Posts tagged “melbourne


solo pic

This one has been sitting in the inbox for a little bit, and it’s only now, on Good Friday down at my parents place in Melbourne that I’m sitting down and listening to this pretty excellent collection of songs.

Mallee Songs is the project of Michael Skinner. The album, Gum Creek and Other Songs is a sprawling account of the past 5 years where Skinner travelled from his Melbourne home to Japan and then back home again.

We got the opener ‘Egyptian King’ below. It’s simple, nothing completely out there. But it’s straight up, honest, and sets up this amazing sense of journey that the album then embarks on.

You can stream the full album here.

Skinner also has a full band album due for release in the 2nd half of 2014. Keep an eye out for that one.



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k. So this new one from Melbourne’s Total Control has been playin’ over and over in the head for the past coupla days.

Where the synth was just part of the band in their earlier work, the newy, ‘Flesh War’ brings it closer to front and centre. It’s softer in feeling, but still manages to feel dark, at times dissonant, and always pushing and edging towards something.

Pretty bloody killer.

The track is taken from the band’s second full length entitled Typical System due out June 20.



Yeo - Promo

So this guy made my top tracks list last year. Yeo is a Melbourne guy who’s been kicking around for a fair while, but, it seems, is only now really hitting his stride.

Last year’s track ‘Girl’ had enough groove to make you want to automatically take off all ya clothes.

This new one, presumably an ode to Lakers finest, ‘Kobe’ takes more of a pop structure, but keeps that BIG production amped up, pulsating throughout. And…clothes are nearly all off.

Wouldn’t be surprised if this guy went all big pretty soon. He’s heading over to Canadian Music Week in May before coming back home for a national run of dates in June, so keep an eye out.




This here is a song about desperation.

HOPIUM are a duo from Melbourne, and although they’ve only one track to their name, and very little is known about them, they’re already hitting it up rather massive online.

Their track ‘Cut’ is about just that. It’s a track about the prospect of loss, a track about the intimacy and physical embodiment of human emotion. It’s dark and industrial sounding, but provides enough space for for just enough emotion to seep through.

And then there’s the clip. As a heads up, it is NSFW, so perhaps if you’re sick at home, like me, it’s fine. But not in the office. The clip captures that intimacy and dark nature of the track really bloody well.

If the clip reminds you of some gritty fashion clip, then you’d be sort of right. It was put together by Yoav Lester and Chris Mitchell at Floating World Films and Ribal and Gil @ Superteam Studios. These guys usually work in the fashion world, but are lending their expert skills to the music video world.



andre eremin

Full disclosure: if you’re here for primarily slacker/guitar tunes thanks to Miks’ rather solid ear for such, this post may require you click away or seriously brace yourself. As in, brace yourself for dirty techno. As in, the weirder end of dirty techno.

Melbourne’s Andrei Eremin was ktsche up until this track – you may have heard and melted over his beautiful I’lls remix. I did. Any Australian music blog reader would have probably heard his handiwork as mix and mastering engineer too – and he is justifiably in serious demand. I can confirm this as I too jumped in that queue and became a believer myself.

So for his own stuff, one would expect there may be some creative variety and sonic treats packed in there…
Still, I’d say none of us could have expected this ‘Voynich Manoeuvre‘ chaos.

Warped sci-fi quotes and sultry deep pulses start in underground Berlin, and then pretty much burrow down to the centre of the earth from the halfway point. The burrowing grind starts from 2.30 – and I don’t mean it’s a little bit gritty. This is a massive, deep, tasty and frankly apocalyptic use of synthesizer technology.

Whether or not this kind of music has been on your radar before, try letting this one envelope you. The movement and the pulse has a way of stopping time, and you will not find better execution anywhere in the world right now. If you have a pretty decent sound system, I would try putting this on large – just make sure you’re sitting down by halfway.




So great to have these fellas back in our earholes. Northeast Party House were a bit of a favourite of mine a while ago. I’ve written about them a couple of times.

And man, this new one, ‘The Haunted’ takes everything they did, polishes it up and adds even more of a punch than their earlier material. Equally as excellent is the fact that those staccato stabs that frequent the whole thing act as the momentum. The drums are great and everything, but the way those stabs sit in the mix, they sit at the front, propelling everything else towards that jam out final minute and a bit.

This is the track that I think will finally get these boys the coverage and love that they deserve!



Sons Et Al - Promo

So this vid has been kicking around for a few weeks, but my gosh, every time i watch it, it manages to be mesmerising. It’s that slo-mo cut with the quick edits that make it, and mate, that songs a bit of alright too!

‘Day By Day’ is taken off Sons et al‘s new EP, Godspeed coming out in a week (pre-order here). Also, if you super keen, make sure you check ‘em out on a brief run of dates starting tonight in Canberra. Check out their facebook for more details on those.



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New clip from Teeth & Tongue is a little nuts. Creepy, and nuts. Although, if you’re into workouts, then it’s probably your thing.

And I love work outs. And I also love the reference point Groove Armada. And I actually do really like this clip. If you can get past the nakedness and flexing of the two fellas in the background, then it’s great in that it doesn’t take itself too seriously. And that track, it’s bloody stellar. Featuring the additional vocal stylings of Laura Jean, ‘Newborn’ showcases exactly what Jess Cornelius is capable of. And if the already building hype surrounding her second album Tambourine is anything to go by, then she’s capable of a hell of a lot.

Tambourine comes out on March 21st through Dot Dash/Remote Control.



long weekend

There are a fair few bands down in Melbourne town that all fall under this broader idea of ‘dolewave’. And whilst there’s an ongoing discussion about exactly what dolewave involves, there is a real sense that it’s a serious musical force, despite it’s slightly-not-serious label. There also appears to be various clusters of acts that are part of this new musical force, all sharing members, ideas, influences, instruments, labels and, in some cases, houses.

Ciggie Witch are one of those acts, sharing members with those in The Ocean Party, Snowy Nasdaq, Pencil, Ian, Velcro, Aleks And The Ramps, Shark Alarm and I’m sure a fair few more(!). And yeah, sure, not all of those acts carry the ‘dolewave’ tag, but there are a few of them that easily could be classified as such. Ciggie Witch, for me, fall under that camp, but are perhaps more laid back, in instrumentation at least, than some of the other projects. And with the current ‘dolewave’ lexicon being occupied by rather straight-up anxiety-laden lyrics, the slack/cool/lazy vibe that these guys embody offers up a bit of a respite to the doom and gloom.

The new single ‘Long Weekend’ which we’re lucky enough to premiere to the world right now picks up the pace when compared to their earlier EP Echidna Cottage. And it’s the pace that makes it. When you consider the instrumentation, the lyrics and just the general vibe of the band, having a track that rollicks along forces you to sit upright in your chair. The pace is subtle, but it’s enough to add another layer.

The track is taken off the bands debut full length Rock And Roll Juice due out early May through Osborne Again.




Oh my.

New jam from Oscar Key Sung shows us exactly what he can do and what he’s about. And although I’m currently at uni, sitting at my desk on a day that other people are getting all romantic coz ‘the man’ told them to, and indeed, maybe man told them to too (although that would be a strange/slightly not right relationship), I can’t help but slow jive in my chair as I rhythmically type whilst getting strange/come hither looks from my fellow PhD buddies.

But mate, it seems Oscar can do no wrong. And even better news is that ‘Holograms’ is coming off an EP of the same name due out March 3 through the stellar Two Bright Lakes.

This is sex.



nicholas basquiat 2

Say what you want about Australia, but our producers know how to slow and pitch a vocal sample. Women sounding like deep voiced men? We’ve got you. Men sounding like odd miniature people? Look, whatever you want. We have been practicing as a nation and we can deliver.

But this skill is a means and not an end, you’ve got to be going somewhere with it. OR perhaps not going anywhere in particular because you’ve got a sweet ride for the journey. Two options, choose wisely.

I think Nicholas Basquiat from Melbourne chooses the second option pretty wisely. Try his lead track ‘Close My Eyes‘, which is getting some good interest.

If that song isn’t a big old saloon vehicle lapping the city at 2am, then we just disagree.

He’s on a roll too. My own fave is ‘Hold Tight‘ – a big plush bus of a tune that cruises and gleams and is always, always driving.  When it plays I actually see a twilight road trip montage featuring said gleaming bus (you’re welcome future video clip director).  Pretty sure Beyonce’s ‘End Of Time’ supplies the fodder for the slowed vocal, but he’s flipped the vibe half a world away. It’s always weaving forwards, never rushing, never resolving. Look forward to 1:46 when it flicks up to fifth gear and gets all deep and flowing.

I’m no marketing mogul, but if I met this clever dude I’d probably end up trying to convince him to go by just Basquiat, make us more of these, and buy some kind of large vehicle to match his music. Then hold tight indeed.



client liason

The aesthetic. If there is one thing I do miss from the times of old when big record labels were rich, it was that total commitment to an aesthetic. I don’t know exactly how they did it (money and cocaine were probably instrumental) but the attention to detail with the opulent sounds and visuals was astounding to my young self.

Nowdays we can all put blurry montages together on our friend’s Canon for almost $0 and overall it’s probably much better, but perhaps there’s still room in my heart for classic levels of rich-cocaine effort.

Enter Client Liason and their consistent delivery of these gems. Again their latest is funny and it’s nostalgically Aussie, but it’s so much more than an old joke. It’s real fun, smiling music.

Free Of Fear‘ is arranged with less drama in order to have more dance, but it’s still melodramatic and glowing. And somehow the clip is even a step up again from ‘Feeling‘.

Anyway, no more words or it will get weird. I don’t need to convince anyone to watch this. They’re also playing a bunch right now.



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Oh man. Sometimes I really just sleep on things.

But then you come across a remix of that track you slept on. And you go back and revisit the original as well as that super strange reworked version that one of your favourite bands have done and you think that perhaps you shouldn’t sleep anymore.

Dorsal Fins is the project of Liam McGorry (from Saskwatch fame). His solo work is a studio only affair and features the vocals of Jarrad Brown, one of his mates in that other band Liam plays in Eagle And The Worm. It’s rollicking, good fun, kinda classic songwriting. And Jarrad’s strained vocals add this real confidence.

The remix comes from King Gizzard and The Lizard Wizard. Stu and Joey from the band are behind it, and have forced it into this drawn out, glitch filled, cave style track, that is still oddly reminiscent of the original. Really nice.




Before I let Adam begin…what wait? Adam? Who’s Adam? I thought this whole maamf thing was a joke because it’s called Me, And ALL My Friends but yet it’s only just me Miks coz, well, #sadlife?

Nah, I met Adam through a mutual mate (Cheers Max). Adam’s pretty top notch, writes pretty well (better than my attempts), and in general, loves some great local music. If all goes to plan, he’s gonna be a regular for maamf, offering up some slightly more electronic new Australian music. He’s already introduced himself over on the maamf fb, so give him some lovin’ eh?

Let’s talk about simplicity for a minute.  Specifically, let’s talk about how a man from Melbourne with no shortage of ideas can cram such an entrancing moment into barely 3 minutes.

Lots of loop flipping?  Negative.
Many careful synth layers? Nearly none.
Then he must have swamped it in trendy reverb like an audio instagram filter? Hey hey easy with your pointed tone.  Reverb is our friend, and you’re being insta-snarky.  And actually, the answer is not at all.

Please give a warm welcome to the brand new project Lanks, from Farrow’s Will Cuming.  He went and did it with an intriguing song ‘Rises and Falls’, and an earthy vocal telling a good old-fashioned fantasy story.

I’ll admit, I’m not normally one for putting screenplay plot in lyrics – and some parts near my limit for flowery language. But the gentle production and relentless cold beat sets off the warmth in the voice, and the intimacy of the dry voice sets off the otherworldly lyrics. Yes, everything is setting off everything. Thus it manages to balance itself beautifully.

All up it is entrancingly simple, and I genuinely keep hitting play to dig back in.

It’s just out and the soundcloud plays are accelerating already, there’s a free download going on his bandcamp too – I say jump on.




Ok. Gotta admit, this new remix from Naysayer & Gilsun of Oscar Key Sung‘s ‘All I Could Do’ took me a while.

But after a few listens, it’s charms have slowly started to wash over me. It’s the use of space. It’s the subtle bass line and very sporadic synth parts that hint at the possibility that maybe, perhaps, there is some idea of melody in this track apart from Oscar’s excellent vocals. It also feels polyrhythmic (BAM YEAH MUSIC TERM) and a little chaotic, but then when you look at it, it’s all variations of the same straight four beat.

Although this remix is nothing on the original (and yeah, that prolly isn’t even a question worth asking), it offers up something completely different. It sort of shocks you into thinking about it – it feels so incredibly discordant at times (that distorted rhythm that embeds it’s way into the intro) that you think, hey maybe there’s something wrong with my speakers. It is fast becoming a bit of a cliche when I write about most things electronic, but the light/shade, discordant/harmonious binaries that this track operates on is what makes it.




Gosh darn it. I’ve written plenty of times about I, A Man in the past. And I think I’ll probably continue to write about them in the future.

In every track this band produces there is this real warmth, one that tends to get its way under your skin and manifest in that little tingly sensation you get when something just sounds so right.

The band’s new single ‘In Time’ continues that trend. Perhaps a little more understated than their last single ‘Less Travelled‘, it has these wonderful continuous guitar lines that seem to just go on and on but still fit, and that colour and light and shade that so many bands try to do but only very few actually pull off.

‘In Time’ is taken off the bands’ debut album Gravity Wins Again due out on Feb 7. If you’re keen, and also down in Melbourne, then the boys are launching the new single on Feb 8 at the Luscombe Street Community Gardens in Brunswick alongside Flyying Colours and Sunbeam Sound Machine. Details here.




I really don’t know what to say. This country’s best fun based psych band King Gizzard And The Lizard Wizard are back. The guys are set to release their fourth album in 2 years. Yah. You don’t need those eyes checked. These guys nuts. But, the quality is always good. As I recently wrote, it’s hard not to include a King Gizz album in a top 10 list.

Their new one, ‘Vegemite’ has thrown me a little, but I gotta admit, it’s been on rotation all afternoon and I know what I’m having for breakfast tomorrow morning. The thing that people are obviously talking about are those eyes and mouths in that Vegemite. It’s creepy, but also, I’m told, a great exfoliant.





East Brunswick All Girls Choir. I’d heard the name, but had always assumed everything that this band is not – i.e. twee folk music.

Nah, actually, this be some thrown against the wall bluesy worn out clusterfuck of a track. It’s raw, weary, but my gosh does it kill. You can stream ‘Dirty Bird’ below.




You like cats? I actually like dogs. But, yahno, cats are ok. Midnight Juggernauts also like cats. They like crazy cats.

Their clip for ‘Systematic’ from their album Uncanny Valley of this year features a lot of cats.




So I’ve been a big ol’ fan of these boys for a fair bit. Since they first started a couple of years ago, through to last year’s signing to I OH YOU, to say that Melbourne’s City Calm Down have progressed a bit would be a freakin’ understatement. They’re still doing the moody, live dance vibe, but man, everything is so much more confident and tight.

At first, I was a little unsure about this new tack ‘Speak To No End’, but man, it really does have everything you’ve come to expect from a CCD track. That massive euphoric chorus, that slick slick slick bass line, and Jack Bourke‘s amazing vocal tone. And I love how the end isn’t just a big old jam out of the chorus. I like all that distortion that finishes the track, that manic distorted line that echoes Jack’s rather manic yelling.

The track is the first of two singles from the band’s debut full length. The second single, ‘Pavement’ is due out early next year.

As I heard it described a couple of days ago by maamf mate Nick Clarke over on the Poncho podcast, these guys are a career band. And, I think i’d have to agree. They do do that party dance stuff, but they create room in each release, so as to suggest a longer, more sustainable career than a lot of those other party bands.




Woah. So it seems as though the world wide web has been going bananas for the new vid and track from Melbourne’s Yeo. This guy is a bit of a music making machine, dabbling his hand in quite a few different styles. And, he actually kinda nails every one.

This new jam ‘Girl’ is in that soulful electronic vibe, and yeah, that style has definitely been done to death, especially in Australia. But when you can rock such a smooth, laid back, sleazy-but-also-really-sophisticated vibe, then it doesn’t matter what fucking style it is.

This is an incredible track. Actually, really really incredible.

And that car trip hair in the breeze film clip – one of the best I’ve seen in a darn long time.




Well this is freakin’ refreshing. For so long now, there has been this nu-skool r’n’b vibe coming out of Australia. When it hit (think Collarbones, Oscar + Martin etc), it was amazing. Here was this sound that was familiar, but was now coming across in this really soulful delicate way. But with the advent of that glitchtronica sound that began to occupy the electronic music scene, the whole delicate r’n’b sound got a little lost.

So it’s awesome that Oscar Key Sung, once a man putting out some excellent glitchy soul music has subtly changed his approach. The new track ‘All I Could Do’ still manages to pack a punch with Oscar’s excellent vocal tones, but gone are those delicate hip-hop inspired grooves. Instead, in their place is this left-field club sound, still with an element of delicate sounds and instrumentation, but all sitting on top of this pulsating kick, that sounds so much more commanding and blazingly confident.

This is excellent.




Sometimes a pop song just takes you over. And you forget about pre-conceived ideas around that particular artist.

The pre-conceived idea I had about Gossling was that her voice sounded like just about every other indie folk singer out there…although Gossling was never really an indie folk star (THANKS VERY MUCH JULIA STONE). She was moreso a straight up indie pop star though. But anyway, I usually am not a fan of Gossling‘s voice.

This new track though, the title track off her debut full length of the same name out next week, is something else. ‘Harvest Of Gold’ is one of those pop songs you could listen to forever. It’s pretty dreamy, goes enough places, has this laid-back funk-style beat, and the mix kind of works with Gossling’s voice – her voice is very much an instrument in this track, and not just a voice out front.




There’s something about this vid that kinda takes you unawares. It’s not serious music – the band are serious, but the song sounds silly and fun. And yet the clip is more than just silly and fun. Sweets are in on the secret. Straight up in Annabelle Tunley’s face is this self-awareness, this realisation at the awkwardness of the dancing etc. But still absolutely OWNING that awkwardness.

‘Swagger’ is the first taste from Sweets, which is essentially Annabelle’s project (with the help of  George Weis and Peter Emptage). You might recognise Annabelle – she is also part of that ace vocal trio Aluka, who released an excellent album earlier on this year.

If you’re keen also, then Sweets are launching the single at The Workers Club on Sunday night with support coming from Martin King and Hollie Joyce. Details here.



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