Posts Tagged ‘Western Australia’

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.”


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

Carla Geneve

Carla Geneve released her debut self-titled EP on Friday 7th June via Dot Dash / Remote Control Records.

Carla explains the meaning behind latest single, ‘Yesterday’s Clothes’ – “Yesterday’s Clothes is about falling out of love with someone and feeling guilty about it. I wrote it at time when I was burning the candle at both ends and had no energy left to try to deal with the end of a relationship. Most of the words came when I was doing a long drive back from some gig or another in regional Western Australia. I’d been up all night and had to be somewhere the next day, so I hadn’t had a shower or changed clothes. When you’re on your own driving for hours and hours it’s hard to avoid thinking about stuff that you don’t want to, so I guess I wrote the song to try to come to terms with my thoughts and situation.”


With a captivating live show and relatable lyricism, Carla Geneve burst onto the WA scene in 2017. After being hailed by Pilerats as one of their ’18 Artists to Watch in 2018’, her debut single ‘Greg’s Discount Chemist’ was released to overwhelming support including love from radio stations triple j, triple j Unearthed . The single was the #1 most played track in Perth community radio station RTRFM.
After releasing her second single ‘Listening’ and garnering praise for her showcases at BIGSOUND, Carla Geneve has landed back-to-back grand prizes at the coveted West Australian Music Song of the Year awards. the Albany-born country rock artist took out the top gong with her song 2001, which was inspired by the Stanley Kubrick classic film 2001: A Space Odyssey.

Geneve also won the Rock category with 2001 and the Folk category with Things Change. Her album was released June 7th, 2019.

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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

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.


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.

To stay on top of their upcoming movements, Please give them a like on Facebook.

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Appropriately named Australian band descending from the Rainyard and the Palisades, “Edge of a Dream” is a record you immediately feel comfortable with. Like an old friend you haven’t seen in years, but the conversation picks up like you saw each other yesterday. In 2014 we released the brilliant “A Thousand Days” LP by the Rainyard, an early 90s quartet from Perth, Western Australia. Saddened to hear that their 2015 reformation was not to be, in their place we got the Jangle Band

Lucky for us, this fill-in band featured a dream team of Australia pop musicians (including Jeff Baker from the Rainyard) and even better news was that they decided that it was to be more than a one-off live performance. Even though the members were spread across both sides of Australia, within 4 months they had written and recorded their debut album. We heard it, we loved it, we wanted it.


“Edge Of A Dream” is an album filled with 10 jewels and 10 reasons for still believing in melodies, harmonies and chiming guitars. It’s the sound of the Byrds, the wit of the Kinks and the heart of the Triffids.
It’s not a dream, it’s all here, don’t miss it, highly recommended!

Ian Freeman – vocals, tambourine
Jeff Baker – guitar, vocals
Joe Algeri – guitar, vocals
Dave Wallace – bass, vocals
Mark ‘Sid’ Eaton – drums, vocals

On this album everybody played guitar.
Joe played various keyboard instruments & other things.

Like a lucid dream while sleeping on silk sheets on a beach in the middle of nowhere, Methyl Ethyl’s Oh Inhuman Spectacle is a smooth, ethereal soundscape of catchy, lilting pop heaven.

Hailing from the musical Graceland that is Western Australia, vocalist/guitarist/songwriter Jake Webb’s androgynous voice floats effortlessly over reverbed guitar and a rhythm section of drums and bass so perfectly entangled with one another it’s hard not to hear a bit of Fleetwood Mac.

There is something addictive in this album as a whole. Each song is connected by some thematic or tonal tissue that begs for repeat listens and the grooves are so hypnotic you lose the feeling of time passing. Methyl Ethyl have continued the tradition of Western Australian bands blowing our minds with something fresh in Oh Inhuman Spectacle and we can’t wait to see what’s next