Posts Tagged ‘NSW’

Australian favs Royal Chant have consistently been purveyors of 90s injected power pop and they’ve perfected the sound on their new long player ‘Minor Crush‘.

Taking the College Rock torch from names like Dramarama, Guided By Voices, The Church, and The Replacements as well as a hint of Beatlesque psychedelia ‘Minor Crush‘ is a rewarding collection of hook-laden power-chord rockers with both brains and brawn.

Yes we have a new album out and yes we have a bunch of film clips to go along with with it because that’s how we roll. This is “Hearing Voices Movement” and this snazz-tastic clip was done by James Robert Carthew, forever in Royal Chant but blessed/cursed with perpetual shore leave.

Royal Chant is a 2-piece garage band from the sleepy coastal town of Port Macquarie. Fast & fuzzed, slanted & slurred, they have spent the last 10+ years playing shows across Australia on stages big & small. After a handful of singles and a smashing on Triple-J with their single “Somedays”, their debut LP Raise Your Glass & Collapse was named Indie Album of the Week by the Brag amongst a flurry of press, and their raucous live show gained the band some serious attention.

Recently returned from their maiden tour of the USA, the duo is back to recording and touring, carving their own strange path out of the spotlight but somehow never far from it. They keep their heads down and the distortion up, creating an alternate world of pounding drums, walls of sound, & songs that speak with the ache and numbness of existence.

Minor Crush is our 6th studio album and is available wherever you get your music kicks these days.

Following her debut album ‘Penelope One’ for Optimo Music, antipodean vocalist, musician and soundscaper Penelope Trappes presents sophomore longplayer ‘Penelope Two’, for Houndstooth.

Elements from multiple sources are subsumed by Trappes’ sonic presence; one hears Badalamenti and Julee Cruise’s work for ‘Blue Velvet’ and ‘Twin Peaks’, Slowdive’s dreampop, the scorched comedowns of early Primal Scream, Colin Newman’s dark melancholia, plus contemporaries like Tropic Of Cancer and Sky H1.

These distilled, rarefied creations take echoes as their starting point, with Trappes summoning swathes of tones, textures and emotions into something ethereal but also powerful, like an evocation of spirits. It’s also deeply melodic, with her intimate, maternally-tender voice floating in the middle of each three dimensional, womb-like sonic space. Originally from the Northern Rivers of NSW, Australia before moving to New York and developing experimental electronic projects Locke and Priscilla Sharp, plus her best-known incarnation with partner Stephen –The Golden Filter. 


Referencing Scott Walker and This Mortal Coil, Trappes uses a minimal palette to frame her spellbinding, spectral songs in a starkly beautiful sound, suggesting a collaboration between Mazzy Star and Leyland Kirby, or Felicia Atkinson writing for Lynch.  

Released October 26th, 2018

Another wonderful Australian band you should be listening too, Instead of calling this an album, Black Springs chose to call “When We Were Great” a compilation of songs from their past giving you the idea that the band are no longer together maybe lets hope not ?. Mystery aside, this record has elements of dreampop, shoegaze and jangle and a confidence that has me pulling for them to make another record.

Sydney four-piece Black Springs have released their debut LP. Mixed by Caleb Jacobs (aka Plum) and boldly titled ‘When We Were Great’, it sure is a moody collection of guitar reverie. The buoyancy of singles Boys In Blue and Slinky Day make way for more fragile yet equally catchy moments throughout with a healthy dose of the band’s trademark wig-outs thrown in for good measure (Bitter and Twisted, Staying in Again).


all songs by black springs (shaun donovan, leighton holloway, tony lopes, tim story)

mixed by caleb jacobs (aka Plum)

Sydney’s no.1 fuzzy jangle good time band. I keep expecting the Australian well of goodness to dry up any day now, but this year has featured so many quality releases from down under that the well is deeper than most. This Sydney band makes mellow jangly goodness that has much in common with Teenage Fanclub, the Earthmen and Dick Diver.


‘When We Were Great’ LP available now via bandcamp.
EUROPE: Meritorio Records:

all songs by black springs (shaun donovan, leighton holloway, tony lopes, tim story)

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Image may contain: 1 person, playing a musical instrument, on stage and guitar

There’s also something very Australian in the slightly awkward intimacy Emma Russack offers, even as she flips the aforementioned Ms Barnett’s ‘…nobody cares if you don’t go to the party’ with the blunt contradiction that, in fact, Everybody Cares (Spunk), and you can be the subject of gossip and speculation, while you’re actually home reading Sartre (yes, of course you are…). The music’s staccato hesitancy fits with the nervy doubts of life that might be hiding behind the bravado, as you decide whether to read another chapter, or just hide under the doona. A stunning effort from the prolific Melbourne songwriter who manages to continue her legacy as one of the country’s most underrated indie rock talents”

New album ‘In A New State’ out June 10th through Spunk

Proving that rock music can be catchy as well, newcomer Jack River is turning heads already. With a sound similar to early PJ Harvey, mixed in with the songwriting sensibilities of some of the best Beatles singles, you’ve got an amazing artist on your hands who is looking unstoppable. a pumped-up and pristine debut from Australian newcomer Jack River who seems to be all about choruses bright enough to power cities. No complaints coming from these quarters. Her debut EP Highway Songs No2 is out now on I Oh You Records.

“I wrote and recorded Palo Alto through so many moments in my life that the song became a kind of folder for memories and sentiments over a long stretch of time. I started writing it in my hometown, then continued it in Sydney (my friend lived in a building called Palo Alto), and then wrote the rest in different trips to the studio.”

“It was always destined to be sun-drenched and gritty and gilded in synths and electric guitars – I wanted to find the line between the 90’s, early 2000’s and now, and blend all my dreams of a highway song into one. The moment this song came together, production-wise, it felt like the beginning of Jack River. It’s about letting go but not giving up, melancholic-but-sure endings, and people realising magic when it’s too late – even though you knew it all along.”