Posts Tagged ‘Australia’

Image of TERRY - 'I'm Terry' (PRE-ORDER)

Terry are back with another bundle of joy. Terry are Amy Hill (also of Constant Mongrel, School Of Radiant Living), Xanthe Waite (Mick Harvey Band, Primo), Zephyr Pavey (Eastlink, Total Control, Russell St Bombings) and Al Montfort (UV Race, Dick Diver, Total Control). Guitars, bass, drums, all four sing. New album I’m Terry is like a mix of minimal and childlike indie pop and an obscure post punk album from 1979.

Have I been able to contain my excitement over the new Terry LP? Not quite. The band’s on a streak, with two great LPs under their belts already. The third LP shows no signs of flagging as they continue to mine a strain of post-punk peppered with twang and salt n’ honey harmonies that are soothing yet unpolished. The band let loose one of the album’s most ecstatic singles, “The Whip,” a few weeks back and now they follow it up with the cooler-headed “Bureau,” a stunner in its own right.

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Terry’s strength lies in an ability to push past any of the well-worn ruts of post-punk. They’re embracing the ethos of bands who were set free to run dub and punk and pop together into a caustic clash, but they’re not tied down to the set of stencils that so many modern makers seem to use.

This is the 3rd album from this Melbourne group, maintaining the high melodic standards but some of the songs are a bit longer and the atmospheres are a bit darker at times.

They pair the new song with a grit n’ glare video that’s transportation heavy – grabbing the ‘70s aesthetics and pushing them through a DIY filter. Its all good fun and serves to further the excitement for the Upset The Rhythm release of I’m Terry at the end of the month. If you’re in the UK, they’re even trotting the show out live (lucky bastards) so hit that up to see how these songs shake out in the room.

Think a mix of Beat Happening, The Mo-Dettes and The Television Personalties.

‘Oh Helen’ is taken from TERRY’s brand new, third album ‘I’m Terry’, coming out August 31st through Upset The Rhythm.

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The Babe Rainbow - Double Rainbow (PRE-ORDER - Limited Aqua Blue Edition LP)

The Babe Rainbow from Australia released their first track three years ago, it was a gentle guitar kissed , flirting with a sprinkle of drum pitter patters, dotted with a sequence of gentle chimes and whispers. Completely engaged with its distinctive rhythm and sensory experience, it was one of those tracks that really struck a chord; one to hold onto for years to come. So with a little digging, the three long-haired men responsible were found

Since the release of that debut single ‘Love Forever’, the boys have made us want to dance on lilypads, feel the warmth of the sun on our bare naked bodies and view life through kaleidoscopic filters. A psychedelic nirvana promoting love and harmony, the boys make it stick as it is a vision adorned with genuine integrity. None of what they do is an aesthetic, trend or scam; they literally just go about their way peacefully and happily whilst being crazy talented musicians and mood invigorators.

Falling a little quiet since their self-titled EP in 2015, The Babe Rainbow jumped out of the ocean and into the recording studio to gift us their first full-length album, Packed with good intention that has been shaped by an abundance of happy-go-lucky soundscapes, the wall of sound is complemented with rough edges.  It’s charismatic feel and sound is just simply fun, and has been released on limited coloured wax through Flightless Records the label set up by fellow psych styled King Gizzard and The Lizard Wizard .

Mallrat

Mallrat’s new EP, In the Sky, bottles up emotion and hands it to you in a dreamy, electro-pop vial. The music she makes is personal, nostalgic. But it’s music for the world, and the world is drinking it up. In The Sky drops this week, Mallrat aka is 19 year old Brisbane local, Grace Shaw and to discuss a love of things that feel old, making the move to L.A, and the ins and outs of her new EP (which she promises is miles ahead of her last one). In the Sky is from a song by The Orwells a song she loved so when she needed a name, when I heard it, it just felt really angsty and like a 90s teen movie. I just love the 90s so I thought it seemed like a good fit.

The rat has become kind of like a symbol for you. Is that just from your name mallrat? Is there any other meaning. Well when I was little my teeth were crooked and I went to my parents and I was like“look, I’m a rat” and they were like “ah, she needs braces”. They took me to the orthodontist and they were like, “quick, we have to fix this issue”.

Mallrat says I think the production on it is sick so I’m really excited for people to listen to it with their headphones on and just find new things they like about all of the songs. And I think all the song are really different to each other as well. But yeah, I love it. So, with the first EP, it was my first time making music. They were literally the first six songs I ever made. So I was figuring it out as I went. I wrote all the lyrics and the melodies but I was just being sent beats on SoundCloud to use. Whereas, with this EP, I co-produced everything. I was a lot more involved in the whole process, which is cool.

In The Sky tracklist Groceries, what’s it about? Mallrat says it’s funny because most of my songs, I don’t mean them to be about anything. It just like ends up feeling like something. But this one, I guess, you could say is about something. It’s about having a crush but not wanting to have a crush on someone. Being like, this is so annoying, I don’t want this. I love being independent, so when you really like someone it can be annoying.

Texas. It’s just a bit emo. And it’s about wanting someone to be well but they’re just struggling. Better. The same thing. Just wanting the best for somebody. UFO is about feeling like an alien. I don’t know how to explain it. Like, I’m sure everybody feels like this sometimes, I don’t feel as if I’m like any of these people. I love all of these people but there’s just something that feels very different. I think I could be from another planet, maybe that’s the only logical explanation.  Make Time is my favourite. I don’t know what it’s about. It’s just very calming.

Because I think a lot of people when they write, they want to create a storyline with a character and you get to see where the character is going like a story. But for me, I would just rather pull an emotion, bottle up an emotion that people can listen to and attach to their own narratives, and be like, “oh that’s me”.

In The Sky is out June 1st via Dew Process. released May 31st, 2018

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The debut album from Angie McMahon is promising to be one of 2018’s most anticipated releases and now she has given us another new song.

‘Keeping Time’ is her new single, and it’s third time’s a charm from the Melbourne songwriter who splashed onto the scene last year with her debut single ‘Slow Mover’, then backed it up with bluesy swagger and emotional rawness of ‘Missing Me’.

Angie tells us that ‘Keeping Time’ is one of “the most energetic” songs written for her upcoming album, and acts as a bit of a pep talk to herself.

“I wrote it a while back thinking about diving into this music career thing and having the confidence to do that amidst all my insecurities – feeling like everyone was a better musician than me,” the 24-year-old explains. “This song is about pushing that stuff aside… Like, ‘you can do this, you know how to play music, just get over yourself and do it!'”

Built upon an openly inviting chord pattern and a rough strut, Angie’s voice is plump with feeling yet glides in satin-smooth phrases. The txtline reaction was pretty glowing following the single’s first spin.

That voice! Oh my gosh! Stunning every time, such a fan
Sounds like a cross between Florence & Tracy Chapman. Cool
Angie’s voice is AMAZING. Spine-tingling goodness. – Claire, Gold Coast

Keen for more? Angie says she’s currently putting the finishing touches on her album, including final mixes, title, and sequencing. She’s hoping to have it out before the end of the year.

“I guess because it’s my first album, I’m learning how long things take and trying to give it all the love that it deserves.”

For nearing a decade, Sydney 5 piece Richard In Your Mind have created a kaleidoscope of Psych-Pop, made manifest in their recent 4th album – the critically acclaimed, meticulously crafted, joyous and bizarre ‘Ponderosa’. From sitars to synthezizers, ‘Ponderosa’ sees RIYM traverse a sonic landscape as comfortable in the world of modern hip hop and electronica as it is neo-psychedelia. Drawing on a vast catalogue (6 releases in total) and utilizing a range of instruments (from acoustic guitars and sitars to samples and synthesizers) to reproduce the full spectrum of their recorded work married with creative re-imaginings of it, RIYM’s live show features both lush arrangements of pure pop moments and bombast psych outs, punctuated by a super fun and often shambolic stage show featuring elaborate decorations and props. RIYM’s live credits include International supports for Ariel Pink, Cibo Matto, Os Mutantes and Warpaint plus beloved locals You Am I and Cloud Control .

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This group of teenagers from Brisbane could be your favorite new band. The Goon Sax frontman Louis Forster sings with a David Byrne-like delivery when he says the line that won me over, to his tenuous lover: “Let’s get nervous in your room again.” That’s the moment I turned up the volume.

As often as songs tackle the subject of love, (the wanting, the yearning, the rejection) what’s often missing is earnestness. The Goon Sax are full of that and a dose of humor as well. “Make Time 4 Love” is a song about defeat. Louis Forster wrote to say it’s also about “learning to live with yourself and accepting that everyone’s impulses seem irrational to someone else.”

Musically the Australian trio of James Harrison, Louis Forster and Riley Jones, takes creative impulse from ’80s, punky dance bands. “It was really inspired by [the bands] ESG and Liquid, Liquid, who we were all listening to a whole lot. And we just wanted to make the song really dancey.” In fact, Louis Forster’s dad was in a band from that time period that did pretty well, The Go-Betweens.

The video for “Make Time 4 Love” is directed by Ryan Daniel Browne and is inspired in part by a 1926 animated German fairytale, The Adventures of Prince Achmed, as well as by the 1968 Hungarian animated short, The Kidnapping of the Sun and the Moon.The video takes place in three worlds,” says Louis Forster. “Wicked, regular, and a third – removed fantasy.” It also draws some of its dark imagery from album art. “The album covers of Tilt and The Drift by Scott Walker were another critical clue for us, and Riley actually bought a copy of Tilt on tour which we listened to and it got us in the right head space.”

Taken from the fothcoming album, We’re Not Talking (out September 14th on LP, CD and digital) via Wichita Recordings and Chapter Music

The Goon Sax are headed to UK/Europe in September/October to celebrate the September 14th release of their second album We’re Not Talking.

The five songs on the debut EP from Brisbane musician Hatchie radiate sunshine. That’s not as easy a feat as it sounds: tip too far in the direction of sunny pop music and the results end up saccharine and cloying; if you try to overcorrect, you end up with the kind of half-hearted songs that feint toward hookiness without ever truly connecting. But Hatchie walks the tightrope, and every minute of Sugar & Spice is fully engaging and almost impossibly heartwarming. The big, sun-bleeding-over-the-horizon guitar chords that open “Sure” give way to a vocal melody that bobs as lazily and gracefully as a beach ball on the surface of a swimming pool. The title track leavens its rush of Fun Dip synths with a heartsick chorus that somersaults up and down the octave. Throughout the EP, Hatchie demonstrates masterful control of her voice, gliding into a cotton-candy-cloud falsetto and then back down into a warm caramel alto, giving the songs a kind of weightlessness and buoyancy—the running start she takes into the bridge of “Sugar & Spice” gives the finale a multicolor, firework-style rush. There are precedents here if you want to spot them—The Cranberries, Cocteau Twins—but Sugar & Spice wriggles off those simple touchstones the more you listen to it to become something entirely its own. Even the regret that powers the tumbling closer “Bad Guy,” in Hatchie’s hands, sounds like optimism.

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With more than a hint of early Depeche Mode and The Cocteau Twins) – shoegazy guitars alongside Bunnymen riffs, as Harriette Pilbeam effortlessly layers knock-out hooks alongside dreamy vocals and radio-friendly tunes.

Terry returned this week with the first track from their new album ‘I’m Terry’.
The Whip kicks the jangles aside, clips a driving punk guitar line to a curdled coif of organ squeal and gives this track an off the rails quality that’s biting harder than usual for the laid-back bunch. While I love the band’s cowpunk preening and clang-hearted dirges its good to see them go for the pop pounce – albeit with enough squirm to make it pure Terry.
‘The Whip’ is taken from TERRY’s brand new, third album ‘I’m Terry’, coming out August 31st through Upset The Rhythm Records.

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murmurmur (pronounced mer-mer-mer) was born in February 2017 when Will Fletcher stumbled across the idiosyncratic guitar riff that provides the defining moment in “I Can’t Stop Thinking About All The Time I’ve Taken From You”. Fletcher was soon joined by Alex Crosara (guitar), Fintan Bradley (synthesiser), Jack Davies (bass) and Luke Haaja (drums), who helped to bring his prog/psych-pop odysseys to life.

Across the four songs that comprise murmurmur’s debut self-titled EP (produced by Oscar Dawson of Holy Holy), Fletcher’s haunting, emotive vocal blends with guitar hooks that sink into the recesses of your mind and stay there. There is an urgency to murmurmur’s soundscapes – they sound like a time and place you’re not aware of but which you’re desperate to find.

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The Melbourne five-piece who’re bringing all of my psych pop dreams to life with their debut single. Coming ahead of their first EP as produced by the coveted Oscar Dawson, “Cable Car” is the kind of song that grows more kaleidoscopic with every passing minute, with frontman Will Fletcher rising like a star in the making above the cascades of reverb-drenched guitars.

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Pack Animals’ is the second single from Cash Savage and the Last Drinks’ forthcoming album Good Citizens, out September 21st on Mistletone Records.  The lyrics paint a dismal picture of an all-too-familiar scenario for female musicians being mansplained after the show.

“Pack Animals” is dedicated to all the men that have offered me unsolicited advice over the years”, Cash Savage says with a wry grin. Over the past 6 years, the phenomenon of men approaching the women of the Last Drinks with advice prefaced by “The gig was great, but…” has become a running joke that’s not funny anymore for Cash Savage and her bandmates.

“I’ve been told the dumbest shit”, Cash recalls. Examples: “You play guitar too rhythmically, let the drums do the work” .  Dumb, yes but not harmless. “The givers of the opinions will eventually become offended and sometimes aggressive”, ‘Pack Animals’ calls out this behaviour as a manifestation of toxic masculinity and how it affects everyone, regardless of gender.

“We have all had moments in our lives where we’ve had to placate a man who is on the verge of becoming aggressive,” Cash notes. “It’s not fun for anyone. I look forward to a time when shit behaviour is called out before it gets to that point.”

The song’s refrain “Everything’s fine, everything’s gonna be great” carries a heartfelt belief that a new day is dawning. “Some people are resisting this undercurrent of change because they feel threatened by it”, Cash observes, “but I mean it when I say that the change is going to be for the better. I hope we’re on our way there.”

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‘Pack Animals’ follows searing single ‘Better Than That’, the first single from the forthcoming Cash Savage & The Last Drinks album Good Citizens, she tells us how. And she does it with such strength and vulnerability that it’ll take a cold heart not to appreciate it…. It’s stark, simple and something that everyone should hear, regardless of your politics.”

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