Posts Tagged ‘Melbourne’

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Hideous Towns is a Melbourne based band that has been independently active since 2013. With their winning combination of chiming gazed-out guitars, dynamic female vocals and buoyant, no-frills drum propulsion, Hideous Towns have nonchalantly secured a stronghold on the world’s tuned-in dream-pop fans.

They self recorded and released their first single ‘Joy/Don’t Look Up’ in April 2014, performing extensively throughout 2014. The group then released a debut EP earning themselves a reputation as a notable live act.

In August 2015 they toured nationally with their single ‘Heart Attack’ released through Melbourne’s Lost And Lonesome Records. After receiving positive reviews from local community radio and Triple J, Hideous Towns went about recording their Debut Album.  The album was recorded by Matthew Hosking in the outer eastern suburbs of Melbourne and the inner northern suburb of Northcote over the summer of 2015/16. Since then Hideous Towns have released two singles from the upcoming debut ‘Don’t Forget’ which also a music video was created by James Thomson (Contrast) and was played on Rage in the following weeks of release. Their most recent release ‘Wake Us’ shows their softer side musically and was well received by community radio stations nationally.In the coming months of 2016, Hideous Towns will release their Debut Album ‘Disquiet Living’.


Latest single from Hideous Towns’ debut LP, due in late 2016 via The Lost and Lonesome Recording Co.

Band Members
Alana West, Ashley Stirling, Chris MacLean, Ryan DeCoite

Written and performed by Hideous Towns
Produced by Hideous Towns and Matthew Hosking


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From early beginnings, singer/songwriter, Hayden Calnin has carved out a path refusing to adhere to convention and genre. By the time the multi-instrumentalist had graduated from film school, a major in sound design had set the scene for Calnin to take an interest in music production.

On his first two self-produced EPs, he explored the realms of everything from folk through to downbeat, melting together powerful melodies with understated electronic production. The 2016 release of his highly anticipated two-part album ‘Cut Love Pt. 1 & 2’ saw him gain support from the industry through international blogs such as Pigeons and Planes, Stereogum and Earmilk and spins on renowned radio stations Triple J (AU), BBC6 (UK) and KCRW (USA).

No stranger to having his music synced on international TV, Hayden has landing himself various syncs over the past few years on shows such as Suits, Teen Wolf, The Vampire Diaries, The 100 and So You Think You Can Dance USA. Add a sold out London date on his first ever EU/UK tour and it’s bitingly obvious that Hayden Calnin is an artist to keep an eye on… 


‘Cut Love’ is taken from the album ‘Cut Love Pt. 1’


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King Gizzard’s very own resident art mastermind Jason Galea has outdone himself with this one. Having already been responsible for a bunch of the best music videos in the country over the past years, he and the band have made the best pencil-on-paper animated clip since ‘Take On Me’ was blaring out of stereos.

Seriously, the constantly-morphing visuals and soothing strains of ‘Countdown’ could be on a loop for an hour and we’d still be watching, entranced, as abstract images assemble and disassemble themselves before our eyes, and it might just be the best clip they’ve ever made – although that’s a big call, considering everything else they’ve put out.

The track is of course taken from their latest LP Sketches of Brunswick East, King Gizzard’s collab with Mild High Club and their third album of four they’re releasing this year, which hit #4 on the ARIA charts after Flying Microtonal Banana and Murder of the Universe peaked at #2 and #3 respectively.

Of course, with the record out, the King Gizzard boys are gearing up for their upcoming Gizzfest tour, having announced a massive lineup for their hometown city of Melbourne,

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.

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Buzzworthy Melbourne punks Amyl & The Sniffers have announced a solid string of east-coast tour dates through August and September, bookending their impending appearance at Brisbane’s Bigsound Festival next month. The ascendant garage-punk gurus have made a considerable impact in their home stomping ground in a relatively short time, swiftly picking up a deal with increasingly punk-savvy agency Premier Artists and earning a reputation for hectic live performances that have accrued them a dedicated following already.

They’ve released two EPs to date — last year’s “Giddy Up” and this year’s “Big Attraction” — and are sure to come away from their upcoming interstate adventure with a raft of new conscripts to the Amyl army.

Check out the mildly NSFW clip for 70’s Street Munchies below,

Band Members
Amy Taylor – Vocals
Dec Martens – Guitar
Bryce Wilson – Drums
Fergus Romer – Bass

Iconic Melbourne psych rock band Beaches make a welcome return after a fairly lengthy hiatus with more of the arty guitar-driven psych we love them for. ‘Void’ chugs along on a motorik rhythm, building ever so slightly until they really put the foot down for the last eight. Their imminent third album “Second of Spring” – a double LP, no less – means we’ll be hearing a lot more of them soon.

According to the band: “Void” is a conversation between two people, who discuss a prolonged absence, a temporary disappearance into a space of emptiness. We wrote Void in our rehearsal space in Reservoir (Melbourne) during a prolific period of song writing. It was produced by John Lee (Phaedra Studios), who also plays synthesiser on this track. Ali and Karla are on vocals. There is a restrained interaction between them, tempered by the motorik drive of the instrumentation.”

first single from new album Second Of Spring

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The project of Melbourne-based Tanya Batt immediately draws delicious shoe gaze comparisons to the likes of Mazzy StarHer sound is intricately layered with a bass backdrop that ties it all together. We love its blend of mellow rock and personal storytelling. She explains the track like this: “Little White Lies just came out all at once, it’s about how pretty much every interaction with anyone seems to be filled with these little white lies, whether it’s just easier to reply ‘Good’ when someone asks you how you are, or being late and making up a little white lie to cover your back. The world is filled with them and I don’t think we even realise we are doing it anymore, whether it’s a stranger or someone close to you, it just happens..” BATTS has been garnering a lot of fans lately within the music community and will only continue to do so with her beautifully crafted sound.


thanks to theeartotheground

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Jen Cloher is an indie-folk/rock singer/songwriter from Melbourne. She has released three albums and a couple of EPs and singles, She has been dating indie darling/rising superstar Courtney Barnett for several years, and they’ve collaborated on each other’s records before. On August 11th, she’ll release her fourth album “Jen Cloher on Milk Records which is the label that Cloher and Barnett run together.

The song is about “the sacrifices and difficulties of maintaining a long-distance relationship with a high-profile partner”. They live together, but Barnett spent a long time touring with her brilliant debut “Sometimes I Sit and Think, and Sometimes I Just Sit”, so I guess they’ve spent a lot of time apart from each other.

First single from Jen Cloher’s self-titled album (2017) released through Milk! Records.

Second single from Jen Cloher’s self-titled album out August 2017. The album was recorded in a one-room studio in a rural Australian town, then mixed in Jeff Tweedy’s studio in Chicago. Barnett contributed guitar and vocals to the entire album. Their friend Kurt Vile also played guitar on one track, and Andrew “Bones” Sloane (bass) is a full-time member of the band. Both are also frequent collaborators with Barnett.
Released through Milk! Records / Marathon Artists.

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One of King Gizzard And The Lizard Wizard’s most notable successes was the record Nonagon Infinity. Released over a year ago, it was the group’s eighth record, and since its release, the band have somehow managed to find time to release two more records,

With the release of their second album of the year “Murder of the Universe” it seems King Gizzard are already getting nostalgic as they travel back to the heady days of “Nonagon Infinity” for their latest video as they give ‘Invisible Face’ a brand new clip.

A combination of live action segments with the kind of animation which best befits an 80’s children’s TV show, and is therefore fucking incredible, makes this video one of the better ones floating around this week.

Jason Galaea and Joel Melrose are behind the brilliant visuals which also keep the coloured robes which have started to appear around the King Gizzard And The Lizard Wizard camp and also befits another children’s TV show by the name of; Power Rangers. And when you think about it, is there another band you could see fighting and defeating someone named Lord Zedd?.

The clip has all you need snakes, dark landscapes, jet planes falling form the sky, the whole shebang, really. So sit back, get psyched and watch this brilliant video for ‘Invisible Face’.

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With three self-produced EPs and a recently released two part debut album, ‘Cut Love Love Pt. 1 & Pt.2 under his belt,Hayden Calnin’s music has explored the realms of everything from folk through to downbeat electro, drawing comparisons to artists such as M83, Bon Iver and James Blake.