Posts Tagged ‘Sydney’

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Pacing around the stern of an Etihad flight from Sydney to Europe – at a point in her life where everything was ending, Sophie Payten – the folk-pop singer and producer known as Gordi – chose to begin her new record, ‘Our Two Skins’. Payten had recently completed her medical exams after years of studying to be a doctor, and began the process of ending her “nice, safe, but stagnant” long-term relationship. Coming to terms with a new truth in her identity – which played out against the backdrop of the same-sex marriage vote in Australia – led to an isolated internal state, further fuelled by distance, trying communication and lost love ones.

Written in 20 anxious minutes on that lonely plane to an isolated six weeks in Europe, Payten penned album opener “Aeroplane Bathroom”. “It’s like all the adrenaline of the last two months just dropped away and I had a little nervous breakdown, “says Payten, “thinking about all these big changes. I was seeing my life that I thought was evolving in one direction is now evolving in this other direction.” The song and record open with a question: “Do you see yourself unravelling?”

‘Our Two Skins’ chronicles the intense and impossible time Payten spent renegotiating who she is and how she fits in the world. Payten was eager to bottle the isolation and emptiness she felt during this period of rediscovery of her identity, and the remoteness of Canowindra, the tiny town where Payten’s family has lived for over a century, proved the right location. Here, her internal state – one she describes as being alone and fearful, and with “a galaxy of space” around her – could be seen, felt and recorded. She called upon her friends Chris Messina and Zach Hanson – the producers and engineers responsible for much of the music that comes out of Bon Iver’s April Base studio amongst other things – to help her achieve this sonic goal. No phone reception, no wi-fi, and an outhouse located in a nearby shearing shed. “It was very removed, very isolated,” Payten says. Payten, Hanson and Messina each selected their favourite few instruments and studio tools, and restricted themselves to just those resources while making ‘Our Two Skins’. “We cut ourselves off from all things, including choice, forcing us to be a lot more minimalist in the way that we can create stuff. I find I’m much more creative when I’m surrounded by nothing than when I’m surrounded by lots.”

Gordi shares her new single, “Sandwiches”, a soaring, post-new wave anthem. “Sandwiches” is Gordi’s first new recording since her 2017 debut album, Reservoir. Since then, Gordi has collaborated with Troye Sivan, toured with Sam Smith, Julien Baker and more, performed at Eaux Claires alongside The National, Bon Iver and Big Red Machine, and finished her medical degree to become a qualified doctor.

‘Volcanic’, my new track from ‘Our Two Skins’ is now available in all your favourite places. At the heart of the record sit a pair of songs, Volcanic and Radiator. The twin ballads fizzle with the urge to be close to a person – a bittersweet truth knowing Payten was far from her partner and reckoning with the love of her family as she made them. “I wrote Volcanic that night. It was a kind of exorcism.” Radiator is similarly loaded with stakes, a resignation and a great letting go: of course I have to love you.

At a piano in a warehouse on a river in Berlin beside the old East Germany broadcast centre, I finished writing ‘Volcanic’. I had written the lyrics while I was in Stockholm about the warring states I sometimes find myself in; shutting down and exploding. I thought of a volcano – sitting dormant, appearing as though all is calm while ferociously bubbling to the surface and spilling over before you have time to process what has happened.

I recorded this song with Chris Messina and Zach Hanson in a small cottage built in the 1860s on my parents’ farm outside of Canowindra, along with the rest of the record. The video for ‘Volcanic’ was made in Canowinda, too. My talented friend Madeleine Purdy directed it on a 43-degree-celsius day. Go check it out to see me diving in a pool repeatedly as a dust storm rolls in.

‘Our Two Skins’ due out June 26th.

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“A big theme of the record is: there’s nothing to hide behind. We didn’t have all the bells and whistles. You’re just standing there, with your hands in your pockets going: this is me. This is it. This is all I have.”

Released June 2nd, 2020

Tom Compagnoni’s film The Forgotten Sydney Of AC/DC is launched online – features archive footage and interview clips with band’s early members,

A new documentary exploring AC/DC’s early days in Sydney has been launched online. The project was helmed by Tom Compagnoni and features archive footage along with interviews with early band members Dave Evans, Mark Evans, Noel Taylor, Rob Bailey and Tony Currenti. The Forgotten Sydney of AC/DC sees them sharing their recollections from the mid-70s, including rehearsals, filming their first video at Cronulla’s The Last Picture Show, and the moment Angus Young first appeared in his famous schoolboy uniform at Victoria Park Pool.

A statement on the film reads: “AC/DC was indisputably born and bred in Sydney but there aren’t the statues, plaques and laneways that other cities have to show the origins of one of the biggest rock bands of all time.

“Take a high-voltage trip through Sydney and learn about the forgotten haunts and the story that shaped AC/DC.”
The film also has footage from after Malcolm Young’s funeral in the city, while the guys lament the decline of Sydney’s live music scene.

The story of AC/DC’s formative years in Sydney is told through the recollections of early members Mark Evans (bass player 1975-77), Noel Taylor (drummer 1974) and Rob Bailey (bass player 1975-75). They recall band rehearsals and social events at the Young family home in Burwood, seeing Angus first don his schoolboy outfit at Victoria Park Pool, filming the first video clip in The Last Picture Show in Cronulla and recording their first album at Albert Studios on King St in the heart of Sydney.

Meanwhile in Penshurst, Tony Currenti, an Italian immigrant and owner of Tonino’s Penshurst Pizzeria, tells the story of how he unexpectedly became the drummer on AC/DC’s debut album, High Voltage. After completing work on the album, Tony declined an offer to formally join the band – and then watched as they became one of the biggest groups in the world. Tony still works in the pizza shop, its walls lovingly adorned with AC/DC posters, records and photos from his brief time in the band.

All members reflect on Sydney’s role in shaping AC/DC and more generally on the decline of Sydney as a live music hub.

Earlier this month, Vocalist Brian Johnson sent a message to AC/DC fans during the online Bonfest celebrations.
There’s been much speculation about his return to the fold after he was forced to stop touring with AC/DC back in 2016.

He appeared to confirm his return to the band back in January last year after being spotted outside a Vancouver studio with drummer Phil Rudd in August 2018.

blog musica underground the dandelion

“Born out of magic and hopelessly romantic. A message from the fire. The flames are burning higher and ever so brightly, softly, sweet scars & beauty, death like, so lovely. Ghosts and Gods sing Pharaoh melodies”. Natalie De Silver founder of The Dandelion describes her band. This four-piece group take 60s psych influences and ghostly sounds into modern world. We had a lovely chat with Natalie, while the flute and the organ ring out in the night…My studio is my home and I mostly record music in my lounge room. Sometimes I write songs in my kitchen or bedroom. I like composing songs on either guitar, organ or drums first, then I just make the rest up. I have an old cassette recorder I like to record on. However, the next Dandelion record we’re going into a proper studio which is really exciting!. for independent artists like us who sell our own music through sites like Bandcamp or at our own shows and mange our own social media platforms it’s very personal. The Dandelion originally began as a solo recording project for Daniel Poulter (1981-2015) who recorded Strange Case of The Dandelion.

During the recording of The Dandelion’s 2nd album “Seeds Flowers & Magical Powers of The Dandelion” 2014/2015, Daniel gracefully handed over all creative duties to Natalie de Silver who can be heard subtlety coming through the album’s mix and main themes.
Natalie is currently working on a third album to be released very soon!

True spirituality is also taking responsibility for your role within the creation process and once you find a positive rhythm within in it then you will begin to truly understand what God is. I strongly recommend to anyone who is even remotely spiritual, that you find a disciplinary belief system or religion to subscribe to Otherwise you’ll have no spiritual structure or grounding and what often happens to the “spiritual but not religious” is a false self justification of being on the “right path” and this often leads to spiritual gluttony, substance abuse and self indulgence which will ultimately disconnect you from reality and God.

Sure, so the first step is to discern what is good for you and what is bad for you and how it might affect other people. This is not an overnight process, however, if you have the ability to feel remorse and empathy towards anything other than yourself, then discernment should come quite easily, It’s much more beneficial to see how your bad habits might be negatively affecting others as opposed to just yourself as bad habits are often strangely enjoyable and, if you give up a bad habit just for yourself, then you’ll most likely just trade it for another bad habit to meet your own needs.Last year, The Dandelion joined the Gizzfest, curated by Ozzie favorites King Gizzard and the Lizard Wizard.

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Previous band members:
Rebecca Liston – Organ
Stella Rennex – Bass
Alison Hobbes – Organ
Anna Free – Organ
James Tina French – Bass

Band members:

Laura Murdoch – Organ Vocals Theremin
Josh White – Drums Vocals
Lauren Crew – Bass

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“Sometimes I feel like we’re just sleepwalking through our lives. We’re not really present.” Hazel English wants us to open our eyes. Through her shimmering, daydream-pop, the California based singer-songwriter is on a mission to rattle the cages of our very existence, asking us to dig deep and ask challenging questions of ourselves. “Wake UP!”, her debut album, is a call to arms: an attempt to “make people become more aware and mindful,” she says.

Since debuting with bittersweet single ‘Never Going Home’ in 2016, the Sydney-born artist has felt the urge to connect with her listeners in a meaningful way. Blending wistful, candid lyricism with jangling psych and beach-pop sounds, English’s compelling song-writing has earned her over 25 million streams, airplay on BBC Radio 1, 6Music and Beats, praise from Lauren Laverne and Annie Mac, and press acclaim with double EP Just Give In/Never Going Home labelled by The 405 as “one of the strongest records of the year”. 2019 saw her gain an even wider audience after touring with Lord Huron and Death Cab For Cutie.

Where the double EP was very much a lo-fi, bedroom-produced record, English left her home setup behind in favour of roomy recording studios and tapped up session players for her debut album. Bigger, lusher, and more live-sounding, the LP shows a new side to English: one that conveys the joy and excitement of collaboration. Drawing from a more grandiose sonic palette while pulling on the same sun-kissed thread of her previous work, half of the record was made in LA with super-producer Justin Raisen (Sky Ferreira, Charli XCX, Angel Olsen), while English flew to Atlanta to work with Ben H. Allen (Deerhunter, M.I.A, Animal Collective) on the other half.

Listening to the record, it should come as no surprise that ‘Revolver’-era Beatles, The Mamas & The Papas, The Zombies and Jefferson Airplane were all at the forefront of her mind while recording. “Radical messages need a raw and vibrant backdrop to pop,” she says, and she’s kept her trademark sunshine-filled sound that fits her Los Angeles dwelling, but with bigger, stirring choruses. It’s a testament to English’s writing style and ear for a hook that she won’t make anything that she couldn’t play stripped back to its bones, refusing to rely on production to carry a song. Standouts like the infectious ‘Off My Mind’ and ‘Like A Drug’, with its swirling hypnosis, find English’s songcraft at its most accomplished.

Lead single ‘Shaking’ wears its ‘60s psych influences on its paisley patterned sleeve. Written by Hazel and frequent collaborator Blake Stranathan (Lana Del Rey), it was a painstaking effort: “I just couldn’t rest until I had gotten it to a place where it felt like I could sleep at night. And I’m really glad I did,” she says. Tackling themes of power, lust, manipulation, pleasure, and control, its Erin S. Murray-directed video strikes right at the heart of this idea, finding English as the charismatic ringleader of her own Manson-esque cult, manipulating her subjects in a baby doll dress and beehive hairstyle. “It presents the promise of a spiritual awakening as a kind of seduction,” she says.

An open sufferer of anxiety, English wrote the record following something of an existential crisis. Stuck and isolated, she felt like life was becoming a series of mundane objectives. She began asking herself: “am I happy? Do I like the direction I’m going in life? Am I engaged with my community? Do I feel connected to others?” English realised that the answers to all these questions were, for her, resounding nos. The album’s title became a kind of personal mantra to her – “a reminder to wake up and be present in a time where we are used to switching off and looking for constant entertainment,” she says. “[‘Wake UP!] will mean something different to everyone. Like, oh yeah, I’ve been sleeping on this goal of mine, or I need to spend more time with my kids. It’s for whatever people need to confront.”

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Obsessing over old movies and vintage clothing since the age of 15, English took cues from surrealism, dadaism and the writings of sci-fi novelist Philip K. Dick for the record. She wrote words before she became a musician – before a student exchange programme prompted her San Francisco move, English was studying creative writing in Melbourne and writing poetry prolifically. After reading Guy Debord’s 1967 book The Society of the Spectacle, English began pondering our obsession with self-image. In it, Debord considers how we get caught up in the ‘spectacle’: How am I perceived by others? How can I make it seem like I’m successful? English draws parallels from the ‘60s text with our social media-crazed present as “essentially creating a fabricated version of yourself and making sure it seems like you’re living this amazing life. It’s not a true experience. That just makes us unhappy, I think.”

Confronting issues with the rampant, consumerist nature of capitalism and “our human propensity for dissatisfaction,” Wake UP! also explores power struggles, with English looking at how shifting dynamics affect relationships, be it in the music industry or in romantic life. The record dives into unbalanced power dynamics, be it “feeling stuck in a one-sided relationship where the other person cares less,” “needing space in order to seek power within myself, or feeling like I’m the one holding all the cards in a relationship.”

Wake UP! is a rallying call to our 2020 selves; a reminder of what our core values are, packaged up in a glorious, sparkling record. “I hope I can inspire others to also search for their inner truths and find their own inner strength in the process,” English says. “I wanted to create something really dynamic, and kinda wild.”

releases April 24th 2020

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Five-minutes-plus of dream-pop delight comes on The Astrals’ ‘Disappearing’.

The project of Sydney artist Claire Simpson, she fuses a delicious blend of dream-pop and rock-gaze via fuzzy layers of captivating vocals and droning guitars.

“‘Disappearing’ is a song about attention,” she shares. “Attention can function as an umbilical cord to the universe, in that the more attention you pay; the more you get coaxed out of yourself and into the moment you’re occupying. It’s a means of feeling felt, like a form of analgesic for disappearing from time after you’ve lived it.”

Band Members
Clarie (guitar/vocals), Jasper (guitar), Tom (bass), Leon (drums), Monique (synth),

“Disappearing” written by Claire Simpson Released on: 2020-03-19

‘Sand Dunes’— a new single by Bonniesongs released as a benefit for wildlife charities helping to preserve and restore Australian wildlife following on from the devastation from recent bushfires.

The track is the first piece of new material to be shared since the Australian Irish art-folk virtuoso’s debut album Energetic Mind, released last year through Small Pond Records in the UK and Art As Catharsis in Australia.

According to reports, almost half a billion animals have been impacted by the bushfires in New South Wales brought on by record-breaking temperatures and months of sustained drought. In response, Bonniesongs will donate all proceeds from ‘Sand Dunes’ to WIRES (NSW Wildlife Information, Rescue and Education Service Inc.) a charity whose mission is to actively rehabilitate and preserve Australian wildlife and inspire others to do the same.

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Commenting on the track, Bonnie explains: “‘Sand Dunes’ was inspired by a trip I took part in with large improvising ensemble The Splinter Orchestra. We were exploring and recording in the vast natural landscape of Mungo National Park. Mungo is one of the most powerfully resonant environmental and cultural sites in Australia. I found that connecting with the land as well as the sharing of. as the sharing of this connection with like minded artists to be a significant experience in my life. It is in a part a love song for that place and time. In response to the recent bushfire devastation I would like to release this song in honour of Australia’s natural landscape and wildlife”.

Released February 6th, 2020
Vocals + Guitar by Bonnie
Cello by Freya Schack-Arnott

Bonnie’s sweet ethereal vocals sail over the polyrhythmic backgrounds created between her mandolin, percussion and vocal loops. Her imaginative lyrics tell stories of treehouses, mice, birds, flying and video games.
Described as “dreamy experimental indie folk” and compared to artists such as Bjork and Joanna Newsom, Bonniesongs is creating a unique sound in the Sydney songwriting scene.
 

A beautiful record of patient music. Layers of sound and rhythm creating atmospheres that sublimely match the lyrical content. “Ice Cream” is a near-perfect song

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Art-folk virtuoso Bonniesongs, aka Bonnie Stewart, and will release her debut album “Energetic Mind” on 6th September 2019, via Small Pond and Art As Catharsis.

Released September 6th, 2019

Bonnie Stewart: vocals, guitar, banjo, drums, percussion
Freya Schack– Arnott: cello
Thomas Botting: double and electric bass
Alyx Dennison and David Trumpmanis: guitar noodles, bass synth and zombie vocals

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Sydney-based quartet  Body Type released their critically acclaimed debut EP1 last year and generated a huge buzz after playing SXSW in 2019. The band who comprise of Sophie McComish (guitar and vox), Annabel Blackman (guitar and vox), Georgia Wilkinson-Derums (bass and vox), Cecil Coleman (drums) released their second EP, entitledEP2 this year. “Free To Air” may well be the tune that initially hooks people in. It’s slightly more reflective than their previous release the spiky jagged glory that was “Stingray” but proves that Body Type has got what it takes to make a huge dent in 2020.

“Free To Air” eddies and flows driven by spidery guitars and gorgeous vocal harmonies. It’s a song tinged with beauty and poignancy and is a perfect example of how to craft artful, dazzling, intelligent evocative indie-pop with some style.

Stingray is lifted from EP2, out now via Partisan Records & Inertia Music:

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Body Type’s second EP sounds a step removed from the snarling attitude that the Sydney band exhibited on its debut EP from last year. They gravitate toward more confident hooks, even amid a greater sense of atmosphere. Everything about Body Type on “EP2” sounds bigger, their soaring rock songs built around fuzzy harmonies and barreling energy. On “Stingray,” they sing about an animal that has no spine but is still eager to shock — an apt analogy from a band whose music goes from placid to incisive on the turn of a dime, like a stingray lying in wait for its prey.

“Stingray” is lifted from EP2, out now via Partisan Records & Inertia Music:

When they first came to prominence, the DMA’s copped a lot of Oasis comparisons, mostly due to Tommy O’Dell’s Gallagher-esque sneer and the band’s penchant for dressing for the Manchester mist rather than the Sydney sunshine. But over the course of two albums, it has become clear that they are closer in sound to other Northerners like the Verve, the Stone Roses, and the Charlatans – bands that deal in chorused-out guitars, peeling melodies and baggy beats – with the odd strum-along to break things up. Silver is a tender tune, a shimmering summery song that straddles their Preset-produced second record, and the heart-on-sleeve balladry of their debut single Delete. Of course, anyone with enough guitar pedals can approximate a classic sound, but top-shelf songwriting and O’Dell’s ringing bell of a voice means that DMA’s stand alone, despite the many comparisons.

Our new album ‘For Now’ is out now. Includes the new singles ‘In The Air’, ‘Dawning’ & the title track ‘For Now’.