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COBWEBBS.

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There’s a strange progression us music listeners go through. From beginning out with a love for all things guttural, punky, and messy, I moved towards an appreciation of a much cleaner, produced sound. Of course we change over time; listening to the same sort of stuff all the time would mean that our existence as music listeners would be pretty dire, and dare i say, after a while, obsolete.

But it’s when you move back towards the sounds and ideas you appreciated when you were younger that you begin to realise that music taste, what whets our whistle, what bars us up, is to some extent some sort of representation of where we’re at. I now go back to the darker sounding, messier stuff with a different sort of understanding, having exposed myself to a whole range of different stuff over the years.

Cobwebbs are a Brissie four piece, signed to Sonic Masala Records. It’s this stuff that I’m finding myself listening much more to. It’s noisy, reverby, and sludgy. There’s an obvious vocal melody line that is so intertwined in the mix of those guitars that it’s easy to forget that there’s a melody line at all. But that doesn’t actually matter. What Cobwebbs achieves is a version of drone filled psych that digs so far underneath the surface that the surface becomes unimportant. This is big, expansive and dredgy psych rock and I’m fucking liking it. The track below as well as the clip above is ‘Easy’, the second single off the band’s second LP WORLD WIDE WEBBS released a coupla months ago.

You can stream the full album over here.

Miks.

WORKSHOP.

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Sometimes you sit back, let that inbox number slowly (or actually pretty quickly) increase and just realise how popular you really are. Then you realise that the majority of the stuff is useless promo advertising some club night in London and you think ‘fuck. i’m not popular at all.’

The tides they turn though, what with those little bits of gold that sparsely pepper the inbox. The lead track from WORKSHOP‘s new EP Luxury, right from the get go, made me sit up in the chair. It’s expansive, what with those big drum machine triggers. It’s big in those wide ranging reverby synths. ‘Repeat After Me’ gets you to do just that. It’s not merely the refrain that is, as the name would suggest, repeated and played with. But it’s the feeling afterwards. That strange nostalgic sense of confidence, grandness and everything that makes you sit up in your chair, click back on that soundcloud tab and press the play button again.

The full EP stands up to what ‘Repeat After Me’ suggests. It’s pulsating, dark and moody synth disco music. It sounds incredibly focussed and direct. The opener ‘Purity Exhibition’ for instance builds upon the darkness of ‘Repeat After Me’, takes it more upbeat TRON style. It’s driving, and unrelenting in it’s instrumentation. There doesn’t feel like there’s time to breath in ‘Purity Exhibition’, even though you never really lose your breath.

I definitely recommend you get your little earholes around this EP. As a debut is stands incredibly strong. It’s a project full of style and has a real strong aesthetic, but none of this is lost in the music. Grab it here.

Miks.

AUGUST ’14 MIX.

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woah nelly. big ol’ tape for your little sunday evening/early monday morning/another time of the day on another day all together.

18 big ones this time ’round because, 1, i am feeling generous, 2, there were that many great tracks from August that I didn’t get round to actually posting individually, and 3, because i’ve had a big month…something…metaphor?

So, at the risk of sounding like a broken compact disc, this one’s got a bit of variety, something for every boy and girl. And something for mum and dad too if they play their cards right. And a couple of cards on show tonight/today/whenever the hell you are reading this thing are:

The Peep Tempel – massive Eddy Current vibes with this one all the while owning their own brand of aggressive punky rock’n’roll,

Jarrow – young kid – 18 I think, combining some pretty amazing garage style pop complete with some scissors and glue style electronic aggression,

Slow Dancer - Simon Okely, one of the other guys from Oh Mercy doing a real beaut of a song, all understated and full of style and some real pulled back instrumentation that blow me outta tha park a bit,

Moon Holiday - Some solo electronic pop that is big enough to hit hard, but with just enough darkness to help it standout from the rest,

and

Jesse Davidson – absolutely no shame in speaking about my love of this young man. this new track took everything he did, threw it all around to see what stuck and kinda re-invented his sound a little, all the while keeping that soulfulness he’s becoming known for.

So, please have a stream and a listen. And if you like, grab the whole tape as a download just below. I even tried to mix some songs together in a way that didn’t sound as bad as i thought it probably would.


DOWNLOAD THE WHOLE TAPE (Right Click/Save As)

Miks

FOOD COURT.

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FOOD COURT are four Sydney fellas doing some rather scuzzy solid pop song stuff. These guys have been kicking around for a little while and are definitely part of a rather established skuzz kinda scene up here in Sydney.

Their new single ’14 Years Young’ is the first taste of the bands 2nd EP Big Weak due out early November. It’s just over 2 minutes of that fuzzed out rollicking guitar that covers your 60s guitar pop to some psych. It’s also real bloody pop sounding too – these guys nail a pop structure, but inject enough interest (that middle 8 bit) into it all to make it stand up on it’s own.

If ya dig, then the guys are launching the new EP with an afternoon show on Saturday 20th September at the Glengarry Castle Hotel in Redfern.

Miks.

LANKS.

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A few repeat offenders this week hey?

Don’t get all steamed though – it’s not our fault that people who are already demonstrably good at recorded music are continuing to make recorded music. And release it at the start of spring. It’s as though the ice is melting and the new songs are starting to *can’t finish lamest analogy in the history of blog culture*.

Take this Lanks fella. With his string of respectable singles and buzzed shows, and now bam. Way before we were expecting more he’s back with another 223 seconds deserving of your precious ear time.

I can’t help it. I’m just the messenger. Talk to him about the timing.

It is clearly one of his best though. I’ll just say that and leave you to your message.

Adam

BASENJI.

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Mmmmwell, it’s just classy. That is my answer to all of your questions about Basenji‘s ‘Heirloom‘.
I daresay the kid is getting better and better.

It’s kind of kitsch, but in a fresh way that’s ….. classy.
Nostalgic, but again in a way that is ….. how can I say…..classy.
Eyetooth‘s work on the art is perfectly matched, I dare anyone to make a Wingdings border that….ughhh….classy.

There’s plenty of tracks coming out with sizzle and shimmer and hype, but I get the most excited by stuff like this – a quirky vision handled with a deft and smart touch. The internet is still making Cashmere Cat comparisons for it but I really think he’s found his own sound.

It won’t surprise you that Future Classy have decided to drop it free and back it with turrr. Always the epitome of …ohno…class…..y.

I’m going to respond by awarding him ‘most likely to splash overseas soon’ with a grotesquely opulent plastic trophy, so while I do that you may as well stream the damn thing.

Adam

PLANTETE.

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I think my writing process is pretty much standard for Australian music blog writers, so at the risk of being obvious: here’s an #industryinsight.

Normally I’ll break into one of the nearby abandoned warehouses, where I’ll typically set off a few flares and scratch some maniacal writings on the wall using charcoal and ash. Then it’s just a simple matter of emailing a photo to cost-effective outsourced help, and putting my feet up until the confusing text appears in my inbox. It’s all very 2014, and works well as long as there are enough illegal fires around to keep the charcoal and ash supply strong.

But if I was to pick one small flaw in this ubiquitous industry approach, it’s that delay in getting the text back ready for internetting. I mean, you guys don’t seem to care if I’m like a month later (and notably less informative) than Indie Shuffle, which is odd but also nice. But it all starts to fall over when a guy like Planète drops a series of juicy treats from Melbourne in rapid succession. There’s another track out before I get my rants back on the previous one.

So, breaking the industry norm, I’m typing some of these words straight into a computer in order to feature ‘Snow Sketch‘ while honourably mentioning ‘Visions‘ and also this remix of Lanks’ Green Light. Not sure if he produces at the speed of light or queues it all up to torment/elate me, but we can all reach consensus that he knows his way around ambling the airy and articulate over the deep and round. I know that reads weird but I’m ok with it.

Serving suggestion: queue all 3 and ebb them into your ear holes for the dreamiest 22 mins of your day.

Silo Arts on point again too, just go on and trust em.

 

Adam

SAN MEI.

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San Mei has been a bit of a repeat offender over here on maamf. We wrote about ‘Wars’, her second single a little while ago, but now we got the clip. Granted, this has already been kicking around a coupla weeks and I been a bit late with it all, but when you get a young artist doing great things that are slightly off-kilter and forward thinking, you always gotta post it.

San Mei‘s work has always harnessed this idea of vulnerability coupled with a real strong sense of control and forward motion and this clip nails that.

YES!

Miks.

TELLING.

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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.

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