The hyper-prolific King Gizzard & The Lizard Wizard have unleashed the first sonic preview of their “super heavy” new album Nonagon Infinity.
The genre-hopping Melbourne septet have shared a trailer for the record featuring footage of the band tearing through new material live as an ominous voice intones hectic song titles like ‘Robot Stop’, ‘Gamma Knife’, ‘People –Vultures’, and ‘Evil Death Roll’.
The clip confirms there are five more tracks on the album, which is due for release on the band’s own FlightlessRecords this April, and gives a sneak peek at the cover art: the same devilishly complex hexagram design the band shared on socials earlier this week.
Melbourne, Floridaholds plenty of reasons as to why you should be showing Dick Diver to everyone you know. Even without mentioning their magnum opus Calendar Days, shoving songs like “Waste the Alphabet” or “Tearing the Posters Down” should be high on your priority list of songs to put on when someone asks “What should we listen to?”. There’s a narrative tilt to the way that Dick Diver write songs that’s unmatched amongst their contemporaries. If anyone claims that jangle-pop is too disaffected and obsessed with the mundane, smack them sideways with your copy of this record, and showcase the emotional weight in songs like “Boomer Class” to silence them effectively.
Melbourne, Australia band formed in 2008. Features members from fellow Australian hitmakers Total Control, Boomgates & UV Race. The band’s previous two records (“New Start Again” & “Calendar Days”) were released by Chapter Music in Australia in 2011 & 2013 respectively.
One of Melbourne’s more underrated bands, Loose Tooth are about to get a well-deserved profile boost. They’ve hooked up with Courtney Barnett’s Milk! Records for their debut EP, Saturn Returns, due in early April. The first taste is ‘Bites Will Bleed’, a characteristically chugging and unrushed nugget of girl-group-y noise-pop. Some disorienting psych touches seep in too, thanks in part to producer Paul Maybury (The Pink Tiles), mingling innocence with menace. Bites Will Bleed is taken from Saturn Returns the debut EP from Melbourne 3 piece Loose Tooth – out April 1st, 2016 through
welcome to Camp Cope,
here is a a demo.
thank you for listening
kids from my high school still ignore me when they see me busking in the city 😦 and i think they’re going somewhere to take horse tranquilliser and act like they’re too cool to be there, and they’ll still call me when they wanna get high.
those i look up to look down on me 😦 or maybe it’s just my crippling anxiety? because it’s been happening a lot lately, i think it’s got something to do with you but you make me pretty happy, i’m just whining about the same shit as yesterday.
and i would sneak him into my mothers house where he would draw the things i’d talk about, and we only ever made out and listen to tigers jaw and uv race, yeah it was pretty grouse, but i gave him my old phone and he moved away.
now i read my text books like the bible, there’s something about truth that makes existence bearable, we’re sitting ’round the kitchen table, it kinda feels like family but a little more unstable, and we still have to light the stove with a lighter.
it’s kinda like i almost want you to understand this like the first time you were here, it’s kinda like i almost want you to understand me like the first time we were here.
and all this time it made sense to me why life was so unfair, because the universe don’t know and the universe don’t care. it took years to figure out everyone else had shit on their mind, and the darkness that lives inside of me looks exactly like you sometimes.
i’ll sit alone in my bedroom, hope they can’t hear me in the next room. always alone in my bedroom hoping no one can hear me.
Poison City have a reliable nose for urgently melodic punk bands, and Camp Cope fit that bill perfectly. A Melbourne trio fronted by Footscray songwriter Georgia Maq, they recall the raw, barking release of Waxahatchee, whom they’re supporting in Melbourne this month. The terrifically named ‘Lost: Season One’ finds solace in bed-bound binge-watching and manages to squeeze in a Dogs in Space reference amid all the cutting lyrics.
Songwriter based in Melbourne writing dark folk songs. With a voice that commands in its deep tones – drawing comparisons to the late-great Johnny Cash and Bob Dylan alike – Oscar Lush is a young songwriter taking audiences everywhere by surprise. It’s a powerful age-old voice and a talent for writing dark enigmatic songs that makes Lush “a revelation, who seems excitingly out of place” Members: Oscar Lush, Liam Vaughan, Liam Gough, Craig Mattingley
Ballarat-spawned five-piece The Crepes specialise in indie pop earworms that radiate timeless innocence. Case in point: ‘Cold Summers’ feels like a late-1950s slow-dance number updated only slightly for the post-Shins world. It’s the opener and title track of the band’s debut EP. Sung with breathy blissfulness by Hollow Everdaze’s TimKarmouche, these songs have a commanding magnetism that belies Crepes’ twangy, keyboard-frosted nonchalance. Check out ‘Ain’t Horrible’, if you haven’t already. jangly as fuck, smooth and glorious
Loud near audible waling, with constant tambourines and big ugly riffs, this thing rules!, The energy and “balls out” fun of this track (heck, the whole album actually) is infectious!, see the video for o’clock track down below, and add ‘Fancy Dancer’ to their already enviable repertoire.
If ever a band were primed for a breakthrough year for 2016 , it’s got to be ScotDrakula. Their self-released, self-titled album has already garnered the Melbourne based outfit international acclaim, and without a label, an official website, or even much of a backstory, the mysterious punk rockers hold most of the keys to their own destiny. In other words, they’re living the DIY dream. Of course, such success is rarely won easily, and fittingly, a deeper dive into the band’s past reveals excellent material released as far back as 2011. ScotDrakula’s talent is more than a flash in the pan, and a close listen,
In a “brevity is the soul of wit” sort of way, frontman Matt Neumann’s lyrics are truly excellent. In case you were wondering how many times a singer can get away with using the line, “I’m getting high in the back seat,” we now know from “Shazon” that the answer is at least 20. It may be more, but since the song ends after twentieth time through the refrain, it’s hard to say for sure. What makes all the repetition so fun, however, are the song’s two verses that are just intricate, jumbled, and rambling enough to provide a perfect contrast to the crystal clear chorus. Similarly, the band makes the most of out only two chords until the last thirty seconds of the song, when they switch it up just in time for a triumphant conclusion led by Neumann’s griping vocals.
Some days there is nothing more at stake than three goofballs farting around on a porch, and that is a beautiful sentiment. Perfect video for a perfect song O’Clock is the first single off debut self-titled ScotDrakula LP.
Matt Neumann – guitar + vocals
Dove Bailey – bass + keys + backing vocals
Evianne Camille – drums + backing vocals
Nick Hoare – sound man extraordinaire
Courtney Barnett performs “Pedestrian At Best” live at Rock The Garden 2015.
Rock the Garden is a co-presentation by 89.3 The Current and Walker Art Center, Nothing like a little bit of quintessential “fuck you” to lead the genre this year. Barnett’s lead single from her excellent Sometimes I Sit andThink, and Sometimes I Just Sit has everything you need in a good rock song: loud, abrasive and otherwise unrelenting riffs and a target—in this case, the music industry—we can all agree is outrageous.
It was incredibly hard not to have felt more than just a little giddy following my first couple of listens to Twerps’ sophomore record Range Anxiety. Having taken quite awhile to warm to last year’s Underlay EP, it was clearly obvious that Twerps were 100% back on form with this newest full-length album.
The Melbourne foursome’s undeniable ability to merge the catchiest of indie-pop tinted gems with forlorn feelings such as; spurned affection (‘Love at First Sight’), disengagement (‘Shoulders’) and unrequited reinvention (‘New Moves’), is evident throughout Range Anxiety.
If you want to have an album that will leave its countless harmonies and melodies stuck in your head for days, then I urge you to find a better release this year
where he would draw the things i’d talk about, and we only ever made out and listen to tigers jaw and uv race, yeah it was pretty grouse, but i gave him my old phone and he moved away. 
The Fat Angel Sings 