Posts Tagged ‘Chapter Music’

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Little Ugly Girls, the legendary Hobart riot grrl band, are set to release their first ever album. First formed in the early nineties, Little Ugly Girls are forgotten heroes of Australian punk, a howling tesla coil of energy that left a mark on the genre without ever releasing a full album. The quartet, made up of vocalist Linda Johnston, her brother Dannie Johnston on guitar, Brent Punshon on drums and bassist Mindy Mapp, played with icons throughout the nineties and 2000s like Fugazi, Bikini Kill and The White Stripes, but have never released anything more than a few cassettes and a CD-R.

Chapter Music are to release Little Ugly Girls, debut album that’s been in the works for over two decades. Built from skeletons first recorded in the nineties, the album was finally completed over the past few years. A dirty, raging piece of punk, Little Ugly Girlsis an exhilarating record of crackling guitar and pummelling drums, all built around Linda’s gruff, caustic wail.


Lead single “Tractor”, puts Linda at the fore, her unhinged vocal performance moving from outright screams to a bridge teetering on the edge of spoken word performance. “‘Tractor’ is about a world of injustices perpetrated by misogynistic, homophobic, religious hypocritical lying bullies,” Linda says, “


Following on from their acclaimed 2015 debut Down Time (released on Bedroom Suck in Australia, Fire Records in the UK), Her is a shining jewel of an album. Elizabeth Mitchell’s voice is a thing of unearthly beauty, capable of soaring and swooping in shiver-inducing ways. As a songwriter she is equally arresting, addressing desires and dreams with affecting frankness.

In Totally Mild she is joined by guitar magician Zachary Schneider, drummer Ashley Bundang and bassist Lehmann Smith. In the last few years the band have developed a quasi-psychic intensity, surging forward or pulling back in seamless unison. This intensity has been captured in crystalline form by producer and one-time Architecture In Helsinki member James Cecil. Her is polished and spacious, while never losing the feeling of a band in full flight.

After Down Time’s release, Totally Mild toured UK/Europe in 2015, then hit the US in early 2017, playing SXSW and a string of LA/NYC shows. In Australia they have played Meredith Music Festival and shared stages with the likes of Real Estate, Kurt Vile, Best Coast, DIIV and The Chills.

About the new album, Mitchell says “Her is a record of failure and victory, new desire, stale romance, queer domesticity and what comes when the party is over. I was torn between a new domestic life and the impulse to tear it all away with bad choices. I fell in love, but I wrestled for independence. I was always trying to prove that I didn’t need anyone; my wife, my friends, my band. Her is a document of a woman struggling with the idea of potential. We are told that we could be limitless, but we wrestle with unseen personal and structural walls.”

Mood rises and falls expertly throughout the album: Working Like A Crow, originally written for a children’s choir, is simple in its self-sufficiency. From One Another is an eulogy for a toxic relation- ship given the most graceful pop setting. Mitchell’s love for piano balladry is showcased on Lucky Stars, while Today Tonight is kinetic, dynamic guitar pop at its finest.. 


Across their powerful, delicate, luminous second album Her, Totally Mild move through light and shade with silky finesse.

“A shining talisman for the heartbroken” – Pitchfork
“Engorged, engaged, empowered bedroom sulk music” – The Guardian “Sweet, harmony-rich, pointedly concise jangle-pop” – NPR
“Skewed pop gold” – Noisey
“An ethereal voice…lovely songs and just-so jangly arrangements” – BrooklynVegan

Melbourne scratchy pop favourites The Stevens reveal “Pulling All The Facts Together”, the second single from their simply titled new album Good.

First single Chancer was premiered on NPR last month, and now “Pulling All The Facts Together”, calling it “a song that brims with harmonies and pop smarts. What’s more, Good is now available via the Chapter Music webstore, Bandcamp . The album came out on July 14th on vinyl, CD and digital,

Good picks up where the Stevens’ 2014 debut A History Of Hygiene left off – 18 short songs, alternately frenetic or laconic, packed with twists and hooks that merge lo-fi outsider songcraft with 70s prog wizardry and classic rock swagger.

Melbourne scratchy pop favourites The Stevens reveal Pulling All The Facts Together, the second single from their simply titled new album Good.

First single Chancer was premiered on NPR last month, and now “Pulling All The Facts Together”, calling it “a song that brims with harmonies and pop smarts.” . What’s more, Good is now up for pre-order via the Chapter Music webstore  or Bandcamp . The album came out on July 14th on vinyl, CD and digital, and pre-orders come with instant downloads of both Chancer and Pulling All the Facts Together.

Good picks up where the Stevens’ 2014 debut A History Of Hygiene left off – 18 short songs, alternately frenetic or laconic, packed with twists and hooks that merge lo-fi outsider songcraft with 70s prog wizardry and classic rock swagger.


The Stevens formed in 2011 around guitarists Alex Macfarlane (Twerps, Tyrannamen) and New Zealand-born Travis MacDonald, and were soon joined by bassist Gus Lord (Twerps, Boomgates, Tyrannamen) and drummer Matt Harkin.

Beaches have an appropriate name, evoking the California coastline where the first psych purveyors congregated. This Melbourne quintet takes their DIY philosophy seriously—everyone plays an instrument, everyone sings, and the various members design their own album artwork and direct their videos. Their third album, “Second of Spring”, is their most ambitious yet, a double-LP filled with sunny melodies and motorik beats. It swings between brittle post-punk riffing and delightful pop harmonies, occupying that dreamlike state right before sunrise.


This Iconic Australian psych rock quintet Beaches return with epic double LP Second Of SpringChapter Music’s first ever double album by a single artist.

Second Of Spring takes Beaches even further out, to where the pyramid meets the eye – a vast, enveloping sonic landscape, filled with extended instrumentals, overdriven psych-outs and propulsive pop nuggets.
The double album was recorded in Melbourne with engineer/producer John Lee (Totally Mild, Lost Animal) and mastered by David Walker. Artwork is by the band‘s own Ali McCann, with design by renowned artist Darren Sylvester.
Beaches’ self-titled 2008 debut was shortlisted for the Australian Music Prize, and included in glossy coffee table book 100 Best Australian Albums. The band released a standalone 12” on New York label Mexican Summer in 2010. They have toured the US twice, playing SXSW and Austin Psych Fest, and shared stages with Roky Erickson, Deerhunter, The Cult, Thee Oh Sees, Lightning Bolt, Mogwai, Best Coast and more.
Already revered as sprawling, swirling psych overlords, Second Of Spring is Beaches’ undeniable magnum opus.

Beaches are a band is celebrating their 10th anniversary and releasing their first album in four years, they can be forgiven for sharing a 17-track, 76-minute marathon. More bands should follow the lead of Melbourne quintet Beaches and use the milestone to unveil their most ambitious and expansive output to date. This is exactly what Second of Spring is. It is a monster of a record.

From psychedelic to noise-pop to post- and even doom, Beaches cover the entire rock landscape and then some. The album kicks off with the bombastic “Turning”, which features smooth guitars, groovy rhythms, and tribal-like chanting. There isn’t much lyrical content, but one wouldn’t expect to arrive at the Pearly Gates to a sermon. This is just the welcoming mat, and once inside the party gets started. The record kicks into another gear with the searing doom rocker “Void”, which is three-and-a-half minutes of joyous, psychedelic eruptions. Next up is the swirling psych-rocker “September”, which is like Wooden Shjips on Red Bull.


“Be” slows things down ever so slightly by offering a groovy, throwback garage-rocker. A Siouxsie Sioux and The Banshees vibe percolates throughout, from the deep echo of the lead guitar to the deadpan vocals. Following the reverb-drenched, instrumental “Natural Tradition”, Beaches uncork the gritty and melodic “Calendar”. It’s more of a slacker-rock tune than a full-blown psych number, but that changes quickly when “Contact arrives.

We have now left the party and started our ascent to another world. As the title suggests, “Contact” is a far-out, space trip. Methodical head noodling is on the menu for this track, as the pounding rhythms and transcendent guitars create a throbbing atmosphere. The trip, however, has only begun. The rip-roaring “Divers” is intoxicating, and it will cause plenty to showcase their best air guitar skills. Meanwhile on “Wine”, Beaches channel their inner Preoccupations and deliver a menacing post-punk blazer. The soundscape is stark and even frightening. The distant vocals and lyrics heighten the song’s suspense, and they reveal a woman searching for light. A woman seeking to be found.



When the light shines through, “Arrow” arrives. The shimmering guitar riffs, the head noodling rhythms, and dazzlingly hazy vocals combine to create a summertime vibe. This song, as such, is meant for long road trips,. The shoulder-shimmying continues with the ’60s-influenced, psychedelic-pop-rock gem “When You’re Gone”. It’s the one track on the album that might cause a bit of dancing.

Those two songs represent the zenith of the album, and the trip back home commences with the rapturous “Golden”. The fall starts slowly with this dark and majestic number, which is akin to the post-punk and industrial sounds that dominated the Manchester scene in the late ’70s. But as the laws of gravity dictate, a free-falling object accelerates over time. The velocity slightly increases on the stirring and sun-drenched psychedelic track, “Walk Around”, which includes the surprising addition of a saxophone.

This trip, however, isn’t a linear one. A detour is encountered on “Bronze Age Babies”, and the song is more akin to the India-inspired and quirky psychedelia of King Gizzard & The Lizard Wizard. Things get hazier with the gentile and melodic “Grey Colours”, which feels like a lullaby. The album, however, is far from finished. Instead, this song represents the slow descent that comes right before landing.


Welcoming us back is “Mothers and Daughters”. It’s not a joyous occasion, however, as the sound of sirens swirl in the background. The song starts off with a perilous attitude before easing into a post-rock anthem. It’s a mesmerizing number that is only exceeded by the album’s grand closer, “Mutual Delusion”. This nine-minute epic is a ride in itself, as a hallucinating one that is. As the song comes to an end, we ponder what we have just experienced. Are you back where we started or is this some sort of mind trick like the TV show Lost was? Whether this is reality or some alternate universe, this one hour and sixteen minute journey has been worth every second. So what do we do next? Spin it again and again because this album is like one continuous loop. Kind of like life should you believe in the afterlife.

Second of Spring is out Friday, September 8th via Chapter Music. It is available on Bandcamp.

Beaches are Allison Bolger, Ali McCann, Antonia Sellbach, Karla Way and Gillian Tucker.

Ear worm alert. School Damage are currently a buzz band down under and you can hear why with their take on the minimalist DIY pop of The Raincoats and The Vaselines. Melbourne/Geelong quartet School Damage began as a bedroom recording project for Carolyn Hawkins (Chook Race, Parsnip) and Jake Robertson (Ausmuteants, Frowning Clouds etc). They released a cassette for Moontown Records in 2013, then were joined by Jeff Raty on drums and Dani ‘Damage’ Hakim on bass. Taking cues from pop outfits such as the Vaselines, Particles and Young Marble Giants, School Damage’s sound is defined by wobbly keyboards, weaving bass lines, and lyrical content focused on the anxieties of modern life and love. They have released vinyl singles on Detonic and Moontown, played Gizzfest 2016, and have shared stages with the likes of the Bats, Twerps and NUN.
Look out for their self-titled debut album on Chapter Music in June 2017.


first single from forthcoming self-titled School Damage album, due on vinyl and digital in June 2017.

This Saturday, terrific teen trio The Goon Sax kick off their Up To Anything album launch tour in sunny Sydney. The album has been getting hot press all over the world, including rave reviews in Mojo,Pitchfork, Uncut and Rolling Stone!, Chapter Music is excited to announce a new tour in the form of Brisbane teenagers Louis Forster, Riley Jones and James Harrison, aka The Goon Sax.

We fell in love with the trio The Goon Sax since the release of their early singles ‘Sometimes Accidentally’ and standout ‘Boyfriend’ which we called “a hooky three minutes that ride a down tempo wave of both laconic wit and painful longing.”

Signed last year to Chapter Music on the strength of an unsolicited demo, (the first time that has ever happened in the label’s history), the young collective have gone on to slay critics’ hearts internationally and play with the likes of US Girls, Twerps, Blank Realm and Crayon Fields,

The Goon Sax make pop music. They love the Pastels, Talking Heads, Galaxie 500, the Apartments, Woody Guthrie and Prince. The band formed at high school in 2013 when James and Louis began workshopping song ideas in James’ bedroom. Riley joined in March 2014, after a month of drum lessons, and the band played their first show a few months later. They’ve since played with the likes of Twerps, Blank Realm, Darren Hanlon and others.

CH132 Goon Sax RGB

Ludicrously talented teenage trio The Goon Sax had already grabbed our attention with barnstorming singles Boyfriend and Sometimes Accidentally, and featured in our ones to watch in 2016. This week to much excitement around these parts, they have confirmed details of their upcoming debut album, Up To Anything which will be released on Chapter Music next month.

They’ve also this week shared the albums title track, yet more evidence for the theory that they’re probably the most exciting Indie-Pop band on the planet. Here The Goon Sax are blending the glorious lo-fi melancholy of Galaxie 500 with the poppier moments of The Vaselines or Teenage Fanclub. As ever the lyrics tumble out as a stream of consciousness, painting vivid pictures of the mundane and sometimes lugubrious process of growing up, and wanting to be someone, singer Louis Foster noting, “I only do these things, so I can tell you about doing them”. Thrilling stuff, The Goon Sax take us back to memories of our teenage years, even though they’re still living through theirs, roll on the album.


The album Up To Anything is released on vinyl, digital and CD by Chapter Music on Friday March 11, 2016 Out Apr 8 in UK). Pre-orders available now (including instant downloads of this track plus previous singles Sometimes Accidentally and Boyfriend):


Fresh faced Brisbane trio The Goon Sax are a band who’s influences seem almost too old for their years. They may still be in their teenage years but they cite the likes of The Pastels, Galaxie 500 and Talking Heads as influences, and make the sort of music last heard being pedalled by Postcard Records at least a decade before any of these three were even born.

Whilst we’ll have to wait for their debut album, they’ve already shared two tantalising snapshots of what to expect in the shape of singles Boyfriend and Sometimes Accidentally. Boyfriend is a plea for, “a boyfriend or just anything real”, set to a fizzing-stab of drums and guitar; whilst Sometimes Accidentally is a glorious slice of downbeat jangle-pop. Music for your heartbroken inner teenager hasn’t sounded this fresh or exciting in a very long time.
first single from The Goon Sax debut album Up To Anything, to be released by Chapter Music in 2016.