Posts Tagged ‘Perth’

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Mt. Mountain called their latest opus Dust, and boy, is that title accurate. This may as well be the soundtrack to a Vegemite Western. The 17-minute title track opens with a low drone reminiscent of a didgeridoo. Melancholic Morricone guitar and lonesome flute drift across the landscape. A full-on sandstorm hits, propelled by ominous riffs and swirling effects. Earth is an appropriate (if obvious) comparison. They make lovely oceanside Perth seem like a barren desert perpetually shrouded in crimson dusk.

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Cardinal Fuzz are proud to announce the release of the epic “Dust” via Perth quintet Mt. Mountain. Since forming in 2012 Mt. Mountain are already lauded and revered in Australia where they have built a reputation as one of the most compelling live bands, a distinction that has seen them share stages with myriad Australian and international heavyweights including Sleep, King Gizzard and the Lizard Wizard, Thee Oh Sees, Endless Boogie, Tortoise, Bardo Pond and Boris. On “Dust” Mt Mountain have laid down 4 tracks that capture the atmosphere of the red/orange landscapes that consume the Australian Outback. Opening with the mini slow burn epic “Dust” which builds with an incessant drone and flute to form a ghostly menacing and meditative rhythmic and repetitive throb that builds and builds before the release comes and the bands shatters into a heady and thunderous elliptical crunch. Over the entire LP Mt Mountain capture, a dreamlike mood of shimmering dust filled landscapes where slow strummed guitars and single note organ lines ebb and flow and bring to mind Dylan Carson’s ‘Earth’ as played by mushroom ingesting elf’s. ‘Dust’ is psych rock meditation music and It is utterly entrancing.

Stephen Bailey: Organ, Whistle, Guitar, Vocals
Derrick Treatch: Guitar, Mellotron, Vocals
Brendan Shanley: Bass
Glenn Palmer: Guitar

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Hotel Wrecking City Traders (HWCT) have been dislodging earwax, busting strings and sticks and blowing minds since 2007HWCT are an instrumental noise rock duo with a heavy focus on improvisation and a love of loud volume and the psychedelic. Their sound is ever-evolving and expansive, breaking down genre’s and throwing them in a melting pot with hypnotic results.

Passage to Agartha references both a legendary city at the Earth’s core and the name of a seriously whacked-out electric joint by Miles Davis. Hotel Wrecking City Traders certainly aren’t jazz, but the Perth rockers share a similar love of sonic exploration. The mix of post-rock tension-and-release with guitars run through broken amplifiers and concrete slab bass makes for a truly bruising take on heavy psychedelia. Their last album, Phantamonium, played with those discordant elements. This one uses the jagged edges to burrow straight towards the center of the planet.

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FOAM are a three-piece garage rock band from Perth, WA. Their heavy live performances deliver a filthy wall of sound reminiscent of the alternative rock boom of the late 80’s/early 90’s. With influences including Nirvana, Nick Cave, Johnny Cash, The Breeders, The Drones and anything Steve Albini, FOAM tread the line between infectious melody and vicious punk. 

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Foam is Joel Martin, Harley Barnaby and Jackson Hawdon.

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The fourth and 12″ repressing of High Visceral {Part Two} in Transparent Pink. Limited to only 250 copies. This is the second release of Part Two by What Reality? Records

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With two albums to their names, Perth rockers Psychedelic Porn Crumpets have also shared the stage with King Gizzard, Dune Rats, Black Mountain and Skegss. Band member Jack McEwan says the band started out as my uni-branding project. I wanted it to sound absurd and nonsensical, but as colourful as possible so I could create some outlandish designs. ‘High Visceral, Pt. 2’ is the current album… still enjoying this cycle of songs or have you guys moved on to the next batch of tracks for the back catalogue?
For our live set, we mix up between tracks from ‘Part One’ and ‘Two’ and throw in a couple of b-sides from those albums. We’ve started working on new material and the third album is in the works.

I’ve been playing a lot of acoustic guitar lately and meandering around this Grizzly Bear emotional stuff. It’s not going on the third album and I don’t really know what to use them for as it would be weird cutting out of ‘Ergophobia’ and then hearing harps and flutters of flutes.

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With two albums to their names, Perth rockers Psychedelic Porn Crumpets have also shared the stage with King Gizzard, Dune Rats, Black Mountain and Skegss. Band member Jack McEwan says the band started out as my uni-branding project. I wanted it to sound absurd and nonsensical, but as colourful as possible so I could create some outlandish designs.

The fourth and 12″ double LP repressing of High Visceral {Part One} in Transparent Orange and Blue. Limited to only 250 copies. This is the second release of Part One by What Reality? Records.

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Absolutely outstanding records…not a bad song on either part 1 or 2. Don’t be put off by the admittedly strange name…maybe something in the Perth water? One of the best records of 2017

Emerging from the ashes of indie-soul duo Wanderlust, JunoKind represents the electronic rebirth of Jade Richards‘ and George Gunson’s creative sympatico, bringing into the fold keyboardist Brad Green (These Winter Nights) and bassist Michael Anstee-Brook (Wise Oaks) to flesh out the pair’s evocative core sound.

It’s a transformation that has absolutely worked to their credit, the foursome having turned out six layered, incredibly listenable and magnificently nuanced pieces of music on their debut EP , The Infinity Cafe.

While Wanderlust’s vox-and-guitar set-up was enticing enough in and of itself, the broadened, more developed soundscapes here — which also include electronic beats from Richards and guitar and keys from Gunson in addition to the pair’s sweetly complementary co-vocals — are exceptionally easy to melt into.

Opening track “Able” kicks off with something of a nod to Wanderlust’s more acoustic days, with piano and violin giving way to hushed synths, reverb-laced guitar and inviting warmth of Richards‘ voice. Once the beats and bass enter, the transformation is complete, and JunoKind take flight at their lush, lubricious best.

As busy as parts of their songs can get, the band display a real talent for understanding when to fill their bars and when to hold back, as the restrained, irresistible “Necessary Space” and piano-driven “Embrace” capably show, and the five-minute “Hiding Places” is another wonderful demonstration of the band’s ability to blend acoustic, organic elements into their tech-lined compositions .

Rounded out by the deep grooves of Lightning Storm and slow-burning, climactic, instrumental-till-it’s-not Easy, The Infinity Cafe is a forceful and hugely enjoyable first effort for this re-imagined outfit, produced and engineered by Andy Lawson (Eskimo Joe, Gyroscope, Tired Lion), drawing on each of the members’ copious previous experience both together and apart to create this distinctive and mesmerising new sound.

It’s the kind of thoughtful, intelligent, well-crafted and alluring release that does nothing but engender genuine excitement in the listener about not only its contents, but everything that’s yet to come from this massive well of potential.

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Located at the end of winding and tumultuous road, “The Infinty Cafe” offers shelter to the electronic resurrection of Perth indie soul band, Junokind. It serves psychedelic swirling keys and guitar passages, on a bed of driving and often quirky drums and percussion, topped with surging harmonies and vocal passages. A record encompassing the loneliness of love and the tyranny of distance, “The Infinity Cafe” is Junokind’s diary of their adventure through life’s hiding places.

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Limited to 1,000 worldwide on Black vinyl 7″ inserted in white inner sleeve and housed inside cardboard sleeve with art designed by the band. Features 2 original tracks that have never been physically available. Released for Record Store Day 2017 the tracks “Architecture Lecture” / “Lagotto Romagnolo

Features 2 original tracks from the ‘Guts’ and ‘Teeth’ EP’s/

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Cardinal Fuzz are proud to announce the release of the epic new album “Dust” via Perth quintet Mt. Mountain. Since forming in 2012 Mt. Mountain are already lauded and revered in Australia where they have built a reputation as one of the most compelling live bands, a distinction that has seen them share stages with myriad Australian and international heavyweights including Sleep, King Gizzard and the Lizard Wizard, Thee Oh Sees, Endless Boogie, Tortoise, Bardo Pond and Boris. On “Dust” Mt Mountain have laid down 4 tracks that capture the atmosphere of the red/orange landscapes that consume the Australian Outback. Opening with the mini slow burn epic “Dust” which builds with an incessant drone and flute to form a ghostly menacing and meditative rhythmic and repetitive throb that builds and builds before the release comes and the bands shatters into a heady and thunderous elliptical crunch. Over the entire LP Mt Mountain capture, a dreamlike mood of shimmering dust filled landscapes where slow strummed guitars and single note organ lines ebb and flow and bring to mind Dylan Carson’s ‘Earth’ as played by mushroom ingesting elf’s. ‘Dust’ is psych rock meditation music and It is utterly entrancing.

http://

releases April 24, 2017
Written, Performed & Produced by Mt. Mountain

Stephen Bailey: Organ, Whistle, Guitar, Vocals
Derrick Treatch: Guitar, Mellotron, Vocals
Brendan Shanley: Bass
Glenn Palmer: Guitar
Thomas Cahill: Drums, Djembe, Percussion.

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Today sees the release of Everything Is Forgotten, the new album by Australian band Methyl Ethel.

Those in the know back in Australia have been talking up Methyl Ethel for quite some time. Their home city of Perth has a way of breeding artists both talented — it’s given us Tame Impala, The Drones, and The Triffids, amongst others — and also somewhat odd. Methyl Ethel’s singer/mastermind Jake Webb definitely ticks both boxes. This is a polished, sparkling record that’s often startlingly radio-friendly — lead single “Ubu” is so catchy but it also comes with an undercurrent of strangeness.

Methyl Ethel’s second full-length, the record is a vivid, compelling and mysterious creature, all curvaceous pop nuggets and enigmatic currents.  Written and recorded by Perth-based frontman Jake Webb, it was brought to life by acclaimed British producer James Ford (Arctic Monkeys, Foals).  The pair’s collaboration has infused Methyl Ethel’s shoegaze dream-pop palate with electronic and polyrhythmic flourishes, allowing Webb’s keening, gender-fluid vocals and searing poetry to take centre stage.

“A mind brimming with ideas and inspirations” – FasterLouder (9/10)
“One can only stand back and gawp at the strength of Webb’s songwriting here, the talent pouring from these tracks… a tight, exciting, stonker of an album.” – Loud & Quiet (8/10)
“By turns weighted and buoyant, half darkness and half shimmering light.” – DIY ****

Everything Is Forgotten

catch them live at the Bodega Social Rooms,

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Since the announcement of their new album “Everything Is Forgotten” which comes out next week via 4AD Records, we have been chomping at the bit for some new material. Luckily following the brilliant ‘Ubu’ the band have released new track ‘L’Heure des Sorcieres’.

The track is a dancefloor hit, merging the great and the good of Methyl Ethel with a nuanced electronic sound which spells only good things for the forthcoming album. The Perth band have given us a real glimpse of their artistic heart and it looks like a beat we can all enjoy. Everything Is Forgotten is out on March 3rd via 4AD Records

L’Heure des Sorcières’ by Methyl Ethel.
New album ‘Everything Is Forgotten’ is released 3rd March 2017