style. “We’re still essentially naive kids tinkering around with toys we don’t know how to use in the studio.”

Newcomers to King Gizzard & The Lizard Wizard will find an entire self-contained universe awaits them in a thrilling body of work. Here are grand concepts where albums overlap, riffs resurface, circular songs chase their own tails, grand narratives are told, cryptic lyrics endlessly analysed and a whole army of fans regurgitate the band’s output via a deluge of remixes, memes, visual loops, mind-melting cut-ups and just generally pontificate wildly about everything in The Gizzverse, much of it available on Youtube and internet forums.

“I am aware that it exists,” laughs Stu, of the alternative world that exists in their honour. “But I’m completely social media-less and pretty stone-age really. Good on ‘em for digging deep though.”

Because King Gizzard are no longer a band, they are a cult, a youth movement, an exploration, a double-drumming trip, a cottage industry centred around their own Flightless Records. Many milestones have been ticked off along the way: a headline slot at the UK’s Green Man Festival; a huge sold-out US tour; playing to five thousand people at a sold-out Brixton Academy one day…and then 100 people in the Yorkshire hill town of Hebden Bridge the next. Meanwhile their Gizzfest gathering in Melbourne is now in its fourth year. They are a band to give your life to. Perhaps more than anything they provide transportive fun, a valuable and often-overlooked commodity in an increasingly fraught world.

Best of all, anyone can step into The Gizzverse – anytime, anywhere. No prior understanding is necessary. So whether it’s psyche rock played with breakneck precision (2014’s I’m In Your Mind Fuzz), life-giving acoustic folk and Tropicalia (2015’s Paper Mâché Dream Balloon), a three-part sci-fi/prog album (2017’s Murder Of The Universeor an album uploaded on an open license so that budding labels worldwide could press their own copies, which they duly did, currently 240 different pressings according to Discogs (2017’s, Polygondwanaland), King Gizzard & the Lizard Wizard provide it. As Pitchfork noted, they have waged war against two tired clichés: “One, that rock is dead; and two, that the album is dead.” More than that, they have staked their claim as one of the most innovative, exciting and productive bands of the 21st century.

King Gizzard & the Lizard Wizard are: Stu Mackenzie (vocals/guitar/flute), Ambrose Kenny-Smith (harmonica/vocals), Cook Craig (guitar/vocals), Joey Walker (guitar), Lucas Skinner (bass), Eric Moore (drums) and Michael Cavanagh (drums).

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Out this Friday! Brand new limited single from Rolling Blackouts Coastal Fever on Sub Pop Records.

After a landmark 12 months for Rolling Blackouts Coastal Fever, who released their debut album ‘Hope Downs’ to worldwide critical acclaim in June 2018, Sub Pop Records are excited to reveal new music from the Melbourne band in the form of single, ‘In The Capital’. The track features alongside a second A-side single, titled ‘Read My Mind’.
To celebrate the highly-anticipated arrival of new music, the band have announced extensive touring plans for the UK and Europe this summer.
Fran Keaney describes how ‘In The Capital’ came together: “I first had the idea for the melody and some of the lyrics when I was swimming. It’s taken a while to finish the song, to make it feel like the initial feeling. I can’t neatly describe it, but something like connection despite distance. I was thinking about transience and water and death and big cities and fishing towns and moon river.”

To say 2018 was a big year for Rolling Blackouts Coastal Fever is an understatement. ‘Hope Downs’ – which featured singles ‘Mainland’, ‘Talking Straight’, ‘An Air Conditioned Man’, ‘Time In Common’ and ‘Sister’s Jeans’ – was embraced by lovers of their early EPs ‘Talk Tight’ and ‘The French Press’ and new fans alike.

The record quickly became one of the most acclaimed albums of the year, appearing in many sought after Best Of 2018 lists, coming in at #3 on Mojo’s Album of The Year list (and was named Mojo’s Debut Album Of The Year), #2 on Uncut’s Albums Of The Year and many more. The band kicked off 2019 by being shortlisted for the prestigious AMP Award.
Rolling Blackouts Coastal Fever also enjoyed tremendous support from the likes of triple j, Double J, Pitchfork, The Guardian, Paste Magazine, NME, Rolling Stone, BBC 6 Music, Stereogum, DIY and Q.
Meanwhile, the band’s renowned live show led to selling-out their mammoth ‘Hope Downs’ Australian tour, as well as sold-out performances in London, San Diego, San Francisco, Denver, Chicago, Toronto, Vancouver, Philadelphia and New York City. The huge touring schedule also included shows at the world’s biggest music festivals, from Coachella, The Great Escape, Primavera, and Shaky Knees to Lowlands, Pukkelpop, Green Man and Splendour In The Grass.

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The Dolly Rocker Movement formed in late 2002 in the inner surrounds of Sydney, Australia. They are influenced by late 60´s garage, psychedelia and West coast folk. The charismatic band leader Daniel Poulter writes beautiful and well-crafted songs and beneath the psychedelic and colourful surface The Dolly Rocker Movement is simply a great pop band with a destinctive sound of their own.

In 2006 they released not one, but two critically acclaimed contemporary psychedelic masterpieces. The first, Electric Sunshine, illustrated the chemically enhanced blend of folk, garage and country that characterised the band’s early set. The follow-up album, Purple Journey Into the Mod Machine, adopted as its thematic premise a journey through space and time with even more impressive songs as the result.

Our Days Mind the Tyme owes it’s genesis to the psychedelic 60s, and the influence of Sky Saxon, Arthur Lee and Syd Barrett, yet sparkles as bright, and fresh as the morning sun. From the baroque pop of “A Sound for Two”, to the tight garage licks of “My Heavenly Way” and “Sold for Sinners”, to the billowing pop elegance of “The Only One” and “The Ecstacy Once Told”, this is an album touched by the hand of spiritual enlightenment.

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This album is just amazing, really good psychedelic vibes! All songs are great! And the homage to “The Ecstasy of Gold” by Ennio Morricone on the track: “The Ecstacy Once Told” is just phenomenal!

Originally released March 30th, 2009

With a sonic style that swirls effortlessly inside a generous melding of warm psych-folk, explosive garage psych and entrancingly fuzzy sixties sounding musings (or retro-psych as the kids like to call it these days), ‘The Dandelion’ began life as a solo project by ‘The Dolly Rocker Movement’ frontman, Daniel J Poulter, eventually releasing it’s debut long player ‘The Strange Case Of The Dandelion’ back in 2013. Shortly after the release however,  Poulter walked out and the super talented Nathalie de Silver took over songwriting duties, subsequently releasing some impressive collections of music alongside a revolving door of live musicians.

With a brilliant self-titled EP released in 2014, a very interesting sophomore release in 2015 called ‘Seeds Flowers and Magical Powers of The Dandelion’ and a dedicated worldwide following, ‘The Dandelion’ have announced a brand new thirteen track album entitled ‘Old Habits & New Ways Of The Dandelion’ via the Greek-based independent record label ‘Blackspin Records’, and have just launched a lengthy European tour throughout April taking in France, Spain, Greece, England, Scotland, Belgium, Austria, Croatia & Germany to support the album. ‘Old Habits & New Ways Of The Dandelion’ is penned in for official release on April 1st 2019 and will be available on various vinyl formats

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The Dandelion (Sydney, Australia) The unstoppable 60’s garage druids are back after a 2 year break…
THE NEW LP “Old Habits & New Ways of The Dandelion” will be out April 1st! On Deluxe SpiderChild cassette with foldout lyric sheet & CD / colored Vinyl via Blackspin Records,

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The current line up though, consists of Nathalie de Silver – vocals/guitar/songwriting/producer,Laura Murdoch – organ/vocals/theremin, Josh White – drums/vocals & Lauren Crew – bass. 

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The Babe Rainbow was formed in the summer of 2014 by Angus Dowling and Jack Laughlan Crowther in the coastal surf town of Rainbow Bay, Australia. Students of English, lovers of permaculture, riders of waves – the pair also found common ground in the 60’s music like The Incredible String Band and Swing Mademoiselles. Their early singles attracted the attenion of Flightless Records who went on to release their breakout single Secret Enchanted Broccoli Forest. The band, which now includes Lucas Mariani and Jessi Dunbar, caught the attenion of US record producer, artist and now label owner Danger Mouse who signed them to his 30th Century Records. The album was produced by Stu Mackenzie (King Gizzard and the Lizard Wizard).

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They come loosely from the same staple as King Gizzard and the Lizard Wizard, and are similarly enamoured of the less murky side of 60’s psychedelia. Their album, Double Rainbow epitomises the summer vibe with its mellifluous harmonies, second-gear beat architecture and bright acoustics. Double Rainbow has some influences from the 60’s such as The Beatles and Grateful Dead, as you’ll read elsewhere, but what it really reminded me of was J.J Cale’sNaturally. Listen to ‘Darby and Joan’ and tell me you don’t hear ‘Call Me the Breeze’. Not only the song structure but J.J Cale’s easy swagger and insouciance. Front porch therapy. Replete with tropical aromas, gentle breezes and cool temperament.

‘Eureka’ clamours successfully for that vibe as well, but ventures more into sunset party territory with accentuated wah-wah and a drummer riding the cymbals with free abandon. The album starts out with a song, ‘The Magician’, so assured, so beautifully written, it’s hard to believe these guys have been only hanging together for a year and a half. Probably longer as surfing mates if the truth be known.

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The prolific Sarah Mary Chadwick returns with ‘The Queen Who Stole The Sky’, an album performed and recorded live on Melbourne Town Hall’s 147 year-old grand organ. Originally built in 1872, rebuilt in 1925 and refurbished in the 1990s.

In 2018, Sarah Mary Chadwick was commissioned by Melbourne City Council to create an entirely new body of work, to be written and recorded in just three months on an instrument grand in size, sound and antiquity. A daunting task to some, but Sarah Mary Chadwick’s trademark writing style is one that instigates itself furiously – she feels and then begins to write, without ruminating or long periods of drawn out self-reflection.

What results from this process are songs that are completely undiluted in their spirit, and an ability to create vast volumes of work over relatively short periods of time.

The Queen Who Stole The Sky’ is a body of work that is undeniably commanding, yet punctuated by quieter points of intimacy. The songs have a narrative-like quality, unfolding themselves before their audience. Sarah Mary Chadwick’s command of the grand organ is testament to her musicality – the sheer size of the instrument could so easily drown out the nuances of the songwriting – but not so for Sarah.

Sarah describes the songs as being mostly about rural isolation, death, and “the fact that I’m always waiting for life and it never arrives – it only ever leaves”.

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‘The Queen Who Stole The Sky’ was performed live at Melbourne Town Hall in the winter of 2018. The album is a masterful production by Sarah Mary Chadwick, and in Sarah’s own words, is dedicated to “anyone who ever wanted a little bit more than what life had to offer them”.

The Queen Who Stole The Sky’ will be released via Rice Is Nice Records + Heavy Machinery Records (AUS) April 12 + via Sinderlyn Records (US / EU) April 19th.

Amyl & the Sniffers

Australian hellions Amyl & The Smiffers have announced their self-titled debut album will be out May 24th via Rough Trade Records, ATO Records and Flightless Records. The first single is the anthemic, rocking “Got You.” The video for it has singer Amy Taylor taking full control of the rest of the band, bathing them with a hose, brushing their teeth by force and leading them around on leashes…which may or may not be an accurate depiction of tour life.

The band have been wowing the U.K with their awesome live sets. ‘Got You’ is taken from Amyl and The Sniffers‘ self-titled debut album out on Rough Trade Records,

“Goodwill” is the third Vacant Smiles album. Created to fill a gap left by our original third album—which will arrive sooner or later—and released only 27 days after our first recording session, it is an album that celebrates the glorious shining light of randomness, weirdness and wrongness that is so often trampled on by our 21st century lives. Especially in the face of the impending cyber-doom of the modern world, with the rise of smartphone abuse, addiction, egomania and shitty public transport, while monolithic companies tower over us with their supposed goodwill held close to themselves, Goodwill recognises that while cynicism may be increasingly becoming our default setting, we must open ourselves up to the imperfect mess that we’ve made and take time to rejoice in goodwill.

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The Band:
James Lynch – vocals, guitar, bass, drums, keys, percussion
Seamus Whelan – bass, vocals, percussion
Francis Tait – guitar, bass, percussion
Tom Clapp – drums