Posts Tagged ‘Perth’

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.


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.


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,


Cathedral is the first single from Golden Rise, Mt. Mountain’s third LP in as many years.  Recorded at Studio Sleepwalkers Dread with Ron Pollard (Tangled Thoughts of Leaving, Meniscus, Hideous Sun Demon), it follows on from 2017’s conceptually ambitious Dust. Whereas Dust unfolded like a long-take of harsh but beautiful desert landscapes, Golden Rise’ reveals itself like a series of photographs in song form; 10 tracks that stand on their own, yet best experienced in reference to each other and the album’s celestial evocations. Harking back to Mt. Mountain’s 2016 debut Cosmos Terros, Golden Rise is mood music for all occasions – equally fit for night drives, contemplative stasis or revelations in darkened rooms.


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With the new digital reissue of their 2017 album ‘The Weather’ – produced by Tame Impala’s Kevin Parker – released this week, Aussie band Pond have shared a music video for ‘Fire In The Water’, a bonus track from the work.

Directed, filmed and edited by acclaimed visual artist Kristofski, the clip features POND frontman, Nicholas Allbrook dancing joyously through the streets of Tokyo.

Of the video’s origin, Kristofski states: “Jay [Watson] hit me up on Instagram and said “Hey Kristio, do you wanna come meet us in Tokyo in two days and shoot a clip?” and then I was in Tokyo and by far it was the most rude trip of my life. We got lost a lot and kinda just followed Nick around because he kept wanting to find this rainbow bridge which I don’t think ever existed. Sometimes we would just stop and film where ever we were.

“The original idea was Nick turning into a jellyfish, floating over the buildings looking down on all these people eating ramen and sushi but that idea didn’t really fly. That was Nick’s idea, by the way.  I like how we have those koi fish in the clip, because they are like fire in the water. It was also Joe’s birthday, which was nice.”

Band Members
Urethra Franklin,
Kirk Kobain,
Spready Hazel,

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The Money War was conceived while Dylan Ollivierre (Rainy Day Women) and Carmen Pepper (Warning Birds) drove across the US in late 2015. Inspired by the trip, a pile of iPhone demos was created. After a chance meeting with producers Thom Monahan (Fruit Bats, Little Joy) and Arne Frager (Prince, Paul McCartney) in a dive bar in San Francisco, the duo were convinced of the value of the demos. Returning home with a load of stories, they then began work on materializing a record. 

WA indie-rock duo The Money War have already established a solid presence in their hometown, forming from already revered local outfits Rainy Day Women and Warning Birds. With their latest single, Hold On – described by buzz label I Oh You as having “effortless magnificence embedded within” – the pair set their sights on the east coast, embarking on their first Australian headline stint in December. That’s after they caught Meg Mac’s attention earlier in the year and scored an opening slot on her album tour. They are currently recording their debut album, which will be released around April/May 2018.

Band Members
Dylan Ollivierre
Carmen Pepper

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Among the best new acts of the year from Australia would’nt be complete without Stella Donnelly. While she’d been rocking in Perth for a while with bands like Boat Show, her real emergence came with the release of her debut LP Thrush Metal, which just about knocked everyone’s socks off.

In an unflinching account of sexual assault, the Perth singer-songwriter provides both an enthralling introduction to her poetic plainspokenness and a snapshot of the reality beyond the #MeToo movement. Most striking is the victim-blaming critique’s abrupt full-stop, as calm assessor turns threatener: “time to pay the fucking rent”.


Her performances at the Big Sound Festival bumped her even higher in everyone’s estimations, winning her the inaugural $25,000 Levi’s Music Prize, and setting her on the path to take out the triple j Unearthed Artist of the Year at the 2017 J Awards, beating out lots of fierce competition like Ruby Fields, Alex The Astronaut and, Confidence Man . Not a bad year at all.