Ok fair cop – we’ve not been writing heaps.
At least for my part it’s NOT busyness, that old gen-y copout. I’m just hating all Aussie music. All of it. Loathing every single morsel of sound from this oversized island continent.
Well, maybe not EVERY morsel. Maybe there are are a FEW tracks queued up for a writeup. Maybe even a few more than a few. Alright, I can disclose that there are a lot. But stop harping on about the damn queue and besides, my busyness is foundational to my identity. You can handle it, you’re nothing if not resilient.
In truth I damn near posted his Paces Remix last week anyway – my point being it’s ALL strong.
The guy has got ears. Classy, heavy, feelsy ears.
Everything he touches carries a kind of classic freshness, now including this (previously manic) post.
In this critical time, with classic freshness more precious than ever, I for one am glad to have this chill brisvegnite churning it out by the truckload.
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.
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.
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.
Oh man. Sometimes all you need is some smooth nu-soul production stuff to just wash over you and take you in in it’s 90s throwbacks, beaut falsetto, and just that groove.
5ths is the new collaborative project from Pip Norman, who also goes by the Count Bounce moniker. ‘Sell It To Me’ features Jarryd Klapper, a fella from Bissie. It’s the first taste of what 5ths will be doing, and I like it heaps.
Man, this song is one of my faves of the year so far. The production nails it – HAMLEY, you sir are doing some freakin’ ace things. And the vocal…man. This flows so beuatifully – the way Blaq Carrie manages to carry her vocal – there’s so much energy in there without sounding manic and over the top and crazy and all the other things that make you feel all jittery and stuff. It’s also her take on the Australian music industry, and cutting a break in the local hip-hop world that seems to also ring true. Full props to her for owning that.
And the clip sits really well with all of this.
I bet you this track will still be in your head in a couple of hours. It’s got a way like that.
Brisbane based two-piece The Furrs have been causing a bit of a stir with their bluesy rock’n’roll of late.
Gabriella and Jimmy make self-directed blues infused swagger that seems to propel itself forward like you wouldn’t believe. The guys have already garnered a bit of love with support slots (they’ve supported Cults recently and are supporting DMA’s next weekend at BlackBear Lodge up in Brisbane). The two-piece become four live – a dude called White Stag on drums and Moonfaced Hendrix on bass fill it out.
We got the new single ‘Little Boy’ taken from the bands’ debut self-titled EP released a couple of weeks ago. It’s pretty nuts and has just enough ‘don’t-give-a-fuck’ attitude for your Sunday afternoon.
Ohhh mate. ‘Funny Guy’ is the new track from Brissie stoners Dune Rats and it’s really really ace. Think feel-good indie garage punk [enter another genre that does not help explain how bloody catchy this tune is] done at its best.
The track is taken off the boys’ self-titled debut full length due out on “Dune 1” (gosh pr people are so humorous when they crack jokes in their press release emails). They’re also doing a pretty massive world tour in support of it (deets here). Should be a goodun.
Ohhhh mate. So good to know that the DZ Deathrays aren’t completely going in that pop direction of their earlier single, ‘Northern Lights’.
The newy ‘Gina Works At Hearts’ basically sounds like a more polished version of their first album, and for that, I’m fucking grateful. The track comes from the band’s 2nd album, Black Rat due out May 2nd through those rad dudes I OH YOU. Pre-order here.
Ohhhh mate. I fucking love it when a guy you wrote about a while ago comes back with a follow up that takes what he did well and kinda nails it even more. Brisbane’s Tincture has done that. The producer has just released the follow up to last year’s ‘Tryst’ which featured Hazel Brown.
The new track ‘Similar Circles’ takes the soulful vocals, but still keeps a real delicate style production. This is a real relief if we consider the aggressive stuff that’s coming out of a lot of the Australian beats scene at the moment, and it immediately sets Tincture apart from the rest. ‘Similar Circles’ manages to harness that delicate soulful sound into this sense of uneasy urgency. But it doesn’t go where you expect it to. It holds back – there isn’t that culmination of energy resulting in one big climax. It nearly does, but it leaves you in the lurch. As he has shown in his earlier work, Tincture masters restraint in his production, something all too rare in the current Australian beats landscape.
This is good.