Posts Tagged ‘Perth’

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Australian five-piece Mt. Mountain will release their fourth album, ‘Centre’, on February 26th 2021 via London’s Fuzz Club Records. Hailing from Perth, Australia, Mt. Mountain deal in a sprawling, motorik psychedelic rock sound that journeys between tranquil, drone-like meditations and raucous, full-throttle wig-outs that’ll blow your mind as much as your speakers. Taking cues from Krautrock pioneers like Neu! and Can whilst existing in a similar world to contemporaries like Moon Duo, Kikagaku Moyo and Minami Deutsch, Mt. Mountain are formidable torchbearers of the minimal-is-maximal tradition. 

Musically, the band’s sound is born out of long improvised jams so naturally much of the album was recorded live to capture the band at their most freewheeling. Growing up surrounded by religion but not a follower himself, Stephen Bailey (vocals/organ/flute) describes how, thematically, much of ‘Centre’ is a dissection of faith – both spiritual and secular – and his personal, often complicated relation to it: “The album for me, lyrically, is mostly about my experience of religion. It explores these concepts and the rules that were told to me from childhood to adulthood and my thoughts on my own connection to them. Similar themes arise between the tracks whether it be lyrically or structural, both a play on repetition and simplicity.”

With a number of EPs and singles and three albums behind them – their 2016 debut ‘Cosmos Terros’, 2017’s ‘Dust’ and 2018’s ‘Golden Rise’ – the Perth quintet have picked up a formidable reputation in their homeland and further afield, thanks especially to their wildly all-consuming live shows. Constantly touring across Australia with each release, they’ve also shared the stage with notable down-under comrades like King Gizzard & The Lizard Wizard and ORB, as well as a long list of international heavy-hitters including Sleep, MONO, Thee Oh Sees, Acid Mothers Temple and Moon Duo.

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Fuzz Club members will receive the deluxe vinyl as part of the February 2021 membership package. Deluxe Edition: Limited to 300 copies on 180g ultra-clear vinyl with white and black splatter, hand-numbered tip-on gatefold sleeve and polylined innersleeve, Standard Edition: Limited to 700 copes on 180g grey vinyl

Released February 26th, 2021

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It’s a record that “sounds like an AI supercomputer trying to create a ‘70s rock record… Narrated by a drunk boy who’s just come back from tour.” That’s how Perth’s Psychedelic Porn Crumpets are pitching “Shyga! The Sunlight Mound” – an album title best bellowed out loud in your silliest Mighty Boosh voice.

Shyga! is an atomic blast of a listening experience, featuring some of the band’s fastest, loudest material yet. With enough juice to power a rocket, the ripping lead singles, ‘Tally-Ho’ and ‘Mr. Prism’, gave a good indication of what to expect, and came bundled with mind-melting Claymation videos.

If you dug those high-octane nuggets, you’ll be pleased to know the rest of Shyga! scales similar heights of speedy sonic insanity, evoking the strung out chaos of a week-long bender fuelled by boozy hijinks, debauchery, and – to use the band’s own euphemism – “chemical enthusiasm”. The explosively creative SHYGA! is their fourth album in nearly as many years for the Porn Crumpets, who have consistently delivered on the expectations that their brilliantly ridiculous band name has set.

Their ambitious two-part debut “High Visceral” (released back-to-back in 2016 and 2017) almost immediately established their sound, all tie-dyed riffs that looked back to ‘60s psychedelia but injected with the frenetic garage rock crunch of early Tame Impala, Pond, and King Gizzard and the Lizard Wizard. Carving up house parties and venues along the way, they cultivated a bulletproof rep as one of Perth’s gnarliest rock shows.

In recent years, Psychedelic Porn Crumpets buzz from out West went national, and then global, allowing the band to spread their headbanging spectacle to Europe, the UK, and Japan. It was in that Groundhog Day blur of touring life – all celebratory late nights and headache-grey-tour-bus mornings – that Shyga! The Sunlight Mound began to take shape.

Forced off the road by the COVID-19 pandemic, Jack McEwan – the singer, shredder, and creative engine of the wild Psychedelic Porn Crumpets locomotive – used the extended off-cycle period to reflect and rejuvenate. That’s the obvious starting point for countless rock records, but where Shyga! immediately distinguishes itself is in rather than slowing down and ruminating on the bizarre reality of touring life, it attempts to sonically recreate its intensity. The blistering energy “reflects the madness, crazy midweek adventures, highs and physical lows of touring,” Jack explains, “an album where every song is adding to a bender,” and paced like a punishing tour schedule, where moments to come up for air are rare and brief.

Blink and you’ll miss it Jack notes on the relatively calm opener ‘Big Dijon’, foreshadowing the scorching pace to come in the 40-min listen before the track detonates into ‘Tally-Ho’.

‘I’m getting used to waking up and feeling rough’ he sings between the squiggled guitar-monies of ‘Tripolosaur’, while ‘Pukebox’ is about “getting home from tour and trying to piece together what happened; it’s all a foggy, hazy memory.” .Rather than glorifying their debauchery, Psychedelic Porn Crumpets aren’t above taking the piss out of themselves. ‘The Terrors’ acknowledges that what goes up must come crashing down, with a battering wall of guitars breaking only for a descending melodic chorus that arrives like a comforting rush of endorphins amidst a hangover.

From the surging ‘Mr. Prism’ to the galloping rhythms of ‘Mundungus’ (honestly, Psychedelic Porn Crumpets should win some kind of trophy for naming things) Shyga! is like a runaway rollercoaster, where it often feels like the only thing keeping these songs from going off the rails is to maintain a breakneck forward momentum. It’s a helluva lotta fun, but it can also be exhausting.

There’s no doubting that Shyga! is Psychedelic Porn Crumpets’ most intense release yet. There’s no room for the lengthy, progressive tendencies of High Visceral, paring back the spacier, experimental moments of 2019’s And Now For The Whatchamacallit in favour of the full-throttle nuttiness of setlist favourites like ‘Social Candy’ and ‘Ergophobia’.  

The turn to one lightning-paced belter after another might disappoint fans of the trippier parts of the band’s catalogue, and the way the ‘week-long bender’ concept functions can sometimes make Shyga! feel like one big blur. The mid-section especially risks sounding like too much of the same. But even though it functions like one, epic-sized 40-minute jam, there are dynamics to be found. Warm Melotron and warped string and flute patches occasionally bubble to the surface between the heaving wall of riffs and drums, and the band’s trademark sense of playful humour not only separates them from your standard issue guitar band but finds them pulling absurdist inspiration from the most unlikely of places.

The crunchy jangle of ‘Hats Off To The Green Bins’ channels the dread of cleaning up for a rental inspection, and ‘Sawtooth Monkfish’ is dotted with the vintage sounds of retro Japanese arcade games. “Pretty much a homage to all the pinball we were playing while touring around America,” Jack notes.

‘Mango Terrarium’ sounds like The Beatles had survived the ‘60s and became a ‘70s hard blues band, and the title describes what Jack’s home studio looked like, strewn with empty bottles after he became obsessed with Mango-infused beer. (“My brother described it as what a bee would taste when it extracts nectar from a flower.”)

It may have a penchant for the ridiculous, but the album’s craft is dead serious. They know how to offer an exhilarating album experience, and you can tell Jack paid a lot of attention to the album’s structure and sequencing. “There’s a lot of intentional[ly] shorter tracks on the record, aiming to boost the song following directly after to maintain that feeling of constantly moving forward and upward.”

There’s a method to the ‘Everything Up to 11’ madness, and after all the face-melting fretwork and hectic energy, Shyga! actually ends on a wholesome note. ‘Every old man tells me the same, live while you’re young and enjoy each day’ Jack wistfully intones over the frazzled plucking of closing track ‘The Tally of Gurney Gridman’.

It may not be breaking new ground but “SHYGA! The Sunlight Mound” proves that Psychedelic Porn Crumpets have flair and imagination to spare. It’s arguably their most daring, cohesive set yet and definitely Australia’s first great psych-rock saga of 2021.

Psychedelic Porn Crumpets Shyga! The Sunlight Mound”  is out 5th February.

Carla Geneve is a singer songwriter from Perth, Western Australia, Her new album will also include previous singles ‘Don’t Wanna Be Your Lover’ and ‘The Right Reasons’, both of which were released last year. In an additional statement, Geneve described the album as “very much a way for me to make sense of and explain my emotions to myself”. “These songs came at a time that I was coming to terms with the positives and negatives of medication, as well as the reality of having to gather the mental strength to push through hardship,” she explained.

The new track, ‘Dog Eared’, is a scorching rock number inspired by the enthusiasm of Geneve’s music students.

“I was driving home one night and I felt so excited and full of energy for music, and I guess life in general. I didn’t really know why but I realised it was because I had been in a room of teenagers playing music with the pure, raw emotion that most people grow out of as you enter adulthood,” Geneve said in a statement. “I had taken some of that recklessness and it felt incredibly nostalgic. I dictated the words to ‘Dog Eared’ into my phone. It took me a while to finish the music because I really wanted to get it moving a bit more than my other songs. Capture a bit of that violence that I mostly stay away from on this record.” “Dog Eared” is a crushing piece of rock that sits in perfect contrast to recent single, “The Right Reasons”.

Geneve crafted “Learn To Like It” over a couple of years in between prolific touring and a period that was marked by adolescence, heartache and coming to terms with mental illness. The 22-year old says writing the largely biographical record was a method of processing and finding strength through vulnerability, saying it was “very much a way for me to make sense of and explain my emotions to myself.”

“These songs came at a time that I was coming to terms with the positives and negatives of medication, as well as the reality of having to gather the mental strength to push through hardship.”

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Learn To Like It, my debut album, is out everywhere Fri April 23rd via Dot Dash/Remote Control Records

‘Pacific Kiss’ is the fourth album from Australian musician David West’s underground pop band, Rat Columns. It was engineered by Griffin Harrison and DW in New York City and Perth, and mixed by Mikey Young in Victoria. ‘Pacific Kiss’ sees Rat Columns plunging headfirst into an azure sea of power pop, rock’n’roll and indie. The tones are bright and optimistic, though fans of confusion and gloom will still find solace in the album’s darker moments, of which there are a few.

Rat Columns emerged from San Francisco via Perth, Western Australia in the late 2000’s with the mope ’n’ jangle of their first self-titled cassette release, from which several tracks were drawn for their first vinyl release, a four-song 7” on the San Francisco based indie label, Smartguy Records. From that moment, David West and a constantly evolving troupe of friends and co-conspirators have forged a persistent trail of albums and EP’s on a number of interesting small labels such as RIP Society, Upset The Rhythm, Blackest Ever Black, Syncro-System, Adagio 830 and now the London-based Tough Love Records, who have also released many of David’s eponymous pop records. West has also found time to play in a number of other interesting outfits, such as Rank/Xerox, Lace Curtain, Liberation, Scythe, Total Control and Burning Sensation over the years.

‘Pacific Kiss’ was primarily recorded in a dingy but comfortable practice space in East Williamsburg, Brooklyn. The core of the record is West, bassist Max Schneider-Schumacher, drummer Dylan Stjepovic and keyboard wiz Joey Fishman. Additional fairy dust was sprinkled by Amber Gempton and Raven Mahon (vocals), Jef Brown (saxophone) and Mikey Young, who found time to contribute some off the wall guitar solos during the mixing process. ‘Pacific Kiss’ is a record for those astral voyages into the spheres conducted from bedrooms, kitchens, grassy fields and open car windows. 

Releases February 14th, 2021

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Australian five-piece Mt. Mountain are today announcing their fourth album, ‘Centre’, and sharing the first single ‘Aplomb’. Hailing from Perth, Australia, Mt. Mountain deal in a sprawling, motorik psychedelic rock sound that journeys between tranquil, drone-like meditations and raucous, full-throttle wig-outs that’ll blow your mind as much as your speakers. Now signed to Fuzz Club Records, ‘Centre’ is due out February 26th check out the first cut, ‘Aplomb’, below.

Taking cues from Krautrock pioneers like Neu! and Can whilst existing in a similar world to contemporaries like Moon Duo, Kikagaku Moyo and Minami Deutsch, Mt. Mountain are formidable torchbearers of the minimal-is-maximal tradition. Out today, ‘Aplomb’ was one of the first songs written for the album and marked a conscious shift of focus towards more rhythmic patterns within their music. Stephan Bailey (vocals/organs/flute) reflects on the song: “‘Aplomb’ is essentially the voice that I hear in my head, reminding me to not rush and slow down, and to have the confidence to bring this into practice in everyday life. We wanted there to be this clear contrast here between the tempo of the song and the lyrical content, an approach which appears throughout the album.”

Mt. Mountain is :
Steven Bailey (organ / vocals)
Thomas Cahill (drums)
Glenn Palmer (guitar/synth)
Brendan Shanley (bass)
Derrick Treatch (guitar).

Releases February 26th, 2021

The Perth-based psych/Krautrock group Mt. Mountain are today announcing their fourth full-length, ‘Centre’, and sharing the first single, ‘Aplomb’. Their first release on Fuzz Club, the incoming album is due for release on vinyl, CD and tape on February 26th 2021. Australian five-piece Mt. Mountain are today announcing their fourth album, ‘Centre’, and sharing the first single ‘Aplomb’.

Taking cues from Krautrock pioneers like Neu! and Can whilst existing in a similar world to contemporaries like Moon Duo, Kikagaku Moyo and Minami Deutsch, Mt. Mountain are formidable torchbearers of the minimal-is-maximal tradition. Out today, ‘Aplomb’ was one of the first songs written for the album and marked a conscious shift of focus towards more rhythmic patterns within their music. Stephan Bailey (vocals/organs/flute) reflects on the song: “‘Aplomb’ is essentially the voice that I hear in my head, reminding me to not rush and slow down, and to have the confidence to bring this into practice in everyday life. We wanted there to be this clear contrast here between the tempo of the song and the lyrical content, an approach which appears throughout the album.”

Very excited to announce that we have signed with Fuzz Club Records. Details on the incoming release coming soon! through fuzzclubrecords: “We’re super excited to announce that we’ve signed the great mt.mountain for their incoming third album – the details of which will all be revealed soon!
Hailing from Perth, Australia and forming in mid-2012, Mt. Mountain deal in just about everything we love here at Fuzz Club: a sprawling, motorik psychedelic rock sound that effortlessly journeys between tranquil, drone-like meditations and raucous, full-throttle wig-outs that’ll blow your mind as much as your speakers.

Bailey describes how, thematically, much of ‘Centre’ is a dissection of faith – both spiritual and secular – and his personal, often complicated relation to it: “The album for me, lyrically, is mostly about my experience of religion. It explores these concepts and the rules that were told to me from childhood to adulthood and my thoughts on my own connection to them. Similar themes arise between the tracks whether it be lyrically or structural, both a play on repetition and simplicity.”

‘Aplomb’ is lifted from Mt. Mountain’s incoming fourth album ‘Centre’, due for release February 26th 2021 on Fuzz Club Records. You can pre-order the album on vinyl, CD and tape here:https://fuzzclub.lnk.to/aplomb

Mt Mountain are very excited to announce that we have signed with Fuzz Club Records. Details on the incoming release coming soon!

Fuzzclubrecords: “We’re super excited to announce that we’ve signed the great @mt.mountain for their incoming third album – the details of which will all be revealed soon! Hailing from Perth, Australia and forming in mid-2012, Mt. Mountain deal in just about everything we love here at Fuzz Club: a sprawling, motorik psychedelic rock sound that effortlessly journeys between tranquil, drone-like meditations and raucous, full-throttle wig-outs that’ll blow your mind as much as your speakers.  Both songs are hazy early morning ebbing drifts that don’t so much flower, as they manage to hold you in suspension, teetering on the edge of gliding lysergic flight, nearly existing in the background, though ever-present enough to hold your wayward attention with disembodied emancipated delight, filled with wanderlust and super low-keyed visionary splendour.

To find out more and stream their recent single ‘Tassels’.

Hailing from Perth, Australia and forming in mid-2012, Mt. Mountain deal in just about everything we love here at Fuzz Club: a sprawling, motorik psychedelic rock sound that effortlessly journeys between tranquil, drone-like meditations and raucous, full-throttle wig-outs that’ll blow your mind as much as your speakers. This band puts you under a blissful lysergic spell. I can not wait for a new record.

With a number of EPs and singles and two full-length albums behind them – their 2016 debut ‘Cosmos Terros’ and 2018’s ‘Golden Rise’ – Mt. Mountain have picked up a formidable reputation in their homeland and further afield. As far as live shows go they’ve played shows with such notable Aussie comrades as King Gizzard & The Lizard Wizard and ORB, as well as a long list of international heavy-hitters including Sleep, MONO, Thee Oh Sees, Acid Mothers Temple and Moon Duo. It’s for good reason that this lot have been busy earning their stripes over the last few years and we’re incredibly excited to start showing you what they have in store in the coming weeks and months… watch this space!

The Band:

Steven Bailey (organ / vocals)
Thomas Cahill (drums)
Glenn Palmer (guitar/synth)
Brendan Shanley (bass)
Derrick Treatch (guitar).

The Psychedelic Porn Crumpets continue to assert their status as one of Australia’s hardest working bands – pandemic be damned – in announcing the release of their new album, “Shyga! the Sunlight Mound”, set for release in February 2021. for the Perth group, creativity and production hasn’t stopped in 2020. Despite much of this year’s tour plans being put on pause, Psychedelic Porn Crumpets have used their time off road to continue preparing for the release of their fourth studio release, and an eventual blistering return to stages around the world.

Psychedelic Porn Crumpets have already given fans an early taste of the forthcoming “Shyga! era, with ‘Mr. Prism’ in august. the creation of “Shyga! the Sunlight Mound” especially off the back of 2019’s huge album and “Now For The whatchamacallit”, came together in a different environment for McEwan and the results speak to the band’s evolution and McEwan’s evolution as a songwriter. “for the first time in a long time i was home without any tours booked, no work, no deadlines and I felt free to create. my writing process became ritualistic; every morning starting with a small walk to the local bottle shop at 11am and writing whatever flowed, allowing myself to design in all styles without boundaries, and not trying to theme the album early on. I haven’t had the luxury of writing this way since the first record, which i spent almost a year working on. it felt like I was myself again, creating without opinion or constraints. gliding through weeks with a day seeming to pass.”

I’m chuffed with how the album has turned out. For me the goal was to create something that effortlessly flowed from track 1-14 while shifting moods, gears, tempos and styles without losing energy. I wanted the overall vibe sounding like a cohesive piece that swirls with glitched out 70’s-inspired guitars, Zeppelin-esque drums and a booming P-H phat litmus sturdy fuzzy bass tone that hopefully you can crank with the old folks over a coupla cold frothies. 

They’ll be limited edition colour vinyl releases for each territory – details coming later on! Keep your eyes open.
And our brand spanking-new tune ‘Tally-Ho’ gets it’s first spin on Future Sounds with @anniemacmanus on @bbcradio1 tonight at 7pm(UK).
Can’t wait to share the new tunes with you, we’re extremely proud of this one!
All the best,
Jack

Carla Geneve Vinyl Extended EP (White)

Carla Geneve has announced a national tour this August performing shows in Sydney, Melbourne and Fremantle! She’s taking her debut self-titled EP on the road, which was released in June via Dot Dash Recordings/Remote Control Records.

Carla’s also been announced on a national tour from September-October with HOLY HOLY.

To celebrate the announcement, Carla has shared a video for ‘Things Change’. The video was filmed on her recent debut tour of North America supporting San Cisco, Carla shares – “The video is a tour diary of sorts for my first ever shows in North America. It has been a year of big change for me and I felt like being on the road and touring was very significant of a big shift in my life. I wanted to capture some of the moments on the road that people don’t usually get to see – from travel to preparing for a show to everything in between.”

Carla Geneve recently brought her musical mastery and lyrical charm to the Live at Enmore studio, with an incredible version of Things Change.

Carla Geneve is a 21 year old singer-songwriter based in Fremantle, Western Australia. Backed by a captivating show and unique brand of brutally honest lyricism, Geneve established herself as one of Australia’s most prominent up and coming artists after the release of her breakout debut self-titled EP which saw her tour Australia prolifically playing sold out shows and festivals such as Laneway Festival & Falls Festival as well as tour with/support artists such as Cat Power, Kurt Vile, Julia Jacklin, Belle & Sebastien, Fred Armisen and more.

Her critically acclaimed debut self-titled EP was released in June 2019 via Remote Control Records/Dot Dash Recordings receiving praise from KEXP, Beats 1, Triple J and more. Geneve promoted the EP with her debut tour of North America was awarded the leading number of wins at the 2019 West Australian Music Awards taking home Best EP, Best Single – ‘Things Change’, Best Guitarist & Best Rock Act as well as Live Voice of The Year (WA) at the National Live Music Awards.

 Geneve will release her forthcoming single ‘Don’t Wanna Be Your Lover’, the first from her debut album aided by extensive national/international touring, further solidifying her as one of Australia’s most exciting up and coming artists.

Carla Geneve singer songwriter from Perth, Australia

Their new record, “And Now For The Whatchamacallit”, is sitting at the very top of the Australian vinyl charts, and for good reason. They scratch an itch in Aussie music that strikes a rare balance between immediacy and complexity the sheer momentum of their riff-based psych-rock nearly outruns its own anxious underbelly.

Since the advent of language, all things have needed to be called somethingespecially rock bands. To break out of the psych-rock hotbed of Perth, Australia, a truly absurd moniker was chosen: Psychedelic Porn Crumpets. What does it mean? We have no idea and neither do the fellas in the band. However, like their music, it’s undeniably memorable. Hailing from the same pub and club scene that spawned psych-pop superstars Tame Impala and cult favourites Pond, the Crumpets’ brand of psychedelic rock is decidedly more over-the-top than the fare their compatriots put out. The Crumpets make brash, exuberant music that takes the intrigue and textures of classic psych and injects it with an unhinged, restless energy that feels like peaking on LSD while riding a rollercoaster.

At the core of the Crumpets’ sonic universe is an unabashed love of cartoonishly large and colourful guitars. With their third LP, And Now for the Whatchamacallit, Psychedelic Porn Crumpets have created a loose concept album which applies the aesthetic of a 1930s carnival to the turbulent circus that is touring life for a young band. Tracked chiefly in frontman/principal songwriter/guitarist Jack McEwan’s bedroom studio (with some overdubs done at Perth’s Tone City Studios), And Now for the Whatchamacallit is indeed a guitar carnival that revels in dazzling multi-layered harmonies, chunky, fuzz-laden riffing, and delicate ambient passages that’ve been tweaked, warped, or pitch-shifted in interesting ways. Finished with a dash of ’70s glam pomp and a hearty dose of indie-pop melody, the album ticks a lot of hallowed guitar-rock boxes while forging unique territory.

And yet, lead singer Jack McEwan is anything but world-weary. Gleefully sipping a schooner on a Monday morning with the rest of his exhausted band behind him, he seems as stoked as a man could be. With occasional interjections from bright-eyed keyboard player Chris Young, we chat about escapism, how Perth shaped their music, and the way song writing fills the void.

Beyond being a compelling listen, the Crumpets’ latest release is a fine example of how good a guitar-focused album can be without access to expensive gear, or much reliance on tube amps or even high-end modelling rigs. The Crumpets’ musical identity is a by product of Perth’s isolation, where bands are decidedly less overwhelmed by an influx of outside art and additionally forced to use whatever tools they have at their disposal in a place where American-made and/or vintage gear is difficult to come by.

A big fan of the “work with what you’ve got” philosophy, McEwan tracked almost all of his guitar parts in Ableton through DI and employed clever production techniques (like eschewing amp sims altogether for an extremely hot compressor) to get his guitar sounds, which are rarely sterile, despite often sounding like anything but a guitar. While McEwan’s guitars live almost exclusively in the digital realm, lead guitarist Luke Parish is a fan of vintage gear and has hunted down and imported some gems, including a ’60s Sears Silvertone amp and a ’68 Fender Deluxe Reverb, which he used to add organic warmth to McEwan’s digital guitar pastiche. The pair complement each other exceptionally well as guitarists despite having vastly different backgrounds as musicians: McEwan is a converted bass player and Parish came up playing in jazz bands and then followed the typical blues-rock heroes of yesteryear.

With McEwan and Parish riding in the back of a tour van, traversing a Welsh highway. The duo discussed the band’s writing process, unique home-recording techniques, the travails of sourcing decent gear in an isolated locale, and what makes Australia such a fertile place for rock ’n’ roll.

They are certainly channelling some of King Gizzard magic . With its slashing garage rock riff and driving bassline, it starts out like something out of the Gizz’s Nonagon Infinity, particularly with its hushed vocals. This docks it a few points for originality. However, the song’s distinguishes itself a more melodic cerebral second half.