Posts Tagged ‘Australia’

THE DRONES – ” To Think I Once Loved You “

Posted: December 9, 2016 in MUSIC
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The group has taken a serious left turn with their seventh album, “Feelin Kinda Free”. “We said ‘fuck it’ and went spaz, It’s a pretty weird record and you can dance to it,” Liddiard said of the album. “It’s time to have a groovy Drones record. We’re sick of being a bunch of drags.” The bands single “Taman Shud” voted the Australian song of the year was one of the most compelling singles of last year, but good luck to anyone who hit the dance floor to its skittish rhythms.

Boredom, the sixth track on Feelin Kinda Free, is in a similar vein. If the Drones once came on like the mutant, brawling blues-punk offspring of the Birthday Party and Beasts of Bourbon, this sounds more like the mostly forgotten Australian post-punk.

“The best songs are like bad dreams,” mutters Liddiard  It’s a fabulous opening line – and what follows is a succession of nightmares.
The Angry Penguins movement of the 1940s was an interrogation, and rejection, of an earlier kind of Australian nationalism represented by the bush balladeers. Feelin Kinda Free is as decisive a repudiation, both of the Drones’ past and of the mythic, The dominant themes here are immigration and its attendant cousin, paranoia. And Then They Came For Me finds Liddiard “feeling like I’ve overstayed”.

Taman Shud and Boredom aside, Feelin Kinda Free slithers by like a serpent in search of its next meal. The feel is unhurried, but menacing. While the songs still stretch out like elastic, there are only eight of them, so at 41 minutes, the album doesn’t outstay its welcome. The emphasis is mostly on bass and percussion: guitars are heavily treated; frequently, you’d be forgiven for thinking there are no guitars at all.

The closest thing to anything from the Drones’ past is the agonised To Think That I Once Loved You, which sits squarely in the album’s centre without dragging it down. Otherwise, Feelin Kinda Free sounds like the work of a less dour and far more subversive band.

The Drones – To Think That I Once Loved You
Tropical Fuck Storm Records – From the album Feelin Kinda Free

COURTNEY BARNETT – ” Full Performance Live on KEXP “

Posted: December 8, 2016 in MUSIC
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Courtney Barnett performing live at the Triple Door as part of KEXP’s VIP Club concert series. Recorded July 7th, 2014.

Songs:
Lance Jr.
Don’t Apply Compression Gently
Scotty Says
Canned Tomatoes (Whole)
David
Are You Looking After Yourself?
Out of the Woodwork
Avant Gardener
History Eraser

If SXSW had an indie-darling award, it would most certainly be given to this Aussie rocker. She’s received attention from Rolling Stone, Pitchfork, Spin, and she’s even in the next issue of PG. The three aforementioned mags fluttered over her painfully plain yet deeply reflective lyrics that are delivered deadpan as if Courtney Barnett was comedian Steven Wright’s long-lost Australian daughter. The reason PG has taken note is for her ability to barely harness distorted feedback in intensifying crushers like “Small Poppies” and “Kim’s Caravan.” But we also love her softer songwriter side, wrapped in warbling tremolo and warm chorus bubbles showcased in tracks like “Depreston.” With her knockout debut album dropped last month and a slew of American TV and festival appearances, it looks like Barnett will be stateside for as long as she can stand it.

“I pretty much only use two guitars while touring—a Fender American Standard Telecaster and a Fender Classic Player Jaguar Special. The Tele is the one I play the most and is set aside for bluesier songs like ‘Avant Gardner,’ ‘Lance Jr.,’ and ‘David,’ whereas the Jag is for the dingy songs that need some wonky tremolo arm stuff like ‘Aqua Profunda!’

I used to just use a delay to muffle everything and an overdrive for the heavy bits, but recently I’ve started toying with a few new things, thanks to my bandmate Dan Luscombe. I love the tackiness and novelty sound and feel of the Boss CH-1 Super Chorus—or the chorus effect in general—but it does make me feel the three piece is bigger than it really is, and everything sounds a little wonky like it’s coming out the chimney of a lopsided ship. I’ve always been a fan of the tremolo effect, but I haven’t been able to make the Behringer Ultra Tremolo sound as cool as I’d like. I’m sure it’s my fault—not the pedal. The Fulltone OCD is huge and filthy. I have it on the low switch because I keep my guitars super treble-y and I don’t want to overdo it. The Electro-Harmonix Little Big Muff Pi is so, so rough. It’s so rough that sometimes I can’t hear it—it’s like a hidden undertone of the devil in the way dogs can only hear super high notes, but that’s no use in a mega-loud jam because I just feel like my guitar has disappeared. The other pedals I have on my board are a Boss BD-2 Blues Driver and a Boss TU-3 Tuner. And I recently starting messing around with a Broadcast Hard On A/B box so I can run two amps onstage to help with monitor volumes, switching guitars, and tuning in between songs.”

TYRANNAMEN – ” You Should Leave Him “

Posted: December 8, 2016 in MUSIC
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When Tyrannamen’s Nic Imfeld, backed by a raucous punk band, pleads for you to leave some guy on “You Should Leave Him,” the thought crosses your mind. By the time the rambunctious five-piece have kicked into full gear and Imfeld’s screaming, “We could have it so great,” you are ready to pack your bags. The Melbourne five-piece (which features members of The Stevens, Twerps, and Whipper) call to mind the ramshackle melody of the Undertones, Greg Cartwright’s Reigning Sound, and the power pop moments of fellow Aussies Royal Headache. Led by the tuneful and raw vocals of Imfeld and others, the music pops like buttons from a ripped shirt. But between the rowdiness of “I Don’t Want to Go to Jail” and “My Concrete,” a song about construction sites, there are moments of soulful tenderness such as “Diamond Ring.” They may seem and sound like ruffians, but deep down, Tyrannamen are true romantics.

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ALLO DARLIN – ” Hymn On The 45 ” Final Single before Disbanding

Posted: December 2, 2016 in MUSIC
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Allo Darlin’ are all set to release a final single to coincide with their sold out farewell shows in December. Comprised of two brand new recordings by the band, “Hymn On The 45” and “Wanderlust”, it’s due out as a limited edition gold vinyl 7” on the 12th December via Fortuna POP! and The Hangover Lounge, and will be available exclusively at the sold-out London gigs on the 10th December at MOTH Club and the 11th December at Scala.

The A-side “Hymn On The 45”, weaves Elizabeth Morris’ heartfelt lyrics about starting afresh in a new city with guitarist Paul Rain’s signature stylings, ending with a heartwarming sing-a-long. The B-side “Wanderlust”, about missing people and places whilst embarking on your own adventures, is classic Allo Darlin’ fare, of blending poignant melancholia with bright and sunny pop melodies.

 

Allo Darlin’ were formed after Australian Elizabeth Morris arrived in London and bought a ukulele from the Duke of Uke shop in Shoreditch. She began writing music and was soon joined by fellow Australian Bill Botting (bass), Paul Rains (guitar), and Michael Collins (drums). The band have toured across the USA and Europe, as well as wowing the crowds at End Of The Road and The Indietracks festival. They’ve also been strongly supported by BBC 6music, recording several sessions including one at the BBC’s prestigious Maida Vale Studios at the invitation of Steve Lamacq.

It’s not often that you have the task of discussing a band who are splitting up releasing a single on a label that’s about to stop functioning, in promotion of some shows that are already sold out, which will be the only place you can buy it. Then we guess Allo Darlin’ have never been a normal band.

Allo Darlin’ have released three albums, gaining cult status and critical acclaim, but six years on from their self-titled debut, the Anglo-Australian quartet’s run will come to an end with their final show, Hymn On The 45 is a track that’s instantaneous hook grabs you, but only unfurls its beautiful details over repeat listens; the gorgeous opening organ than nods to Camera Obscura, the full-blown horn section on the outro, Paul Rains’ shimmering guitar tones, and the doubt fuelled lyrics about not wanting to grow up and learning to accept you might always be a lovable failure.

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Hymn On The 45 will be available exclusively via Fortuna Pop/The Hangover Lounge at Allo Darlin’s sold out London Shows.

KATIE DEY – ” Flood Network “

Posted: December 1, 2016 in CLASSIC ALBUMS, MUSIC
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In tech jargon, a “flood network” is a system of nodes that handle data overflow. Similarly, Katie Dey’s Flood Network is a system of songs that handle emotional spillover. Dey’s uncomparable production teems with life, and her lyrics — when you’re able to make sense of them — are small, life-affirming bits of prose that you can carry with you into the next day when simply existing feels impossibly hard. Flood Network sounds like nothing that was released this year; it’s glitchy, weirdo pop music for introverts, the work of someone who rejects convention and lets true ingenuity guide her process.

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GREEN BUZZARD – ” Do You Ever Glow ? “

Posted: November 29, 2016 in MUSIC
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Buzz Magnets Green Buzzard Drop New Single ‘Do You Ever Glow?’

Much buzzed-about Australian based Sydney outfit Green Buzzard have been cocking ears and turning heads since they erupted onto the local Aussie music scene last year with their debut single ‘Zoo Fly’, which they’ve followed up with a string of blazing new singles, including the latest number, ‘Do You Ever Glow?’.

“Ayeeee… gather round wee children, let me tell you a tale from a looong looong time agooo. A time of myth and legend, where dragons soared high above and a song, of great power, was first sung . I was there, one of the few to hear it, and it goes a little like this,” said frontman Paddy Harrowsmith of the new single.

The track premiered last night on triple j’s Good Nights and serves as the first single to be taken from Green Buzzard’s eagerly anticipated forthcoming EP. The track was recorded and mixed by the talented Burke Reid, best known for his work with the likes of Courtney Barnett and DZ Deathrays.

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MOONLOVER – ” Lysergic Flaccid ” EP

Posted: November 22, 2016 in MUSIC
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Melbourne Singer/Songwriter Moonlover has just released his third EP Lysergic Flaccid and dropped a new clip for single ‘Gag Order’.

“I’ve been doing the DIY thing for a while now,” says the man behind the moniker, “just getting friends to make clips, making these songs by myself in my boudoir”

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The result is a slice of garage rock ripped right out of the ’60s featuring enough cowbell to satisfy even Christopher Walken, and described by Moonlover as “A fuck you to the vampire bot illuminati, the propaganda trolls, supermarkets, the corporate selection panel for public holidays and the governments of the world!”

“Long live free speech and the communication and discussion of ideas!”, he adds. The video itself sees a moustachioed Moonlover running around the back streets of Melbourne hunting ‘The Shadow’, and it’s just a ridiculous as it sounds.

PARADING – ” Big Heart “

Posted: November 20, 2016 in MUSIC
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There’s quite the comfort in this cover from Melbourne’s Parading,  It feels justifiably lazy. Lazy within the confines of a slightly drawn out pop song, but lazy nonetheless. Compared to the original from Paul Kelly, ‘Big Heart’ – taken from the band’s second full length “Jungle Songs” proves an obvious, distinctive take. This shows the versatility in song writing on Paul Kelly’s behalf of course – a song that that some 29 years later, feels to have stood the test of time. But positioned within a vastly different musical vibe, the melodic dirge that is shoegaze, Parading give this song a new prolonged life, thanks to the grand vision of this Melbourne four piece.

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The TROUBLE WITH TEMPLETON – ” Vernon / Bad Mistake “

Posted: November 19, 2016 in CLASSIC ALBUMS, MUSIC
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The Trouble With Templeton

After the indie-folk restraint of Calder’s 2011 solo mini-album Bleeders, Trouble With Templeton served evidence of tremendous range and ambition on their debut album. Then went a step further, harnessing a leaner, tighter take on Trouble With Templeton’s melodic styled alt-rock . As Calder puts it, “We made a conscious decision to challenge ourselves to focus on minimal instrumentation and production in the recording process in an effort to place more emphasis on the song-writing.”

The full-bodied songs here can take that emphasis,  Trouble With Templeton weren’t slouching , where Calder and company wedded vibrant melodies epic, jangly, glam – to a core of emotive cogency. But on Someday, Buddy, their personality emerges sharper and clearer. “Our goal was to make a record that is raw, bare and honest,” says Calder, a claim borne out by the incisive lyrics of the swelling “Sailor” and lilting “Heavy Trouble”, where Calder’s falsetto dances over a tender indie-folk backdrop.

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Sometimes fragile, sometimes forceful, Calder’s voice remains a marvel on lead track “Bad Mistake”, a combination of intricate verses and a huge chorus pitched somewhere between Pavement and Elliott Smith. And so the album goes, its full of slow-burn songs harbouring great reserves of potency: the discreet neo-glam swagger of “Complex Lips”, the sunburst chorus of “Vernon”, the gorgeous ripples of album highlight “1832”.

The album is the culmination of time spent refining the band’s qualities, something that the Bella Union label allows its artists in abundance and every time pays off . Following extensive touring for Rookie. After taking time out to recharge their batteries, Calder, Ritchie Daniell (drums) and Sam Pankhurst (bass) recorded as a trio with help from their friend Matt Redlich; later, they were joined by another buddy, guitarist Jack Richardson. As a result, says Calder, the band’s bonds are “stronger than ever”. By the time Someday, Buddy fades out with the understated confidence and poised beauty of “Sturdy Boy”, you won’t doubt it. Someday, Buddy is to be released 2nd December on Bella Union.

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In the two and a half years since the release of their last album, Brisbane’s The Trouble with Templeton have, says frontman Thomas Calder, been busy “breaking down and reassembling what it means to make music for us”. On the evidence of the richly confident and clear-sighted Someday, Buddy, released 2nd December 2016 on Bella Union, that time was well spent.

THE DRONES – ” I See Seaweed “

Posted: November 17, 2016 in CLASSIC ALBUMS, MUSIC
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The Drones. On their fifth album proper, I See Seaweed, the Australian five-piece engage directly with the weirdness of the contemporary Australian experience. Here songwriter and lead Drone Gareth Liddiard eviscerates the hypocrisy of Australia’s conservative politicians, narrative-based songs are located firmly in terra Australis: ‘They’ll Kill You’ is a paean for an ex-lover who has, like so many others, gone off to Europe in a vain attempt to escape her own flaws; ‘Nine Eyes’ sees Liddiard using Google Street view to observe the social economic damage wrought on his home town of Port Hedland by “cashed-up bogan” mine workers.

The Drones have always traded in this kind of fire-and-brimstone, but it’s never sounded quite this good. One of the most obvious improvements has to do with new full-time member Steve Hesketh, whose piano and keyboard work seems not so much to add startlingly new elements to the band’s songs but to allow them to develop their artier ambitions and perform their more technically difficult material live. This personnel addition bodes well for Liddiard’s songs, though, as the additional textural detail Hesketh provides allows the songs to rely less on bludgeoning loud/soft contrasts than in the past.

Perhaps the most significant change in I See Seaweed, though, is a softening of Liddiard’s previously dogmatic misanthropy, which is on display in both the album opener ‘I See Seaweed’ and its closer, ‘Why Write a Letter That You’ll Never Send’ has plenty of zingers, but the structure of the song reveals that they’re equally self-directed: supposedly an email from a friend Liddiard is reading “verbatim” (in rhyming couplets?), its chorus features Liddiard chiding his “friend”: “Why write a letter that you’ll never send?” he asks, reminding us that “everybody’s hurting / and their needs are always stark.” It may be too late to avert the coming disaster, but we need not revel in the end – I See Seaweed’s ultimate message is that we can wait out the apocalypse and make the most of what little time remains with decency, tenderness and humour.

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