Posts Tagged ‘Perth’

Australian singer/songwriter Stella Donnelly has announced her debut album, “Beware of the Dogs, due out on March 8th via Secretly Canadian, and the news arrived with a great new single, “Old Man” and its accompanying ‘90s-inspired music video. On the song, Donnelly serves up more of her signature biting critique with extra helpings of humor and ballsiness. “Oh are you scared of me old man, or are you scared of what I’ll do?,” she sings, almost teasing, but meaning business. Another timely lyric follows: “You grabbed me with an open hand. The world is grabbing back at you.” Donnelly sings sweetly, but the men in her songs ranging from her mean boss in “Mechanical Bull” to the powerful desk-dwellers in “Old Man” are anything but.

Donnelly sticks up for herself with grace and wit, and if this first single is any indication, Beware of the Dogs will be a smart, satirical introduction to what’s sure to be an exciting career in music. The Perth songwriter has a U.K Tour set for April/May She will be at the Bodega on the 5th May 2019.

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First rule of band names: make sure your name doesn’t contain the genre of music you play. The band’s colossal, eccentric pop/rock sound is undeniably psychedelic and it’s kind of cheesy to have the genre explicitly in the title. After giving them a pass for a corny, playfully ridiculous name, you can let yourself wander in their magical, sweeping soundscapes. Singles like “Social Candy” and “Marmalade March” invoke equal amounts of high-spirited fun and virtuoso musicianship. Listening to their music requires listeners to abandon their inhibitions and embark on whatever gleaming psych-pop joyride they offer. Their sound is accessible and melodious enough to appeal to pop/rock fans while their musical proficiency and wacky euphoria will also gel with diehard psych fans.

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Band Members
Jack McEwan,
Luke Parish,
Danny Caddy,
Luke Reynolds

The most impressive thing about Jake Webb’s musical project, Methyl Ethel, is how consistent the quality of music is. Have you ever listened to a Methyl Ethel song you didn’t like? Think about it. Also, while you’re thinking, how ’bout the fact that no one’s ever seen Nicholas Cage and Marilyn Manson in the same room at the same time? Exactly. ‘Scream Whole’ is the first single off Methyl Ethel’s upcoming record, Triage, out Friday 15th February, 2019.

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These guys seem to be getting everywhere these days and they totally deserve it. This album has many strong points and things that set itself apart from others in their genre. Having burst onto the scene in their homeland, releasing their first two LPs to widespread national acclaim, alongside supports with Royal Blood, Dune Rats and Black Mountain, the band have developed a staunch grassroots following with their captivating blend of psychedelia. The albums are fuzzy, heavy and echoes in your cranium with every beat. An epic detour of neon flavoured noise grows to entangle your dissolving brain. Savagely mutant energies bubble through the air. Your body is out of reach, turning itself into a sponge as your mind floats towards another dimension.

I had trouble writing this review because I was too wrapped up in listening to this album on repeat. Absolutely fantastic!

The quartet have delivered an entrancing video for Cornflake, discussing their ideas in detail: “Existence is a strange concept so we wanted to create an animation that explores the idea of how weird life is. Even after all the soul-searching, religious preaching and spiritual journeys there is not one answer to anything”. “The video salutes to the song perfectly, venting more energy, colour and strangeness that leaves most people perplexed. It’s sometimes hard to grasp we’re one of a billion grains of rice in a huge sushi roll; the video reinstates that awareness, so stop worrying and do something you care about before the aliens invade”.

Psychedelic Porn Crumpets is Jack McEwan (lead vocals, guitar), Luke Parish (guitar), Danny Caddy (drums), Luke Reynolds (bass).

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High Visceral {Part 2} also contains some interesting new ventures in rhythm and melody. The rhythm interaction between the percussion and guitars in “Move” are pleasant to the ears. “Move” also contains a riff-reference to previous track “Gurzle”, a nice touch for the progressiveness of the album that makes it all feel a little more intertwined.

There are also some really interesting influences apparent on the album that come as a pleasant surprise.“Coffee”, a smooth relaxing track that goes down well with your morning cuppa, oozes with influence from Unknown Mortal Orchestra. The last half of the track also contains some incredibly colourful synthesizers that reminded me of those found on Tame Impala’s Lonerism. The closing track, “November”, also warmly reminded me of riffs played by the likes of Stevie Ray Vaughan and Jimi Hendrix.

“Dependant on Mary” has a poppy riff that will be getting plays at house parties across Australia. The second act of the track breaks down into a slower descent into the cosmos, but before you doze off into space the track crawls back up to pace with your head banging again.

Psychedelic Porn Crumpets describe themselves on their Unearthed page as “Space Fuzz”. That description applies more than ever to High Visceral {Part 2}. Some tracks will have you feeling as if you are indeed floating through space. “Coffee”, as I mentioned before, and more-so in It’s Not Safe to Leave this House.

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Psychedelic Porn Crumpets songs are filled with long, hypnotising riffs that lock you in with your jaw drooling as if something just hit your serotonin receptors”. I still strongly stand by that statement, and having those tunes refined in the studio with extra polish is an excellent final touch.

Released April 14th, 2018

Recorded & Produced by Psychedelic Porn Crumpets 
Drums Recorded by Dave Parkin at Blackbird Studios

Artwork by Zouassi

Ben Caddy – Violins/Viola
(All String Compositions)
Jon Tooby – Cello
(First Light Move, Coffee, Mary
Safe House, November)
Jamie Canny – Saxophone (Gurzle)
Zoe Gol – Vocals (Move)
Chris Young – Piano/Synth
(Dependant on Mary)

Em Burrows is one of music’s great collaborators, and loves a bit of irony, too. With 70s vibes from the vocals.

Embracing electronic rhythm elements and samples, WA-based pop singer-songwriter Em Burrows has delivered a compelling debut album. The Perth artist was channelling “obscure” Spanish soul bands from the ‘60s while writing most of the songs on Invisible Seams.

“I started writing bass lines really early in the songwriting process for this record actually because I loved how it gave the songs an identity and a feel straight away. “Then I’d carve out the chord structures from that and layer it with other sounds like synths and what not.” It’s a collection of songs that explore who humans make connections.

“It’s sort of me sifting through my life and working out why I attach meaning to some things and not to others and realising that some things may not have a specific purpose but they’re still part of the larger fabric of how we make meaning from life.  It sounds deep but, really, they’re just pop songs.”

A mistress Jedi of the psychedelic movement, this track is as fine an example of 21st Century psychedelia you’ll find this side of, well, anywhere.

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All songs written and arranged by Em Burrows. Chris Young played guitar, Jeremy Segal played bass, Marcus Davidson played drums, Jamie Canny played saxophone and Mark McAndrew played the MS20 on tracks 2 and 7. Em Burrows sang and played keys/synths.

Released March 19th, 2018

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Another of Perth’s greats. This track has one of the greatest drops in rock History!!!

With a scream, a killer riff and a solid bash on the skins, the band have launched into Australia’s consciousness, serving up two albums and two EPs with a side of singles that have set radios alight. Refusing to follow trends, The Love Junkies are part indie, part punk and part grunge: a mix that has hit a nerve as audiences fall for their frenetic live show.

Hailing from the foothills of Perth, Western Australia, The Love Junkies were founded by singer/songwriter Mitch McDonald and drummer Lewis Walsh at the end of 2009. The duo met many moons prior in high school, by the time the band hit the studio a mere three months later, long time high school friend Robbie Rumble (his real name) had joined on bass.

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Band Members
Mitch Mcdonald – Vocals, Guitar
Harley Barnaby – Bass
Robbie Rumble – Vocal/Guitar
Lewis Walsh – Vocals/Drums

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I am so thrilled to be welcomed into the Secretly Canadian family who I now have an international record deal with. I am so excited to meet the whole team at SXSW! , We hailed Stella Donnelly as our 2017 Artist of the Year for her star-making live show and ability to “dissect raw subject matter with with and breathtaking incisiveness” on songs about toxic masculinity and sexual predators that felt especially on-point in a year that Weinstein-gate and the #MeToo movement trended like a tidal wave.

Whereas the clip for ‘Boys Will Be Boys’ was a more austere, meditative experience, the Charlotte Evans-directed ‘Mechanical Bull’ video is a far more colourful affair, though it’s got teeth. Set in a diner, it stars Stella as a waitress serving up mannequin parts to creepy dudes. It’s a simple but effective take that’s on the same frequency as the song’s message about the objectification of women.

Now, her stark track ‘Mechanical Bull’ has been given a visual treatment that translates those concepts into a cutting bit of satire. “The song, ‘Mechanical Bull,‘ is dedicated to people who work in hospitality who have to deal with customers, especially drunk ones, harassing them and making objectifying comments. I wrote this about my experience working in bars and it was a nice way to release some of the frustration I had!”

To celebrate this, they have re-released my Thrush Metal EP with an extra track that I wrote called ‘Talking’.  Another standout from the Perth songwriter’s Thrush Metal EP has been given a biting visual treatment.

Also for the people who have asked me about vinyls, you can now pre order the 12” white vinyl limited edition of Thrush Metal available June 22nd.

Another one of Perth’s heroes. £Giant Tortoise” is mega, there’s nothing like it really. Pond changed the game for me with Hobo Magic. Going back to Sabbath roots, heavy prog, ’70s metal origins to add their unique flavour of psych to the modern era.

A Perthadelic mind-splurge, that’s what. To simplify matters, let’s start with just two: Kevin Parker and Nick Allbrook, Tame Impala’s singer and ex-bassist respectively, and the two biggest heads in the burgeoning Perth psych scene. Whenever Parker was locked away to single-handedly pull Tame’s albums out of God’s nostril, Allbrook was busy with his own astral pop projections.

Jamming randomly with other at-loose-ends Tame members (and occasionally Kevin too, on drums), he built a sprawling collective around Pond, the improvisational art-rock collaboration that was formed on the day of their first house-party gig in 2008, and knocked up their 2009 debut album ‘Psychedelic Mango’ on an eight-track in Nick’s parents’ granny flat. After three more albums (see box, right), and with all the sounds in his head colliding with the fucked-Floyd freak-outs of ‘Lonerism’ on tour, Nick left Tame Impala in May to concentrate on Pond, among other projects. Bizarrely, he was replaced in Tame by Pond drummer Cam Avery, who clearly never got the ‘Leaving Tame Impala To Concentrate On Pond’ memo.

To quit the coolest band in the world to go make a seven-track album of surreal psychedelic blues about spiritualism, giant tortoises, conspiracy theorists and Pegasus. But that’s what Allbrook has done, and with considerable success. Pond’s fifth album, ‘Hobo Rocket’, bristles with unrestrained creativity and sonic exploration, while verging away from pastoral prog towards a harder garage blues slant. Spiritualist acid mania infects ‘Hobo Rocket’ from its first mystical inklings: opener ‘Whatever Happened To The Million Head Collide?’ wafts in on a cloud of MGMT and a distorted Buddy Holly bass riff, Nick emitting psychedelic yowls between references to “the holiest of holies’’ and how “I am, you are Buddha, Krishna, God’’. Then he screams, and the track becomes a White Stripes/Band Of Skulls voodoo rocker, Nick shifting from meditative peacenik to paranoid conspiracy freak: “I’m gonna sleep for a week and not speak at all/Cover myself in oil and tin foil’’. It’s a schizophrenic mash-up, but one hell of a sucker-punch opening.

Heavy as a narwhal’s balls and concerning the crippling emotional effects of psychoactive medication, the brittle blues bluster of ‘Xanman’ provides pop relief in the style of a wormhole ‘Seven Nation Army’, Nick playing the lusty funk squealer with commitment during the blow-out coda. ‘O Dharma’ – by turns The Beatles’ ‘Sun King’, Pink Floyd’s ‘Any Colour You Like’ and Hot Chip getting groovy round the Maharaja’s gaff – is perhaps the sweetest acoustic gospel-hippy swirl ever to centre around the phrase “And if you muthafuckers don’t like it you can all get out’’. It’s a key phrase to Pond’s ethos; reflecting their experimental roots – and perhaps Nick’s wild musical mood swings – this is an album of dichotomies, both thematic and sonic. Lulled into a pleasant dopamine haze by ‘O Dharma’? Now take the ponderous, misanthropic Zep-metal chunder of ‘Aloneaflamaflower’, segueing into ‘Giant Tortoise’ – a tune that imagines Jack White going back in time to guest on ‘Across The Universe’.

Pond’s open-mindedness lifts off towards event status on the title track, in which a guy called Cowboy John – a local legend described in the sleevenotes as “artist, mystic, wanderer, eccentric’’ – rants and mumbles about flying through the universe at “twice the speed of light’’ on a “horse with wings’’ like a dope-fried Lou Reed, then starts asking the band mid-song what drugs they’ve got. It all wraps up with the demonic blues metal of ‘Midnight Mass (At The Market St Payphone)’, complete with a pastoral, Floyd-y, four-minute ‘Dear Prudence’ outro to a record that leaves you mentally a-quiver. When a million heads collide, it seems, it’s a colourstorm.

Giant track, tortoise friendly.

Release date: 05th Aug, 2013

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Stella Donnelly‘s rapid rise continues with today’s announcement that she’s signed an international record deal with leading US indie label, Secretly Canadian. The signing comes after label co-founder and co-owner Ben Swanson saw the Perth songwriter’s “stunning” live shows at last year’s BIGSOUND Festival.

“With her clever, yet direct lyrics, Stella’s work is threaded with a rare mix of wit and emotion,” Swanson said.     “I couldn’t be more honoured to be working with Stella and cannot wait to hear what she unleashes on the world next.” Donnelly added, “I am so excited and grateful to be joining the Secretly Canadian family!

“I’m very grateful to be working with the people who, in turn, work with some of my favourite artists in the world and I know that Secretly Canadian is a nurturing space to write music and grow as an artist.”

Donnelly joins a roster that already boasts the likes of  Alex Cameron and Antony and the Johnsons.

Meanwhile, to celebrate the re-release of her debut EP, Thrush Metal, Donnelly has revealed the brand new music video for her track, Mechanical Bull;

Donnelly will embark on a co-headline tour of Australia with Alex The Astronaut this April;

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The Secret Buttons describe themselves as a “dirty rock ‘n’ roll band from Perth, Australia,” and  listening to their album “Some Buttons Should Not Be Pushed,” proves right away what an apt and fantastic description that is. The Secret Buttons‘ debut EP is here. Raw & straight-up, this North Perth trio draw influences from the old & new school of RocknRoll,
delivering a new look at an old dog. Here they deliver 8 songs recorded in the unique & dirty rock style
that The Secret Buttons do best, lazy but fast, high-octane lethargy. It’s honest Rock’ n Roll made
from the basic utensils, bass, drums and guitar..

The band rocks in that timeless way, pairing a driving beat with growling rock vocals, it’s that good old power trio that’s worked for ages and continues to do so, from the Jimi Hendrix Experience to Nirvana to these fellas right here. It’s the perfect thing to listen to when you need a pick me up, a little energy, a little bounce in your step.

The guys from the band maintain a fantastic twitter account, which I high recommend following just because they are nice guys who post fun pictures and great music, and everyone needs more of that in their feed. And if it doesn’t convince you to check out their album,

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