Posts Tagged ‘Australia’

Imogen Clark - Love Lovely Lies

Imogen Clark has had a pretty big year built on the bedrock of her debut album Love & Lovely Lies and its two lead singles “Take Me For A Ride” and “You’ll only Break My Heart”. The latter is Clark’s most mature offering to date, making the most of her big voice and lyric driven song writing. Her EPs to date have all been pretty strong but it feels like Love & Lovely Lies realises Imogen Clark’s potential as a singer and a songwriter – which is not at all hurt by the slick production and fantastic band she has behind her. Imogen Clark is touted as an alt-country singer (and we’ve been known to use that label as well) but I feel there’s a pop sensibility to her music that’s had a country sheen added to it courtesy of her band, but regardless of the genre “You’ll only Break My Heart” heralds big things to come from the Sydney singer-songwriter.

One of the hardest working singer-songwriters in Sydney releases a debut to be proud of, paving the way for bigger things to come.

Tired Lion

Tired Lion make songs that are meant to reach the back rows of crowds, a necessary talent considering the amount of festivals the Australian four-piece are scheduled to play this coming summer. “Not My Friends,” the band’s latest single, is an onslaught of crunchy riffs that are buoyed by strategically placed breathing space. “They’re not my friends/ The start is the end,” enigmatic leader Sophie Hopes’ scratchy voice cycles through the same phrase, digging into new intonations each go around

Music video by Tired Lion performing Not My Friends. (C) 2016 Dew Process/Universal Music Australia

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King Gizzard and the Lizard Wizard were voted  Act Of The Year for many, many good reasons – including the blistering pace at which they release music. And as if to prove our point completely, the guys have released one final single for 2016 (we assume!), the stomping ‘Nuclear Fusion’.

This killer track marks the second single from forthcoming album Flying Microtonal Banana. The album sees King Gizzard experience in microtonal tuning, which uses intervals smaller than a semitone, and is more common in Eastern-influenced music.

“Earlier this year we started experimenting with a custom microtonal guitar our
friend Zak made for Stu,” drummer Eric Moore says of the new record. “The guitar was modified to play in 24-TET tuning and could only be played with other microtonal instruments. The record features the modified electric guitars, basses, keyboards and harmonica as well as a turkish horn called a Zurna.”

The album is out February 24th 2017.

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Australian Gold Coast blues rockers The Vernons have just shared the video for pensive new single ‘She’s Not Mine’.

This break-up reflected track leads on a soft and atmospheric intro before it explodes with killer guitar riffs and a beat that build up as the song progresses. There’s an engaging, retro fuelled rhythm that grabs you and wants you to listen more, while the lyrics are cool and effortless.

The clip paints a visual picture of love gone wrong, though as frontman Jonny Nyst explains, this isn’t your ordinary break-up song. “A break-up can spur a rollercoaster ride of emotions and that’s really what the song is all about. One minute you can feel completely regretful and the next minute you can feel utterly betrayed. ‘She’s Not Mine’ really emphasises the darker times of all of that.” There are two earlier EPs, predictably titled Volume I and Volume II, both of which garnered positive reviews and had a good run on iTunes. One of the songs from Volume II, To The Sky, won a Queensland Music Award earlier this year. The track Snap My Fingers from our third EP, Snap, was released early August .

Resembling a sound not too unlike Catfish and the Bottlemen, the band will follow their three EPs (which includes the Queensland Music Award winning track ‘To The Sky’)
with a new EP #4 on the horizon for early next year.

The band is Jonny Nyst on lead vocals and some guitar; James Nikiforides on lead guitar and backing vocals; and Hugh Tait on bass and backing vocals. Just now we’re working with a guest drummer and sometimes other guest musicians when we perform or record.

TERRY – ” Terry “

Posted: December 22, 2016 in CLASSIC ALBUMS, MUSIC
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Terry is the bastard child of everything great about Australian post-punk and for lack of a better word ‘slacker’ rock. Live they become something even more powerful.

This LP is, as they say in Australia, a ripper. Perfect from start to finish with it’s jangly sounds and melodies, but still with a fair bit of an edge to it. It’s hard not to listen to it all in the one sitting, though at only 22 and a half minutes you pretty much can anyway. The short length of the album is the only fault I can find, and Chitter Chatter is, I reckon, one of the tracks of the year.

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Jay Watson has shared a music video for ‘Gemini’, the first single taken from his new album as GUM.

Watson, who is also a touring band member of Tame Impala, released ‘Flash in the Pan’ last month, this  was his third solo project. The lo-fi video for album track ‘Gemini’ is filled with astrological signs and was inspired by 80s fantasy films, according to director Sam Kristofski.

“The clip was roughly styled around old children’s fantasy shows, like The Neverending Story,” explains Kristofski. “I love the idea of people blaming their behavior on their star sign too, so I think that was the whole section around someone crying, and in deep thought then cutting to the symbol. Also Jay fighting his star sign was based around that whole Gemini double personality thing, in combat with your other half, I just did the ’80s Karate Kid thing as it mixed in with the theme and tone of the clip.”

“We shot the whole thing in L.A. on left over 35mm and 16mm film stock from “CSI: Las Vegas,” which was a risk as the film was so old,” he added.

Official music video for “Gemini” by Gum from the new album Flash In The Pan, out now!

Honest songwriting and insight beyond her years are at the core of Julia Jacklin’s debut album, Don’t Let the Kids Win. This Australian Sydney singer-songwriter’s lyrical prowess shines over understated guitar, making her exploration into the anxieties of growing older all the more compelling. ‘Don’t Let The Kids Win’ finds beauty in its universal truth. Its simplicity speaks louder than any metaphor ever could. Julia Jacklin’s structures centre around a rhetoric that encourages self-reflection, urging you to seek answers from the past that will eventually allow you to step into a unclouded and hopeful future. A wonderful album and one of the strongest releases this year she played a great set recently , So looking forward to her return early next year.

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What’s most startling about this Melbourne, Australia trio Camp Cope’s self-titled debut is not its collection of tightly played and written indie rock songs. It’s the sneaking, sinking feeling you get from pouring through someone’s well-hidden diary while listening to the damn thing.

In the record’s eight tracks, singer Georgia Maq lets us in far past the point of oversharing; her frustration, fear and grief expressed in “Lost (Season One)” and “Song for Charlie,” delivered through her thick Aussie accent and complemented by her bandmates’ ragtag percussion, it all feels like the kind of things we learn to keep locked up in private. You could call that radical transparency, or tenderness, or both. But it makes for startlingly good singalong fodder. Particularly impressive is Maq’s pen. Her knack for reworking lengthy, unwieldy thoughts like “I’ve been desensitized to the human body / I could look at you naked and all I’d see would be anatomy” (“Flesh and Electricity”) into effortless hooks is demonstrated all across Camp Cope, through songs that tackle sexual harassment, personal tragedy. But through its heavy subject matter, Camp Cope’s inaugural statement of a debut album is, above the mud and murk, to persist and survive

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Space has always been cooler than Earth. It’s bigger for one thing and for another thing, Chewbacca lives there. Conclusion:. You know who else wins? The Galaxy Girls. They’re an extraterrestrial four piece who travelled forward through time (probably from the 90s) and landed in Byron Bay. They sound like if Lou Reed and Barbarella gave birth to four baby girls in a pile of mung beans. We like them a lot more than this shitty planet with its orange haired Presidents, dead Leonard Cohen’s and critically endangered mountain gorillas etc…. Scope their video for first single “Sunflower Stealer” shot by Nat Collins inside the actual belly of a black hole. And then tell everyone you heard about them ages ago.  Members, Claudia Rose, Elodie Gervaise, Kelly Hewitt , Juna Horstmans.

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One Of our favourite bands of the year was Brisbane teen-trio, The Goon Sax. The band continued in a fine lineage of Australian indie-pop heroes, from The Lucksmiths to Architecture In Helsinki, and not least The Go-Betweens, who’s member Robert Forster is the father of The Goon Sax’s Louis.

The music on Up To Anything, the band’s debut release is a sublime study on teenage living outside of the cool crowd; it revels in the mundane yet soul-crushing details of growing up, from getting dodgy haircuts off your mum, coming to terms with your sexual preferences and triumphantly tucking into ice cream on your own. Musically, their sound is lo-fi and delightfully unfussy; Boyfriend with its huge chorus and meandering guitars interludes cut through with pulsing rushes of bass and drums, the chugging electric guitars and melodic bass of Sweaty Hands, and the mass sing-along finale of the triumphantly un-triumphant Ice Cream, that is enough to bring a smile to even the most cynical of folk. Best of all is their first single, Sometimes Accidentally, blending a tumbling guitar line with low rumbling bass and perfectly primal drums, it seems to teeter on the edge of falling apart but cling on for its life, lyrically too it seems to be about everything and nothing all at once, even its grand statement seems delightfully unsure of itself, “I don’t care about much, but one of the things I care about is you.” The Goon Sax tap into all the insecurities and doubts of youth and they do so with such exquisite attention to detail, that as a listener you feel you are living those formative days all over again with them.