Posts Tagged ‘Brisbane’

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Brisbane six-piece Nice Biscuit have unleashed their latest single, ‘Captain’, an electrifying four-and-a-half minutes of apocalyptic psych-pop. ‘Captain’ is also the first release to come out of the newly launched Sydney-based independent label, Break Even Recordings, an imprint of Inertia Music designed to provide a platform for emerging Australian artists, and kicks things off in impressive style.

A Krautrock-indebted rhythm section provides a stable bedrock for rolling, psychedelic guitar solos to freely roam, before the track solidifies into a groove that makes way for the double harmonies of front-women Billie and Grace. The relentlessly driving beat, a loping bass line and murky, distortion-driven guitars coalesce into a groove that sounds as if it were slow-moving through a thick layer of sludge, offering an eerie, portentous atmosphere to Billie and Grace’s breathy vocal performances.

It would be easy to say that the songwriting feels loose and free-flowing throughout the track, but in fact it’s intricately structured, with heavy interludes breaking up the verses and multiples sections and motifs that introduce themselves, build and then never repeat again, harkening back to Nice Biscuit’s jam band origins. The playing feels similarly loose in spirit, but the band displays a tight, cohesive singularity when they all lock into the same groove towards the end of the track, or when they pause for a virtuosic, rapid-fire break before the final verse. It’s an exciting step forward for a band that has continued to evolve, and now with the team of Break Even behind them, it really feels like they’re only just getting started.

‘Captain’ is out now via Break Even Recordings.


Sweater Curse are everything that’s good about contemporary Australian DIY in 2018: double-glazed donut harmonies double-dipped in melancholia, with a hint of outer-suburban Brisvegas to taste. They’re a live force, already appearing on bills with hell cool legends like Camp Cope and Iron Chic, and scoring a festival spot at Secret Garden in Australia later on in 2018. There’s more to come, and it’s all exciting – listen out for more like 2017 standout ‘Don’t Call Me’ soon.


Hatchie is one Harriette Pilbeam, a native of Brisbane who has already attracted plaudits at home prior to unsurprisingly picking up wider acclaim from the likes of NPR and Beats 1. 

Having played with various friends and bands in Brisbane, Hatchie is her first venture into solo territory, one she is quick to admit is positive, that allows her to make her own decisions, assert herself and make so many positive changes. Her world is a dreamy landscape inhabited by cascading synths, jangling guitars and undeniable, irresistible pop melodies. Sure, prompted by a melody was composed on a whim and completed in a day. As she explains; “All of my songs start with singing. I hear the melody first and then work out the chords I’m imaginging under that and despite not knowing chord names I have a good ear so can kinda figure it out.”

That instinct is abundant on Sure, lush synths envelope alluring vocals that wouldn’t appear out of place in The Sundays and Allvvays songbooks – a gorgeous swathe of pop beauty, an enthralling introduction into the world of Hatchie.  The track will be included on a forthcoming EP through Heavenly Recordings that will accompany her debut UK live dates.

Also check out the First single from Brisbane dreampop artist Hatchie.


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Sleep Club’s debut single’s is a mellow dreampop debut from this Brisbane dreamy pop trio consisting of sonic complexity and soothing ambience. Stemming from similar influences, all members create a unique blend of eclectic vocal harmonies and intricate drum and bass rhythms. Sleep Club is most known around Brisbane for its textural and complex musical development and slowly driven and moving performances.

The band formed as a project in 2016 through mutual band connections such as Death Tourism, Post Dream and Sweater Curse, which this year have began recording their anticipated debut single. As all members are multi-instrumental the band’s writing process is very collaborative and detailed which has led to such a unique collection of pieces.

It’s a bit of a tingly one in its last textural 60 seconds is ‘Cut You’. The three multi-instrumentalist member outfit – Amber Ramsay (Cloud Tangle), Monica Sottile (Sweater Curse), Vanessa Marousopoulos (Keeskea), are an Australian styled Warpaint, with a sonic soothing ambience, and those kind of vocal harmonies to make you feel all warm and fuzzy inside.


HATCHIE – ” Sure “

Posted: January 4, 2018 in ALBUMS, MUSIC
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Brisbane’s Hatchie may have only released two singles this year, but when they’re your first two and they’re at the quality that Hatchie delivered with “Try” and “Sure”, you would be impressed too. The shoegaze-pop figurehead has sold out shows and graced festival stages across the country off the back of these two singles alone, with her indie-pop charm and spectacular, genre-merging songwriting proving unavoidable for much of the year. On “Sure”, the most recent of her two singles, this brilliant songwriting truly comes to light. The Brisbane name combines her inviting vocals with a stripped-back, acoustic instrumental that’s packed with this dreamy vibe that you could easily hear rolling behind the end credits of a big budget rom-com. It’s full of flavour and love, something we hope Hatchie continues to work with on her forthcoming releases in 2018.


Hailing from Brisbane and featuring jangly guitars and pithy lyrics is Thigh Master. The a-side is a corker, while the b-side is a little more plodding but is maybe more intriguing for it. Thigh Master has been high on my list of Aussie imports to check out this year, and they just announced a forthcoming split single with Dag (another of my favorites) for December. Those familiar with any of the previously managed bands will surely enjoy this track, as it walks that line between angular guitar and haphazard melody. To me, the band just embrace their own musical inclinations, even with slight tonal imperfections; this is what Pavement would have sounded like had they just gone out to have a grand old time. This split 7″ will drop on Bruit Direct Disques come the end of December.



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Zefereli (aka Alistar Richardson) is a DIY kind of guy. For the better part of four years, he has built his own recording studio just an hour from Brisbane where he has recorded, produced and mixed his own debut album entitled ‘All Players Played Well’, which was released last month.

Today, he premieres the video for newest single ‘We’re Going To Get There Someday’, which was shot completely on a Super 8 camera and features a number of cute dogs.

“We were walking past the op shops near where we live and found an old Super 8 camera,” Alistar says.

“It seemed to work! So we learned all about Super 8, experimented, searched the world for film, lost valuable footage due to our clumsiness and eventually put something together heartwarming and true to us. “We hope you love it. We filmed it all around Brisbane with friends and while on tour. The Super 8 became a little extension of ourselves.”

After separating from his former band and record label, Alistar became briefly disillusioned with music. His musical rebirth began partly due to his creative pairing with fellow musician, Clea who now often collaborates with Zefereli. “I met Clea and lightning struck. I heard her lyrics and her voice and I saw her unburdened by expectation and expressing herself in such a unique way… we have been inseparable ever since.”



DEAFCULT – ” Auras “

Posted: December 28, 2017 in ALBUMS, MUSIC
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Here’s the info on Deafcult: Loud guitars. Four of them. Interested? Right this way. Watch in awe as these Brisbane natives find their own way of making this quadruple-attack work entirely in their favour, eschewing maximalist overcooking in favour of tactical dynamic shifts and strict sensibilities. Few songs in the calendar year were able to find the balance between heaviness and accessibility the way “Rubix” did. It resulted in one of the year’s best singles from a band that you’d understandably only expect album cuts from. Lift your fixed gazes like antennas to heaven, from your shoes to the horizon.


The Deafcult debut full length Auras, is a record about dreams; the ghosts of people, places and situations past that haunt our nights sleep, or lack-thereof. Reflecting on romanticised memories as a disaffected suburban teenager, tales of love, drugs, death and what it meant to both discover and lose yourself. You told yourself it was going to last forever.

After 2015’s self-titled demo, the Brisbane six-piece sought to go further towards the margins —noisier, more precise, more dense, simply more. And yet, they became something much closer to a guitar-pop band in the process. From a certain angle, they are. Auaras has anthems firmly planted throughout, often behind the fuzz and haze, sometimes pushed to abstraction. But even in its most distorted moments, there is a gentleness to the music. AURAS is reflecting on some overwhelming themes, after all.


WALKEN – ” Unomi “

Posted: December 7, 2017 in MUSIC
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This Aussie rock act is uninterested in fitting in. Their sound is progressive and fresh, while still being accessible to the masses. On “Unomi”, we find a band who knows what the Arctic Monkeys crowd are in to, while still inserting blues riffs with crooning vocals that will engage and delight various crowds. Their style and substance makes it impossible not to root for these guys. The video is perfectly choreographed and transfixing with a young dancer setting the pace, before focusing on the act on a garishly adorned stage. We cannot wait to hear their new “What’s Your Environment? EP” that will drop in mid-December.

Band Members
Matt – Vocals/Guitar
Pat – Guitar/Backing Vocals
Beej – Drums/Backing Vocals

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Hatchie is the stage name of Brisbane-based indie/dream pop singer/songwriter Harriette Pilbeam. She’s been in the Brisbane music scene for a few years as a member of two other bands, but this is her first project that she’s been the front of. She released a shimmering indie-pop single called “Try” earlier this year, and followed that with a further track “Sure” a month ago. She’s set to release her debut EP early next year, and it’s probably safe to assume that this song will be on that record.

In general, there’s a Milk and Kisses-era Cocteaus feeling. There’s also quite a bit of jangly guitars that remind me of the indie rock of the early 90s. The song, according to what I’ve read, is about a couple who keep breaking up and getting back together. They’re giving it one last go because they can’t live with or without each other.

The video seems to be a deliberate glove-tap to the indie pop videos of the early-mid 1990s. The stripey shirt worn by the guitar player. The jangly acoustic guitar. The bank of TVs with horizontal TV noise and video feedback/recursive image. The classic 8-eye Doc Martens worn by Pilbeam. This is all stuff that takes me back to the golden age of indie pop, All I know about the forthcoming EP is that it’s called Sugar and Spice and that it’s due out “early next year”.

thanks thisisthatsong