Posts Tagged ‘Melbourne’

The latest, greatest psych-rock band to come out of Australia. What is it with this country and it’s never-ending production line of mind-bending rock ‘n’ roll?

Post-set buzz: is this Tame Impala? Pffft. Music for daytrippers.

Their Best song: The whole set feels like a single, very long, very weird song, but if we had to pick a highlight it would probably be Hot Water, if only for frontman Stu Mackenzie’s jazz flute exertions.  Frankly, they look like last night’s high hasn’t worn off yet. Which is exactly as it should be.

The crowd is pretty respectable, especially given the time of day, but there’s a significant drop-off from Pussy Riot’s in-conversation appearance just before them. In twelve months’ time, If all goes well, you imagine a reasonably prominent slot on the John Peel tent is within their grasp. But the Park stage – located way out on the fringes and populated with people who look like they’ve been doing the same drugs as them – feels like this band’s spiritual home.


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King Gizzard have announced plans to release their fourth studio album Polygondwanaland, and it will be free to download later this week.

“This album is Free,” wrote the band announced. “Free as in, free. Free to download and if you wish, free to make copies. Make tapes, make CD’s, make records.” “If u wanna make cassettes I don’t really know what you would do,” say the band. “Be creative. We did it once but it sounded really shit. Maybe try the WAVs idano. Ever wanted to start your own record label? GO for it! Employ your mates, press wax, pack boxes.”

Along with the new record and studio advice, the band have shared new song ‘Crumbling Castle’:


A Quality of Mercy is the debut album from Melbourne band RVG—an acronym for “Romy Vager Group,” honoring namesake singer-songwriter, Romy Vager. The album was self-released quietly in early 2017, and is full of songs that are imaginative, passionate, and witty. Sometimes they’re sad and raw, too. But at their core, all of the songs—which are inspired by bands like Echo and The Bunnymen and The Go-Betweens. The LP is an eight-track collection of tight, incisive post-punk/retro-pop infused with a liberal dose of downcast catharsis, confessional lyrics and downright infectious hooks.

The roots of the music on A Quality of Mercy began taking shape when Vager moved to Melbourne from the South Australian city of Adelaide in 2004. She was 17 at the time, and she hadn’t come out as transgender yet.

“I’d just started dating someone, a friend from high school, and I said to them, ‘Do you want to move to Melbourne?’ And a week later, we were in Melbourne. I spent probably five years after that just trying to keep afloat, in varying degrees of poverty.

While A Quality of Mercy touches on the challenges of being trans, Vager says it’s not a strong theme as much as “an underlying current. A lot of the songs were about re-evaluating things and moving things about.” She refers to a line in Rowland S. Howard’s 1999 song “Dead Radio”: “‘What to ignite and what to extinguish’—I had that running through my head,” she says. All the songs are striking in their own way, and Vager certainly hadn’t anticipated their positive reception.



The Week in Music: Paste's Favorite Songs, Albums, Performances and More

I’m Nai Palm, singer, songwriter, musician and frontwoman of Hiatus Kaiyote Songwriter, vocalist and guitarist from Hiatus Kaiyote. A sonic seer, based in Melbourne, Australia.. I’ll be releasing my solo, debut album, Needle Paw, on October 20 on Sony Masterworks. This record is a very personal leap into the deep end. I wanted to make something with no landmarks to hide behind and no team to fall back on.

The ridiculously talented Hiatus Kaiyote frontwoman is stepping out with her solo debut, Needle Paw, which strips away much of the band’s lush future-soul instrumentation in favor of a guitar and a voice. Watch her cover Jimi Hendrix’s “Have You Ever Been (To Electric Ladyland).”

Nai Palm – Electric Ladyland Recorded Live: 10/5/2017 – Paste Studios – New York, NY

Sketches Of Brunswick East is King Gizzard and the Lizard Wizard 3rd album of five in 2017 and a collaboration with LA’s Mild High Club. Just when you think you have King Gizzard and The Lizard Wizard sussed they throw a curveball – in the wake of two albums released in 2017 already, including most recently the dystopian end-times concept album Murder Of The Universe, which tackled in no uncertain terms the rise of robots and the downfall of mankind, comes Sketches Of Brunswick Eastan entirely altered beast. Australia’s finest and most productive rock band have done this before, of course: while the world was still reeling from their 2014 breakthrough psych-punk masterpiece I’m In Your Mind Fuzz (2014) they casually released 2015’s expectation-confounding Paper Mache Dream Balloon (2015), a pastoral, sun-drenched acid-folk album. Sketches Of Brunswick East is a collaboration between King Gizzard and Mild High Club, the Los Angeles based tripster troupe signed to Stones Throw Records and led by Alex Brettin – the two bands formed a strong friendship touring together throughout the USA, Europe, and Australia. Recorded at the band’s own Flightless HQ in East Brunswick, Melbourne Australia earlier this year and mixed at Stones Throw studios in L.A. it’s the third of five projected albums to be released in 2017.

its their 11th studio album, released August 18th, 2017.



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I am truly inspired by independent Australian singer/songwriter and producer Hayden Calnin, his music featured on renown TV shows such as Suits, Parenthood, So You Think You Can Dance USA, The 100, Teen Wolf, MTV’s Awkward, Meet The Fosters and for the UK & Japanese official trailers for Oscar winning film, ‘Room’ and had The Vampire Diaries lead actor/director, Paul Wesley, reach out to him on Twitter as a fan, personally requesting to use the track on an episode he was directing in the final season of The Vampire Diaries

He’s sold out shows in Australia and the UK, to packed rooms in Paris and Berlin, had the pleasure of touring with the likes of The Antlers, Matt Corby, Brooke Fraser, Mat McHugh, Missy Higgins and so many more!

Amongst the array of local bands Howler has paid homage to, Melbourne artist Hayden Calnin takes the cake, leaving the audience mesmerizingly captivated throughout the entire night.

Calnin knows how to draw in a crowd, The electronic folk singer launched the new hit ‘White Night’ amongst a couple of other songs that Calnin privileged the audience with, which will be out on the new record early next year.

Hayden Calnin + Band perform “Sorry For Us” & “Shutters”, live in The Howler Melbourne

Once Calnin started singing the entire room fell silent – immersed in delicate melodies and touching lyrics the energy of the room. Sparking vocal reminiscence of Bon Iver Calnin’s vocal capacity hits a sensational choral range. Calnin’s vocal and lyrical versatility sends you on a dream-like trance letting the harmony flow over you. The haunting vibe of the melodies lingered as each song finished leaving the audience stagnant and musically touched.

I personally find audience interaction immensely important and Calnin was definitely on top of that, telling stories and making the audience feel included in anyway he could. An unforgettable magical experience overall – I hugely look forward to Calnin’s future musical endeavors and the new album.

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Melbourne sisters Mabel and Ivy Windred-Wornes, Charm of Finches, celebrate the one year anniversary of their stunning debut album “Staring at the Starry Ceiling” in the lush Velvet Room at The Thornbury Theatre.
 Named one of the best releases of 2016 by ABC Radio National, it was produced by Melbourne luminary Nick Huggins and features ten delicate songs about heartbreak, solitude and whispering trees awash with the young duo’s signature angelic sibling harmonies.
The duo, aged 17 and 14, were awarded The 2017 National Folk Festival Gill Rees Young Musicians’ Award in Canberra, and continue to win hearts at music festivals over the country with their unique dreamy folk sound, both delicate and authentic.

“folk purity…affecting and emotional” The Music

Praise for “Staring at the Starry Ceiling”:
“For a duo so young to conjure a full album of music so candid and original as this is astonishing…Charm of Finches sound like they’re mining something far more ancient and universal”

Alex Lahey

Alex Lahey likes to keep it real. The 24-year-old Australian musician takes her rise up the ranks from music student to ‘an artist with one of the most highly anticipated debut albums of 2017’ in her stride.
Lahey sees her life as ordinary: “I fall in love, I have a family, I go out with my friends, I like to have a drink.” However, most people can’t distil those universal experiences into wry, punchy indie-rock songs – three minute odes to millennial angst and all the complicated feelings that come with it. Alex Lahey can. ‘Love You Like A Brother’ is proof.

Born and raised in Melbourne, Lahey initially studied jazz saxophone at university but unimpressed with “learning music in such a regimented way” she switched to an arts degree (see her ‘B-Grade University’ EP for more details). Her tenure with cult music collective Animaux allowed Lahey the musical anarchy she yearned – hell, she booked the band their first gig before they’d even prepared a single song.

Lahey stepped out on her own once she began to write songs that didn’t fit Animaux’s party space. Songs that were inspired the two people she considers the greatest songwriters of all time, Dolly Parton and Bruce Springsteen. Songs that got her noticed at a local industry conference and scored her a solo management deal. Lahey had graduated.

The ‘Love You Like A Brother’ album drops fresh off the back of Lahey’s breakthrough in 2016. Last year her ‘You Don’t Think You Like People Like Me’ single was inescapable and landed her a spot in Australian radio network triple j’s prestigious Hottest 100 of 2016. The song’s universal tale of rejection took Lahey global – its message, she says, is the flipside of the usual break-up scenario: “Yeah, you’re right. It’s not me. It IS you.”

And that no-shit-taken attitude is the backbone of ‘Love You Like A Brother’. From the stomping title track ‘Brother’ to the gently moving ‘Money’, Lahey’s debut long-player tells it like it is.

The album found Lahey back in the studio with production partner, and one-half of Holy Holy, Oscar Dawson (Ali Barter, British India). The pair pushed each other to create an intimate sonic experience that comprises scuzzy guitars thrumming over pop melodies, helmed by Lahey’s unfussy but arresting vocals.

The album’s songs traverse the everyday themes of family, heartbreak and identity. Lahey tells her stories with character… and dry humour – “I’ve figured it out,” she sings in ‘Awkward Exchange’, “you’re a bit of a dick” – but there are also moments of darkness. In ‘Taking Care’ she muses, “I’ve gained weight and I drink too much, maybe that’s why you don’t love me as much.”

‘Taking Care’ was written after Alex had an eye-opening conversation with her mother. “I was seeing someone who I knew wasn’t treating me well, and chose to ignore it, and I think my mum had picked up on it as well. She just said to me at the end of the conversation, ‘Alexandra, whatever you do, just make sure that you take care of yourself’.”

The poignant ‘Backpack’ is a tribute to Lahey’s latest relationship, and the unsure start it got off to. “When we first started going out, they warned me about how they’re really flighty, and I was like, ‘I just want you to stay. And I don’t know if you are.’ It’s just saying it’s hard to hold someone down if they’re always thinking about the next place that they’re going to. It’s hard to give someone a hug when they’re walking away. And sometimes it’s good to chase them down and be like, ‘Hey, I’m here.’”

And, in case the album’s title hadn’t given it away already, there’s a track for her brother too. “We don’t get a choice/So let’s stick together,” screams Lahey in ‘Brother’. That angsty love you’re hearing is easily explained by Lahey, “My brother and I clashed for a long time, and then all of a sudden as adults, we’re really close. I feel like this song is my gift to him.”

The themes of Alex Lahey’s album might be universal, but it’s the unique approach she takes unpacking them that’s earned her millions of Spotify streams, buzz-worthy showcases at SXSW and festival sets alongside the likes of Flume, The Kills, At The Drive-In and James Blake as well as guesting on tours with Catfish & The Bottlemen, Tegan & Sara and Blondie.


Produced, engineered and mixed by Oscar Dawson
Mastered by Matt Redlich

Alex Lahey – vox, guitars
Kai Chen Lim – bass
Sam Humphrey – guitars
Lachie McGeehan – drums

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With a stadium-sized statement that cuts through the fragile count-in strum. A burst of crunchy guitar grandeur that’s short-lived as an equally-striking stab of self-deprecation steps up: “I hate myself for feeling like I’m burning up”. So goes the opening thirty seconds of Robert Muinos′ new song “Weeks At All” The opening track from his latest EP3 from the Melbourne singer-songwriter’s forthcoming.

Recalling both the bare-boned expression and burst/settle contrast of Jason Molina, “Weeks At All” is a raw, cathartic-chasing journey through pain, pity and frustration. In a constant state of flux between knife-edge fragility and worry-weighted collapse, Muinos steers the song through both recalled scenes and blunt pick-me-downs, aimed both indirectly (“let it out”) and as more targeted blows (“your hate comes pouring like a waterfall”). All leading to a line that equally serves as a smirk-and-a-shrug that undos all before it and as a brutally poignant self-summary: “I run away and sing my little songs.” then the huge guitar break, in this amazing release. Muinos — who is also currently a member of soul outfit Saskwatch and pop-weirdos Dorsal Fins.


All songs written by Robert Muinos. Drums and backing vocals by Jim Lawrie. Bass guitar by Tom Pettit. Keyboards by Olaf Scott. Guitar, singing, recording and mixing by Robert Muinos. Rocorded at The Curtin in March 2017.

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Angie McMahon‘s songs were written for live performances. Her captivating presence and soulful, warm vocals transfixes the audience. She writes lyrics that capture life experiences in her own unique way.

Her debut single ‘Slow Mover’ is a song that etched itself into the back of my mind after first hearing it live. Weeks later it would randomly pop into the forefront of my mind. Maybe it’s the way the song slowly builds, or that infectious chorus, or the fried chicken lyric. Probably best if you just hit play.

‘Slow Mover’ is a compelling introduction to what this young singer-songwriter is capable of.