Posts Tagged ‘Melbourne’

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.. 

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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

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With a sound that has been compared to Florence & the Machine by media outlets throughout Australia and abroad, Tanya Batt delivers a sense of earnestness in her heartfelt brand of music.
Since her beginnings, Tanya Batt has developed a powerful presence in a small window of time, playing many sold out shows, as well as enjoying radio play.

As well as packing up the tour van to grace stages along the East Coast, Tanya Batt has done all she can to reach audiences abroad, appearing on radio stations such as BBC Radio in the United Kingdom, and many US based College/Community radio stations. After a highly successful debut, Tanya Batt will be releasing her latest offering ’62 Moons’  “Keep listening out for that one”.

“Batt executes stunningly, draping instrumentals in an ethereal fog as her powerful voice resounds clear and effortlessly.”

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“Hey there, ho there, do you wanna go there?” Yeah Nah? Then man you better get the fuck out of the way because Lazertits are quickly joining emus and roos in the ranks of Aussie icons that never evolved any interest in backing down. Triple J’s Home & Hosed host Dom Alessio called Boss Bitch “a late contender for the Best Lyrics Of 2016 award” and their full-length debut in November had all the wit, sarcasm and furious guitar fuzz of the 2016 single nine times over. Catch them live ‘round the country in Jan for the Swim Tits summer tour.

Melbourne’s BATTS aka Tanya Batt has released her melancholic debut EP ’62 Moons’ alongside single ‘Somedays’. Her previously released singles ‘For Now’ and ‘Little White Lies’ received fans from FBi, BBC, triple j and Radio X for her signature shoe-gaze, psych-tinged, folk/pop similar to the sounds of Mazzy Star and early Daughter. Recently  signed to THAA Records alongside lanks as their first two signings. What an absolute dream come true! To infinity and beyond

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Just try not to get The Beautiful Monument‘s Disorder stuck in your head. The Melbourne group have been busy this year with the release of their debut album and touring around the country. They wowed crowds at BIGSOUND, with one The Music reviewer noting that with their ability to balance “both raw energy and an impressive stage presence, the Melbourne band dig deep”. In a scene that can be set in its ways, The Beautiful Monument are a much-needed change and certain to influence a new wave of acts.

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The new best band Australia have to offer at the moment. Snarling, exciting and totally punk. If you love Australian 70’s style proto punk n’ roll look no further. Amyl and the Sniffers are a garage punk band who sing about biffs, blowjobs and Chiko rolls. They’re proudly sporting shitty tatts and they named their band after a seedy drug that provides a brief, intense euphoria, followed by a brutal headache – which may or may not be a metaphor. With the mullets, the aggression and the unflinching embrace of Australiana, Amyl and the Sniffers have been likened to the sharpie subculture of the ‘70s – a pre-punk movement that was birthed in Melbourne and characterised by ‘sharp’ outfits and that quintessential Aussie larrikin attitude. The soundtrack to this era was Australian boogie: bands like Skyhooks, The Coloured Balls and AC/DC. AMY says she and the boys are definitely influenced by that ‘70s Aussie rock, but lyrically, she’s also intrigued by the storytelling of country singers like Dolly Parton; she likes the cheek of a Southern woman in the 1960s singing about cheating on her husband.

Every music industry type in Melbourne is falling over themselves to drop this self-described “Pub Punk Sharpie Rock” band’s name.  that buzz is set to spread nationwide. The video was shot live at Howler by Darcy Kinna, Sabine Battel

Australian experimentalists King Gizzard & The Lizard Wizard was arguably 2017’s most prolific band, releasing five full albums over the course of the year. There was the mind-melt Flying Microtonal Banana; the cyborg-narrated sci-fi trip Murder of the Universe; the yacht-rock/Brit-folk/jazz-fusion collab with Mild High Club, Sketches of Brunswick East; the psych-prog beast let loose for free use, Polygondwanaland; and now the groovy finale, Gumboot Soup, released just under the wire on December 31.

Even more impressive is the vast array of killer songs tucked among this quintet of curiosities. One of our favorites is Polygondwanaland’s final track, “The Fourth Colour,” a meandering yet propulsive groove built on dizzying, circular riffs, feverish drum fills, and a trippy vocal technique called hocketing, in which multiple vocalists sing alternating syllables.

“The Fourth Colour” itself refers to the phenomenon of tetrachromacy. The rare tetrachromat possesses four (instead of three) types of cone cells in the eye, meaning they have the ability to see millions of more colors than the average human. It’s perhaps the essence of psychedelia as we visually interpret it. For the band, it’s a gateway to divinity: “Third eye is free/I am not body/Tetrachromacy,” they chant, before their final words reveal all: “Now I am a god.” At this revelation, the instruments dissolve into a deep-space drone before resurfacing for one final bout of psych-rock delirium.

Cable Ties’ Jenny McKechnie has something to say and you’d better listen. Her powerful voice brings a Bratmobile meets Wire vibe to their sound.

The debut LP from this Australian trio was full of piss and vinegar. The songs were based on great grooves the reminded me of Eddy Current Suppression Ring and the angst-ridden vocals of Jenny McKechnie flashed with hints of Sleater Kinney. A band to be reckoned with try to catch them live soon !.

Poison City Records is an independent record label, distributor and skateboard/ music store based in Melbourne, Australia.

Cable Ties are frenetic lead lines tethered to a hypnotic rhythm section. They take the 3 minute punk burner and stretch it past breaking point. Suddenly the garage rock gives way as primitive boogie, kraut and post-punk take things way out to the horizon.  Our record heads out into the world on its own today. It’s now yours to do with as you will. It’s a product of one years’ writing, recording and mixing and 2 years of mastering, artwork, design, gigging and so much support from so many wonderful people. We are so thankful for all the people who have left their stamp on our music and our lives. Without them we – and this physical artifact – would never have been possible. It takes a community to make a record.

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Fifth album of 2017 and it’s still this amazing. These songs were too good for the albums they were supposed to be on so instead we get a singles collection.

To many it may seem like an impossible task, but for King Gizzard & The Lizard Wizard, the notion of releasing five albums in a year is not beyond the realm of possibility. In fact, while some were doubting the band’s plan would come to fruition, the group left it until the last day of the year to prove the doubters wrong, releasing Gumboot Soup overnight.

Following the four albums released this year, including Microtonal Banana, Murder Of The Universe, Sketches Of Brunswick East, and Polygondwanaland, the band had already released a major stack of music,

Drum is the bold second album from Gold Class. Recorded at Melbourne’s Head Gap studios / Tropical Fuck Storm Studios and co-produced by Gareth Liddiard of The Drones, “Drum” sees Gold Class explore new territory in both songwriting and sonics.

On Gold Class’ second LP, Adam Curley is punchy, the music percussive. “We were beaten, but I still feel a thump,” he hollers, amidst Evan Purdey’s knotty guitar scrawl on the relentless “We Were Never Too Much”. And Drum duly delivers a thump, producer Gareth Liddiard’s stripped-down setting letting the propulsive rhythm section push towards the foreground. There’s nothing groundbreaking here, but the quartet boast heart and wit, sounding committed to their cause. “Weave the blows/Like a boxer on tiptoe,” Curley bellows in “Thinking of Strangers”, recalling Morrissey’s lyrical pugilists as the song drags Smithsy jangle into a dark alley.

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