Posts Tagged ‘Melbourne’

Amyl & The Sniffers have just made huge impact at the Austin Texas based SXSW Festival, confirming their status as one of the most talked-about bands of the festival, barrelling their way towards the release of their debut album with intoxicating energy, all channelled through the relentless, scrappy charm of Amy Taylor.

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Proudly reviving a Seventies punk they’re far too young to have experienced, Amyl & the Sniffers move at a breakneck speed. Pounding through tunes so quickly, it seems that they’re indifferent to hooks. But they’re not; rather, they’re just impatient to get to the next one. While the Sniffers seem on the verge of falling apart, Amyl prowls the stage, and her restlessness lends the band a coiled energy. At their best, Amyl & the Sniffers sound like Blondie deciding they’d be better off as a dirtbag bar band who dabbled in hardcore. It’s a combination that results in some glorious noise.

Releases September 21st, 2018

Some Mutts (Can’t Be Muzzled) and Cup of Destiny by Amyl and the Sniffers.
7” available through Flightless in Aus and Flightless via ATO in America. Limted to 1000.
Drums- Bryce Wilson, Bass – Gus Romer, Vocals Lyrics- Amy Taylor. Guitar- Dec Martens.

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After a landmark 12 months for Rolling Blackouts Coastal Fever, who released their debut album Hope Downs to worldwide critical acclaim in June 2018 – Sub Pop Records is excited to reveal new music from the Melbourne band in the form of single, “In the Capital.” The track will also feature on a limited edition 7-inch alongside a B-side titled “Read My Mind.” The vinyl will be released on Friday, April 26th and is available from Sub Pop Records.

Rolling Blackouts C.F.’s Fran Keaney describes how “In the Capital” came together: “I first had the idea for the melody and some of the lyrics when I was swimming. It’s taken a while to finish the song, to make it feel like the initial feeling. I can’t neatly describe it, but something like connection despite distance. I was thinking about transience and water and death and big cities and fishing towns and moon river.”

“In the Capital”‘ (Release Day: April 26th, 2019)

King Gizzard & The Lizard Wizard return on Friday April 26th 2019 with a new album “Fishing for Fishies”perhaps their most perfectly-realised album to date. Released on Flightless Records world-wide, here is a world where the organic meets the automated; where the rustic meets the robotic. Where the past and future collide in the beautiful present. Having returned in late January with a regulation mind-blowing video to Cyboogie, the first track to be taken from the album, the band have today shared their latest Jason Galea directed video to the album’s title track, Fishing For Fishies.

The fourteenth album since their 2012 debut – and their first following the release of five vastly different albums in 2017 – Fishing for Fishies is a blues-infused blast of sonic boogie that struts and shimmies through several moods and terrains. From the soft shuffle Outback country of the opening title track through the sunny easy listening of ‘The Bird Song’ (think the lysergically-soaked Laurel Canyon circa 1973) and on through the party funk of ‘Plastic Boogie’ (which somehow summons the spirit of Stevie Wonder’s Innervisions) the road-trucking, Doors-like highway rock of ‘The Cruel Millennial’ and ‘Real’s Not Real’ – it’s a dizzying, dazzling display which addresses a number of pertinent environmental issues along the way.

“We tried to make a blues record,” says frontman Stu Mackenzie. “A blues-boogie-shuffle-kinda-thing, but the songs kept fighting it – or maybe it was us fighting them. Ultimately though we let the songs guide us this time; we let them have their own personalities and forge their own path. Paths of light, paths of darkness. This is a collection of songs that went on wild journeys of transformation.”

Quiet though it was on the record front, 2018 was hardly a year of rest – almost in perpetual motion, they continued their un-stoppable rise as their juggernaut of a live show grew, and grew, and grew with a mind-blowing headline slot at last year’s Green Man Festival, a massive sold-out U.S. tour in the summer which saw them play their biggest venues to date, a brain-frying sold out Brixton Academy show, 2 gigs in Russia & Istanbul in March where they played in front of over 15,000 people and putting on the 4th edition of their annual ‘Gizzfest’ in Melbourne amongst the highlights.

King Gizzard & the Lizard Wizard are: Stu Mackenzie (vocals/guitar/flute), Ambrose Kenny-Smith (harmonica/vocals), Cook Craig (guitar/vocals), Eric Moore (drums), Joey Walker (guitar), Lucas Skinner (bass) & Michael Cavanagh (drums).

Angie McMahon will perform at SXSW 2019.

There’s a low, gritty, bluesy rumble to Angie McMahon’s dramatic, poppy rock and roll — at times, she sounds like a one-woman reincarnation of Fleetwood Mac, which is a pretty lofty goal to set for yourself. In “Keeping Time,” McMahon has fun with sweeping shifts in volume, seemingly fading out until she hits a rousing chorus and unleashes a whoop worthy of her classic pop-rock forebears. At that point, the windswept drama of it all seems to transport her to another era entirely.

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The Melbourne-born singer-songwriter is touring the United States for a run of shows that includes a date with Pixies in Tennessee, backed by a new two-track EP, A Couple of Songs, out March 7th on Dualtone Records. Videos for both of those songs — the already-released “Keeping Time” and the brand new “Pasta” — are premiering they make for a perfect showcase of McMahon’s gifts as a songwriter and vocalist.

“Pasta” is the standout though, an undulating rock song that McMahon says is “about feeling really tired, trying anyway, and wanting to rock out like Springsteen.”

That video has McMahon playing a show to (and sort of with) a pack of dogs. “When I needed to make merch for my first tour, I spent so long freaking out about it, worrying that it wouldn’t look cool and I wouldn’t be able to design something that felt genuine,” McMahon. has said “The day before it was due, I quickly scribbled this picture of some dogs lining up to go to a concert (dream come true). I got to the tipping point where I let go of the pressure and just did whatever felt good. This music video is a kind of adaptation of that. The gold star reminds me of being a kid and having encouragement, getting a tick of approval or whatever, but the adult version that I’m learning is that you just have to encourage yourself and not wait for other people to do it. And if you can’t make yourself feel awesome, dogs might make you feel awesome. It’s a reminder to go outside.”

Both of these songs will be on Salt, her debut full length, due out later this year.

 

Amyl and the Sniffers are Amy Taylor (vocals), Gus Romer (bass) Bryce Wilson (drums) and Declan Martens. They formed in Melbourne, Australia in early 2016 and wrote, self-recorded and released their debut EP, “Giddy Up”, all in a span of twelve hours.

Their second EP, Big Attractions, was released in February 2017 then re-released as a 12” double EP with Giddy Up, through Homeless Records in Australia and Damaged Goods in the UK. Both PBS FM and Triple R FM in Melbourne made the record ‘Album of the Week’ and the band went on the sell out multiple Australian headline shows. 2018 saw limited edition vinyl copies of Giddy Up/Big Attractions fly off the shelves, pushing Amyl and the Sniffers into the Top 40 on the UK Vinyl Charts.

The band made their international debut at The Great Escape festival in May followed by sold out shows in London, before flying out to the Los Angeles to join King Gizzard and the Lizard Wizard on a 22-date tour of the United States.

Return trips to both the UK and US followed later in the year, where the band played to packed houses and rave festival reviews.

Loose Tooth Keep Up

With Keep Up, Melbourne three-piece Loose Tooth have inked their impeccable ear for a hook on a fresh sonic palate; the howling guitars of their first EP Saturn Returns peeled back to foreground the striking to and fro of the band’s distinctive vocalists.  That’s three for three – Etta Curry (drums, vocals), Luc Dawson (bass, vocals, guitar, keys), and Nellie Jackson (guitar, vocals) – long time friends with a democratic approach to both songwriting and influences.

Where Saturn Returns was squared in youthful abandon, the band’s debut album is the hangover; recognising a tension between keeping up in a shifting landscape of necessity and staking out your own version of happiness as you wave goodbye to your golden twenties.

Raised on the holy trinity of soul, country and Eddy Current, their debut LP is a living reminder that the B-52’s used to be a punk band and the light hasn’t gone out on the storied shores of St Kilda, Loose Toothhave a new clip for ‘Asteroids’ taken from their most recent album Keep Up.

‘A knack for sunny vocal harmonies, addictive basslines and their own take on the striped, sunlight sound made famous by predecessors like the Go-Betweens.” 4 1/2 stars – The Sydney Morning Herald.

Loose Tooth have a new clip for All The Colours Gone from their debut album

‘All The Colours Gone’ is taken from Loose Tooth’s album ‘Keep Up’ out now:

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Chapter Music welcomes Sweet Whirl, aka Melbourne artist Esther Edquist, to their roster with this six song EP ,
Love Songs & Poetry introduces Edquist as a master of smoky self-analysis, casting a sharp eye over blurry situations and dissecting hazy mornings-after with wry resignation. Using her bass guitar as a singularly expressive lead instrument, Esther imbues bleak moments with space, mystery and romance.
The Sweet Whirl band includes drummer James Vin- ciguerra from Total Control, and Liam Barton of Laura Jean and Gregor’s live band, who also recorded the EP.

Esther’s previous band Superstar released two albums of delay-drenched pop on the Bedroom Suck label. She also released a tape of no-fi solo bass and vocal recordings on experimental label Nice Music in 2016.
With Love Songs & Poetry, Sweet Whirl emerges into a world of fully fledged songcraft. The EP’s six songs illuminate questionable life choices, revealing the beauty and glamour lurking within.

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“With music this soft on your skin, small acts of rebellion feel big.” – The Guardian
“Beautifully melancholic and ethereal” – Lost At E Minor
“This might not be music for fucking but it could be music for thinking about making love” – Who the Hell

Jen Cloher is a highly respected recording and performing artist and co-founder of Milk! Records.

From the artwork of the album down to the songs themselves everything about this album is soaked in drama, What makes “Dead Wood Falls” so fantastic is its simplicity. It combines honesty and minimal folk styling’s to explode a wonderful collection of songs that showcase a very disciplined artist. Every song is carefully crafted and placed on this album to give a continuity that is vital to helping you the listener connect to all of the stories being expressed.

..it’s hard to believe this album was released back in 2006, but then again a classic album is by definition timeless. There’s a certain simplicity to this album – despite all the bluesy, country and rock touches, it is Jen Cloher’s sombre and poignant vocals that pierces the blackness that hold the listener enthralled…”

The albums seventh track “Rain” is a highlight and an example of the Jen Cloher magic. The song itself flirts with that storytelling tradition but the song doesn’t slip into the cliché’s that often come along with that creative template. There is still a healthy dose of fiction acting as the safe place for the real hurt of this piece of communication to be buried so that you get the perfect mix of personal pain and metaphors. Regardless of all this scientific dissection the fact remains that the song “Rain” has a powerful dialogue capable of cutting you deep and hitting you directly. When you hear those lyrics you know that Jen lived every inch of them and like all of the classic songwriters of our time it connects to your story and helps give light to both the confusion and conclusion needed to discover that brand new start.

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Originally released April 1st, 2006

THE PAPER KITES poster image

The 80s influences have once again be ramped up on The Paper Kites 2018 album “On The Corner Where You Live”, but their folk roots are still there to be uncovered.

“Our hotel window in New York City looked straight into the apartment building across the street. You could see all these windows lighting up and people getting home from their nights out. We just sat there and watched them. It was fascinating. It was living art.”

Sam Bentley, frontman for The Paper Kites spoke of the moment the album’s concept clicked together. “It’s a collection of stories about these characters all living in an apartment building; I wanted to capture moments, feelings, it’s about people and their stories,” he says of On the Corner Where You Live (released September 21st via Nettwerk Records), the Australian band’s melancholic, mid-tempo companion to the recently released album, On the Train Ride Home.

Give them your tired, your lonely, your lovesick, your unsure, The Paper Kites have a song for each of them. “I created a world based on the idea of watching other people, but a lot of the songs are extensions of myself or people I know,” he says.

Such artistic insight has earned The Paper Kites (which also includes vocalist Christina Lacy, guitarist Dave Powys, drummer Josh Bentley and bassist Sam Rasmussen) a loyal, organic fan base. In the eight years since they formed, what’s followed is an impressive reach of their music, with steady international touring, nearly 47 million combined YouTube views and over 260 million streams on Spotify.

On the Corner Where You Live wafts evocatively with noir-ish saxophones, guitars, ambient traffic, even the languid sound of rain. Its levitating and bittersweet, heavy-hearted stories that are resoundingly universal.

Expanding on the group’s acclaimed second full length, 2015’s twelvefour, Sam says “I’m still very much drawn to the late nights and the sound of them: rich, honest, compassionate music.” The group originally planned to release On the Corner Where You Live and On the Train Ride Home as a double album, but decided to split them up due to the difference between the tracks – “We had these earnest, minimal, almost acoustic songs and these bigger songs you hear in On the Corner Where You Live. Like two sides of a coin, it’s the same feeling, just different expressions of them”.

The Paper Kites co-produced On the Corner Where You Live with Grammy-winner Peter Katis at his studio in Connecticut – a 120 year old victorian era home that the band lived and recorded in for 5 weeks.

On the Corner Where You Live’s opening instrumental “A Gathering on 57th” bridges the gap between the two records, the first thing you hear is the sound of the train running along the tracks and a street busker wailing into the night. The albums’ concept came to Sam while on tour – “It came from watching people really, being in unfamiliar cities, observing other people’s lives. I remember the band was staying in a hotel on 57th street in Manhattan and we’d come home from wherever we’d been. Our hotel window in New York City looked straight into the apartment building across the street. You could see all these windows lighting up and people getting home from their nights out. We just sat there and watched them. It was fascinating. It was living art.”

“Give Me Your Fire, Give Me Your Rain” takes over from where On The Train Ride Home left off. Josh Bentley’s punching drums making a statement that the record is a slightly different affair from the quiet solitude of the previous offering. A lush sonic tidal wave of midnight melancholy sets the tone of longing, loss and hope echoed through everything that follows.

The band recorded the Manhattan street noise from the window of their 57th street hotel, adding it to the lilting meditation “Midtown Waitress,” Sam tells the story of being alone in London bar years ago, where an elderly woman who turned out to be a pianist for the ballet scribbled down a melody on a piece of paper, gifting it to him, naming it “The Encounter.” During the recording session, Sam dug out that piece of paper, transforming it into a woozy, sax-based coda to “Midtown Waitress.”

“Music is so much more purposeful and devastating when it makes you feel exposed,” says Sam. Take “Deep Burn Blue,” a song about a girl who won’t leave her room. “It’s that feeling of being so inside your own thoughts that it’s debilitating.”(If that weren’t gutting enough, the song even references Nick Drake with the line, “You like the sound of a pink moon cry/Lying on the floor as the day goes by.”) Its foil is “When It Hurts You,” a harmonic lament about a man, locked-out of his apartment, making phone calls and yelling apologies from the street below. Says Sam; “You’re hoping the next morning things will smooth over, but you know it probably won’t.” Sam wrote 30 songs across three months. “It certainly consumed me. I was exhausted by the end of it,” he says, “I didn’t stop writing until Christina told me I had to stop.”

Christina Lacy takes lead vocals on “Mess We Made”, her first lead song since the bands debut album. Sam says “I remember we had planned to have her singing lead vocals on the last record (twelvefour) – but our producer at the time felt it sounded as if she was just singing my songs and wasn’t making them her own – so we decided that if she was singing on a record it had to be songs that she’d written and had an emotional connection to, and she did just that.”

Authenticity is important to Sam, who penned many of the lyrics for both albums while on the road, composing both albums in Melbourne. Amongst his many influences – film played a part. “I had films playing on the wall of my studio: ‘Lost In Translation,’ ‘Rear Window,’ ‘Lost Highway’,” he explains. In that vein, he wrote the piano-based track “Does It Ever Cross Your Mind” while working at a cinema.

Immersed in an aural diet of blues and jazz, “I was also listening to these ’50s mood albums like Jackie Gleason’s ‘Music to Make You Misty’ and Frank Sinatra’s ‘In The Wee Small Hours.’ I wanted to do a tribute to a mood album.” In a similar style to the covers of such albums, the artwork was painted by Los Angeles American Noir artist Gina Higgins, who also painted the cover for On The Train Ride Home and worked closely with the band on the concept.

While The Paper Kite’s songs explore longing and compulsions, Sam’s own obsession lies in breaking elusive sound-emotion barriers. “It’s a delicate responsibility to try and be sincere, but I think if there’s never a lack of feeling, it’s earnest to say the least”.

New Album ‘On The Corner Where You Live’ is available now

Band Members
Sam Bentley,
Christina Lacy,
Dave Powys,
Sam Rasmussen,
Josh Bentley,

Melbourne garage-rock quintet The Murlocs are back with new track and video “Noble Soldier”, which comes via Australian indie label Flightless Records. The group are mostly comprised of members from fellow Australian psychedelic rockers King Gizzard And The Lizard Wizard, meaning they’re pretty much two for two with regard to brilliantly ludicrous band names.

“Noble Soldier” garage-guitar amble recalls Shannon And The Clams or even some of the more restrained Reigning Sound stuff, while the brisk crackle of Ambrose Kenny Smith’s vocals allow the track to maintain its casual saunter.

The track also comes with an accompanying video, which features a deeply surreal take on fitness and plastic surgery.