Posts Tagged ‘Melbourne’

Terry returned this week with the first track from their new album ‘I’m Terry’.
The Whip kicks the jangles aside, clips a driving punk guitar line to a curdled coif of organ squeal and gives this track an off the rails quality that’s biting harder than usual for the laid-back bunch. While I love the band’s cowpunk preening and clang-hearted dirges its good to see them go for the pop pounce – albeit with enough squirm to make it pure Terry.
‘The Whip’ is taken from TERRY’s brand new, third album ‘I’m Terry’, coming out August 31st through Upset The Rhythm Records.

Image of PRIMO! - 'Amici'

Primo are Xanthe Waite, Violetta DelConte Race and Suzanne Walker. As a trio from Melbourne writing up-tempo, terse chorus and verse, Primo make use of two guitars, drums, sound effects and a group vocal sensibility to ornament their enquiries into deconstructed punk and indie rock. Their songs chime and charm, sounding at times bountiful, at others brittle, always buoyant with attention to detail.

‘Amici’ is Primo’s debut album, following on from their split 7” last year and a cassette of early work entitled ‘Primo Cassetto’ from 2016 on Hidiotic. ‘Amici’ was recorded and mixed by friend Al Montfort through 2017. The collected songs reference the 40-hour working week, the city, bureaucracy, walking, a mirage and a ghost. In form the songs are short and purposeful, “leaving footsteps in the snow” much like the protagonist of their wistful invocation to ‘Daphne’.


A sense of haste and motion is imbued through Primo’s songs, linking up with the album’s lyrical themes of acute observation, mindful conservancy and the dislocated meaning behind modern life. “Got the paper, got the pen, got the deadline, in the line, out of traffic, got the stapler” they sing united on ‘Future’. ‘Bronte Blues’ is a similar rapid tumble of melody and problem solving, detonated by the line “you’re a magnetic strip, living on borrowed chips”. The vocal clarity of these tracks place Primo promptly in our own heads, the band’s intriguing lyrics springing forth like our very own flights of fancy. There’s an honesty and emotional distance at play in these songs too, with their instructions, lists and procedures leaking into our semblance of self. “Tell me more, tell me more” voice the band throughout ‘Disco Eyeballs’. The quest to lucidly understand underpins the whole record.

Primo take you from A-to-B with their songs, from the appetite of another place to the bird’s eye view. ‘Family Dinner Club’ deals with anonymity and suburbia, whilst ‘Ticking Off A List’ admits “there’s a fogginess to some beauty, you look outside, I can’t know what you see” before urging us to take to the footpath. ‘You’ve Got A Million’ races all over town, whilst ‘Closed Tomorrow’ talks of a “a car going by, one day out of life, going home or to another man-made space”. These songs are alive and inquisitive, chasing down questions for answers long sped-away, amidst minimalist shuffle beats and ringing-out chords. ‘Amici’ is a triumph of the underplayed, its small details pull focus, allowing the album to treat us to unexpected truths in plain sight.

Primo’s newest member since 2018 is Amy Hill, who also plays in Terry and Constant Mongrel, on bass. Outside of Primo, Xanthe and Violetta have both lent their guitar skills to Terry and The Shifters respectively, whilst Suzanne works in film too. The band’s debut album ‘Amici’ will be released as LP and CD on Upset The Rhythm on July 13th and followed up in August with a European tour.


‘Mirage’ is taken from Primo’s debut album ‘Amici’, out July 13th through Upset The Rhythm.

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murmurmur (pronounced mer-mer-mer) was born in February 2017 when Will Fletcher stumbled across the idiosyncratic guitar riff that provides the defining moment in “I Can’t Stop Thinking About All The Time I’ve Taken From You”. Fletcher was soon joined by Alex Crosara (guitar), Fintan Bradley (synthesiser), Jack Davies (bass) and Luke Haaja (drums), who helped to bring his prog/psych-pop odysseys to life.

Across the four songs that comprise murmurmur’s debut self-titled EP (produced by Oscar Dawson of Holy Holy), Fletcher’s haunting, emotive vocal blends with guitar hooks that sink into the recesses of your mind and stay there. There is an urgency to murmurmur’s soundscapes – they sound like a time and place you’re not aware of but which you’re desperate to find.


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Pack Animals’ is the second single from Cash Savage and the Last Drinks’ forthcoming album Good Citizens, out September 21st on Mistletone Records.  The lyrics paint a dismal picture of an all-too-familiar scenario for female musicians being mansplained after the show.

“Pack Animals” is dedicated to all the men that have offered me unsolicited advice over the years”, Cash Savage says with a wry grin. Over the past 6 years, the phenomenon of men approaching the women of the Last Drinks with advice prefaced by “The gig was great, but…” has become a running joke that’s not funny anymore for Cash Savage and her bandmates.

“I’ve been told the dumbest shit”, Cash recalls. Examples: “You play guitar too rhythmically, let the drums do the work” .  Dumb, yes but not harmless. “The givers of the opinions will eventually become offended and sometimes aggressive”, ‘Pack Animals’ calls out this behaviour as a manifestation of toxic masculinity and how it affects everyone, regardless of gender.

“We have all had moments in our lives where we’ve had to placate a man who is on the verge of becoming aggressive,” Cash notes. “It’s not fun for anyone. I look forward to a time when shit behaviour is called out before it gets to that point.”

The song’s refrain “Everything’s fine, everything’s gonna be great” carries a heartfelt belief that a new day is dawning. “Some people are resisting this undercurrent of change because they feel threatened by it”, Cash observes, “but I mean it when I say that the change is going to be for the better. I hope we’re on our way there.”


‘Pack Animals’ follows searing single ‘Better Than That’, the first single from the forthcoming Cash Savage & The Last Drinks album Good Citizens, she tells us how. And she does it with such strength and vulnerability that it’ll take a cold heart not to appreciate it…. It’s stark, simple and something that everyone should hear, regardless of your politics.”


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Sugar Still Melts In The Rain is Sarah Mary Chadwicks 4th solo work. It was recorded and mixed by friend, musician and filmmaker Geoffrey O’Connor in Vanity Lair and Phaedra Studios in Melbourne. The album came together so quickly partly as a result of the duo’s commitment to efficiency and partly due to Sarah’s lack of attachment to the idea of “the perfect vocal take.” She knows she isn’t a virtuoso; tongue firmly in check, she is quick to reference those limitations mockingly. Yet, it’s within those boundaries that she thrives, disinterested in the perfect take in lieu of her best take – unique, somber and raw.


Fourth album release from Sarah Mary Chadwick ‘Sugar Still Melts In The Rain’. This pre-order comes with a limited edition art print by Sarah Mary Chadwick.

This LP is, a ripper. Perfect from start to finish with it’s jangly sounds and melodies, but still with a fair bit of an edge to it. It’s hard not to listen to it all in the one sitting, though at only 22 and a half minutes you pretty much can anyway. The short length of the album is the only fault I can find, and Chitter Chatter is the standout track.  was among my Top 100 Albums Of 2016 .
Terry is the bastard child of everything great about Australian post-punk and for lack of a better word ‘slacker’ rock. Live they become something even more powerful. A true cult classic


TERRY a band from Melbourne, Australia. Divide him in half and you split the genders, into quarters and you get Amy Hill (also of Constant Mongrel, School Of Radiant Living), Xanthe Waite (Mick Harvey Band, Primo), Zephyr Pavey (Eastlink, Total Control, Russell St Bombings) and Al Montfort (UV Race, Dick Diver, Total Control). Guitars, bass, drums, all four sing. Terry are busy people and Terry is a particularly active project too, having released two EPs and a full length album (‘Terry HQ’) last year on Upset The Rhythm Records.

The Stevens aren’t as patient as other Australian bands like the Rolling Blackouts on their two albums they constantly jump from idea to idea and song to song, often moving on after only a minute or so. Their songs rarely feel like fragments, though—they’re all fully realized ideas, even if they only run for 70 seconds. That’s obviously unlike Rolling Blackouts, who tend to explore their songs for three or four minutes. They both have that Flying Nun approach to guitar pop, though, with intricate and tuneful guitar interplay and matter-of-fact vocals that might sound resigned but rarely feel dejected.

Centred around guitarists Alex MacFarlane and Travis MacDonald, scratchy pop foursome the Stevens released a 6 song EP in 2012 that was without doubt the catchiest non-Chapter release of the year. Originally on CD-R and cassette only,

Melbourne scratchy pop favourites the Stevens return with their second album “Good”.
Good picks up where their 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.


After establishing a shared obsession for bedroom recording and favourites such as Wire, Guided by Voices, R. Stevie Moore and Flying Nun releases, they began combining their home projects. Together they started writing songs and soon enlisted the help of Macfarlane’s old school friends, Tam Matlakowski and Callum Foley. In 2011 they officially coalesced as a band, which also meant picking a name. They all agreed that Steven was a name

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Teddywaddy is a slumbering patch of country just off the Calder Highway in northwest Victoria, now mostly farmland. It sits 90 minutes from Bendigo, where East Brunswick All Girls Choir frontman Marcus Hobbs grew up, and he knows the drive all too well from regular visits there to see his father’s family. It’s also the namesake of the Melbourne ensemble’s long-awaited second album.

That makes it a resonant backdrop for the album Teddywaddy, which encompasses both smouldering studies of isolation and open-air eruptions of catharsis. Co-produced with Anna Laverty (Courtney Barnett, The Peep Tempel), the album is etched deeply with such contrasts. For every spacious swath of majesty like ‘Rounds’ or ‘Never/Never’, there’s some punked-up exorcism like the calm-to-squall ‘DOG FM’, the nerves-fraying ‘Cicada Chirps the Chicane’ or ‘Essendon 1986’, an old song revisited and accelerated.

“I like the contrast of power and surprise in music. Something that makes your head tilt back when it hits,” reflects Hobbs, who shares the band with bassist/keyboardist Rie Nakayama, drummer Jen Sholakis and guitarist Rob WrigleyEast Brunswick All Girls Choir debuted with the 2009 mini album Dead Air, then followed it up with 2014’s Australian Music Prize-longlisted Seven Drummers.  To say it was worth the wait is an understatement: Teddywaddy is the most profound and riotous statement of the band’s career, anchored at every turn by the ragged glory of Hobbs’ eruptive singing and the piercing details of his lyrics.

The second single to be lifted from the new album from East Brunswick All Girls Choir. Out June 29th on Milk Records. 

With Keep UpMelbourne 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 – Etta Curry, Luc Dawson and Nellie Jackson.

Where Saturn Returns was squared in youthful abandon, Keep Up 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 roll into your thirties. In a time where platitudes about moving on up and giving love a chance abound, Loose Tooth are saddling up and getting on with it.  In the words of Kurt Vonnegut, “you were sick but now you’re well, and there’s work to be done”.

Keep Up is out August 3rd.

‘Keep On’ is taken from Loose Tooth’s upcoming album ‘Keep Up’ out on the 3rd of August 2018:


With only single-digit days left before the June 15th release of their much-anticipated album Hope Downs, from Australian Melbourne’s Rolling Blackouts Coastal Fever have shared one last single and announced their biggest headlining tour yet, album-closing cut “The Hammer” comes on the heels of three previous singles, “Mainland,” “Talking Straight” and “An Air Conditioned Man.”.

“The Hammer” taken from their forthcoming album, Hope Downs, which is out next week (June 15th) via Sub Pop Records. Like most of what you’ll hear on the new album, “The Hammer” is earworm indie rock that nods to Australia’s (and New Zealand’s) rich history of strummy pop (The Go Betweens, The Clean).