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TELLING.

telling

Shhhhhhh. Don’t make any sudden movements.
Here we have something that very few tours get to see, so let’s forget all those complaints you outlined earlier and remember to pay the damn fare.

This ‘How it Ends‘ is a gem of moment from Melbourne’s Telling, for now in a totally unsaturated state. Tim ‘many project man about the internet/radio’ Shiel and Ben ‘quite the classic heartthrob’ Abraham seemed happy to sneak this up without fanfare – but I have no reservations in ruining that quiet sanctity with song-tourism for immense financial gain*.

And look at it. It’s a surprising result really. Definitely not a straight sum of their current solo sounds. You won’t get much of Tim’s driving oddity or Ben’s friendly poppity pop, it’s more … cavernous.

I wrote a few comparisons then scrapped all those, so I guess it’s on it’s own – but it sits right with me. Just right. Best track yet. Of 2. But still. Short. Sentences. Punchy. Reporting.

So we all got lucky out there today. You’ll tell them good things at the information centre, won’t you? You will.

And also this might be one little google hit where Tim is referenced without any mention of Gotye so he’ll be…ahh, still nope.

*Again I simply can’t overstate how zero the revenue is from this blog. Much more zero than you can possibly imagine.


Adam

TWERPS.

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I’ve written about 10 versions of this post, and I’m always finding myself hitting and holding the backspace key. I’ve been trying to articulate how I feel about the new Twerps release Underlay, an 8 track EP that came out a couple of days ago. It’s the bands first new material since the incredible ‘Work It Out’/’He’s In Stock’ double single from late 2012, and it also marks their first release on Merge Records, a US label home to bands like Arcade Fire and Wild Flag.

Locally, they’re still on Chapter Records, a label that any reader of this site will know is a BIG favourite of mine. They’ve acquired a new drummer, Alex Macfarlane from fellow Chapter band The Stevens, who also recorded this EP. It was mastered by Mikey Young.

I guess if I was to try and begin to assert any sort of opinion about Underlay, it would be that it sounds less big, but still equally as expansive. It sounds rougher, but still equally as lovely. Underlay is different, but still captures all that I love about the band.

As our mate Adam said last night as we checked out the band launch the new EP at the Red Rattler, there’s a cinematic quality to their work. It feels like a great soundtrack to a film montage. We didn’t get into the specifics of what film or even what style of film it would be, but the fact that this new material still manages to evoke imagery and the instrumentation and arrangements still manage to sound as though they’re accompanying something more than just the lyrics is testament to their approach to song writing. As Adam also said, there’s still a real pop sensibility about their work.

And whilst, still, I need to familiarise myself with this release even more, I think the very fact that it’s thrown me a bit means that the band aren’t resting on their laurels. I know I like this release, a lot. But just why, it’s significance, and what impact it will have is something I’m still working my way through. 

We got our fave cut ‘Wait Till You Smile’ just below. And make sure you stream and purchase the full album over at the Chapter Music bandcamp.

Miks.

[PREMIERE] CLUE TO KALO.

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If we, as people who write about music, and to an extent, trends, would have to suggest a new direction in Australian contemporary music, it would be that there appears to be a push towards and an appreciation of the more classic, but sophisticated pop song. Dorsal Fins are doing it, so are Hopium. And so is Clue To Kalo, a fella from Melbourne. You may remember the name Clue To Kalo, also known as Mark Mitchell – the guy has been releasing stuff for over 10 years (his first full length came out in 2003 via LA’s Mush Records).

This new album, The Motives Records, is due out on Sep 23 and it’s some beaut sonic eargasm that sounds busy and intricate and goes where you don’t expect. It’s also incredibly familiar and joyous and just darn great. It’s his first independent release, as well as being the first album he’s done outside of his bedroom.

You may know the first cut from the album, ‘Burning Arrow’. It’s a jaunt of sorts and goes everywhere whilst still staying within the pocket.

As well as ‘Burning Arrow, we’ve also got a pretty great little exclusive for all you guys. We got a stream of the album opener ‘The Men That They Make Us’. It’s ethereal, cinematic, starts off small and introspective with those contemplative lyrics and piano but gets expansive and large and all encompassing. It’s perhaps the best indication as to where Mitchell takes his music, and indeed, this album.

Make sure you grab a copy of the full length when it comes out. To my ears, it’s easily one of the better local releases of the year.

Miks

YOU.

YOU

Really tempted just to leave this with ‘no, you are’.

But I won’t. I will keep this brief though. You are a band from Brisbane (I really trust that y’all are intelligent enough that I don’t need to make some shitty cringeworthy joke here quashing your musical aspirations). Starting off as a solo project for Michael Whitney, You has evolved to become a collaborative project between four Brisvegans.

Their lead single ‘Caprice’ is equal parts warm, vulnerable, confident and affirming – the sax compliments, the reverby sound sits as this constant embellisher. ‘Caprice’ feels familiar and makes a lot of sense to me. You can get ‘Caprice’ as well as the b-side – the incredibly beautiful ‘Old Man’ – over on Brissie label Lost Race’s bandcamp.

Miks

ANDRAS & OSCAR.

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There’s something about the melding of two, quite distinct ideas and combining them into one. It’s a tried and tested formula – rather depressing lyrics put against an achingly sweet acoustic pop song, or, alternatively, a new form of instrumentation put against a genre or sound that usually uses something different. It’s how musicians create tension, something that draws in the audience and creates that immediate intrigue important to good art.

You may know Andras Fox – he’s a Melbourne based producer that works within the disco sort of sound. He melds an analogue aesthetic into it though, making a style that has been a consistent over the past 40 or so years sound old and new at the same time. It’s that play on expectation and that tension that makes Andras’s production work stand out so much.

You would definitely know of Oscar Key Sung – he’s been a regular feature here on maamf. I think this is where the tension comes in again – we are so far used to Oscar’s polished, cleanly produced forays into the strange soul music he’s so bloody good at. Oscar’s voice, placed with the rawness of the production diverts your expectation though.

Instead, we’re left with something that is full of funk, a vocal that compliments rather than overpowers, and a collaborative project that feels as though it’s pushing forward in it’s own time.

‘Everytime I Go’ is taken from the debut full length Cafe Romantica due out October 17 through Chapter Music. Keen.

Miks.

MIGHTY BOYS.

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Ohhh mate. Sometimes all you need is a big smack of irreverence. As I sit here using some of the worst internet I’ve used in a hell of a long time (cheers SLV), Mighty Boys and their thrashy punkishness are making things slightly better (apart from the fact that it took about 5 mins for the video to load).

Their ode to my fave Satdy evening show of yesteryear, Hey Hey It’s Saturday, is just like I remember it – strange, weird, and fun but in a way that you feel a little embarrassed by a few years down the track.

If you’re keen on this, then make sure you check out the bands debut EP Dole Cheque and Kabana. You can grab it here.

If you’re down in Melbourne, then make sure you also go jump around like a dick at their show – they’re playing the Tote this Friday (15th August). Deets here.

Miks

BUGS.

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Bloody try and not smile listening to this stuff. Bugs is the project of Connor Brooker from up Sunshine Coast way. His new EP Cosmic Dolphin is a hazy feel-good guitar pop record. There’s a certain whatever goes attitude in the work of Bugs, but it’s done with such precision and some sweet as production care of Brock Weston that everything still feels purposeful and in its place.

It’s also a fucking good listen in the colder months. Makes it feel a little warmer.

You can stream the full EP over here (available for a free download too), but we got our two faves below.

Miks.

JULY ’14 MIX.

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Oh man! This be all nuts and stuff. Holidays are an amazing thing, and so is travelling down to see all those friends and family you left back down there. I actually think I might re-listen to this tape on my flight home. Prolly the correct length too.

Anyway, gosh, mate, enough of my crazy travel exploits (not that crazy, or exploitative even). This here tape is full to the brim of some real maamf faves. Maybe it’s the fact that it’s mid-year and I haven’t done that list that everyone else has done. Maybe it’s the fact that all my old maamf faves actually put out some killer tracks in July. Either way, the tapes a bloody bonza listen k?

A few little mentions though. Our mate Snowy Nasdaq joked that I should call these MiksTapes and then recoiled from that idea suggesting that perhaps I had thought of it already. To be honest Snowy, it did cross my mind early on, but I thought no one would take me seriously. Maybe I’m wrong? On the music front though, the guy is going from excellent to excellent with his one single a month thing. Seriously, the man knows his way around a wonky pop tune.

I also thought that this blog may run the risk of becoming the Laura Jean fanpage. Her new single ‘Don’t Marry the One You Love’, the second off her new self-titled album due out in a couple of weeks, is so much more upbeat sounding than ‘First Love Song’. The name doesn’t suggest that though – it still has that trademark world-weariness that Laura is becoming pretty well known for.

And finally, Flube. To put it simply, when you come across a good remix, it’ll most likely get a run. The new Seekae stuff is nice, but I gotta be honest, it’s taking me a while to get into it proper. There’s something about the whole Alex Cameron singing thing that although works in his super niche solo project, doesn’t resonate as much within the context of a band who have gone some way to define Australian electronic music. Maybe it’s the fact that it makes it a little more accessible, but the Flume remix still stays a little weird. It also hits reasonably hard. And maybe it’s the #clubbanger in it, but I like it over the original.

This month we’re also experimenting with a playlist of the tracks in soundcloud. The only track not on the playlist that is still in the tape is the Straight Arrows tune ‘Don’t Call My Name’. It’s not on soundcloud, and knowing what they’re like with shutting down accounts, I didn’t want to risk uploading it myself. The full tape is still available as a full stream and download though!

MAAMF – JULY ’14 MIX.

DOWNLOAD (Right Click/Save As)

TRACKLISTING:
Richard In Your Mind – Hammered
Tim Fitz – Sour
Straight Arrows – Don’t Call My Name
Bad//Dreems – My Only Friend
Laura Jean – Don’t Marry The One You Love
Klo – False Calls
Jack R Reilly – Collapse In One
Snowy Nasdaq – Lopsided Smile
Tora – Eat The Sun
Banoffee – Got It
Seekae – Test & Recognise (Flume Re-Work)
Lower Spectrum – Hex
Fractures – Won’t Win (Japanese Wallpaper remix)

Miks.

JONATHAN BOULET.

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After having a look through recent posts, I realised I haven’t really properly spruiked anything off the new Jonathan Boulet record. The first taste we got, ‘Hold It Down‘ showed a renewed guitar heavy Boulet sound, with less of that percussiveness and more of the shreds. I liked it. It made sense to me – if you follow Boulet’s other work, you’d know that he’s dabbled his lower body in the heavier side of things with Snakeface and Top People.

Gubba, the new album, isn’t as heavy as some of the other projects – there’s a few playful moments throughout the release. It is darker than some of the earlier Boulet albums though. I’m still working my way through it, but it’s holding up pretty well.

Anyway, we got the clip for ‘Hold It Down’ just here. ‘Hold It Down’ follows the travels of some rather bad bikies. It’s a cool clip, bit of fun, gives light to that playfulness i mentioned earlier.

Make sure you check out Jonathan Boulet as he heads on a bit of a tour in support of the new album throughout August. Details here.

Miks.

BON CHAT, BON RAT.

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Very rarely do you hear a song that actually does what the presser says it does. ‘Escapism’ is the new one from Bon Chat, Bon Rat. In their email, they state that “This is as aussie as Seekae and Australian Crawl having a jam session underwater in a time machine.

And, it’s bloody spot on. There’s the classic Australian songwriting evoking that sense of space. And then there’s that slightly off-kilter instrumentation that sways, and curves and has so much going on, but still manages to sound sparse and sporadic, and completely complimenting the vocals.

The track is taken off the bands new EP Burning Palms due out soon. KEEN!

Miks

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