Long term followers of this site will know that a couple of years ago I use to harbour a deep deep love for a band called Love Migrate. The band haven’t released anything since the Dissolved EP in late 2013, a release that felt a lot more assured and focussed than their debut album of 2012. That’s not to say that I didn’t love that debut though.
This new track ‘Pippa’s In The Highlands’ feels as though a band in its new form, harking back to its older sound. And the track is all the better for it. The sparseness is back, allowing the vulnerability in Eddie’s voice once again to shine through. And those builds are also there – that euphoria that sets in at a minute left makes it all worth the wait.
They’ve also retained that solid pop structure to their songs that seemed to develop on the Dissolved EP, all while keeping that classic Australian singer-songwriter vibe.
The track is taken off the bands new EP Shimmer Through The Night due out May 22. You can catch the band launch the EP at the Gasometer on May 28.
They’ve played together before in a little band called Surfing in Hawaii, but this Teamwork tip follows a more ethereal dreamy electronica bent.
As the name would suggest, Teamwork is a project that provides the opportunity for Marc and Alex to work with a whole heap of different Melbourne based musicians. The first taste, ‘Dramatic Sea Cliffs’ features the vocal talents of Alex Servinis from Ern Malley and is an early indication as to what to expect from the duo’s first tape, due out March 23 on Whalesmouth. Limited run of 30 tho, so keep an eye out.
As we slowly edge our way into Autumn and then Winter, these warm hazy sounds feel all the better.
New hip-hop vibes from Melbourne based collective ESESE.
The Eastern Seaboard Electric Sound Experience (fuckin’ rad name aye?) do them rap vibes, sing, make tracks and film. The first official release from ESESE as a collective comes courtesy of Hudson James Jr and features ace dude Hancoq on the vox. It’s called ‘AINTNO’.
As the local hip-hop game begins to ditch it’s aggressive in-your-face Australian vibe, it’s great to still see some of that bravado and forwardness but presented in a warmer sounding context. And sure, one day, that constant embracement of the jazzier 90s side of hip-hop will get old, but for now, when the production is this top-notch, it still represents something fresh in the Australian hip-hop game. Definitely keen to hear what more ESESE bring.
Melbourne people may well have heard the name Jimmy Hawk before – he’s done a fair bit of solo work around town and had a band called The Endless Sea for a bit too. Jimmy’s latest project is Young Hysteria and is a collab with his mate Thomas Van Der Vliet. The guys have been kicking around for nearly two years now, and you may well recognise their single of last year ‘One Young Lover’. It was a pulsing r’n’b infused jam that was as equally dreamy as it was intricate and introspective.
Well, we’re lucky enough to be premiering the clip for that track this morning on this here site. It’s a kaleidoscopic night-time journey for the two fellas, complete with booze and babes and all those blurs and colours you end up seeing towards the end of the night. Sounds like my night last night/allmynights ohgosh
Rad clip tho!
Keep an eye out for these guys around town this year.
Let’s give it another shot
Let’s try it another way
Let’s put the puzzle
Back together, our way
Twerps – ‘I Don’t Mind’ (2015)
I’ve come to not know what to expect with Twerps. I thought I knew after their first full length. It was ethereal dreamy guitar based music with the rough edges, the scuffle still there. It sounded polished, but the ideas and the thoughts and process behind those ideas were still on show.
Then, after last year’s Underlay EP gave me the impression that they were going to embrace that more lo-fi aesthetic, they came back with ‘Back To You‘, a track that to my ears re-engaged with that dream like state their self-titled debut had put me in. The flute like synth line was Underlay-esque, but whilst new, still reminded me of some of the more upbeat cuts from the debut, just using different instrumentation. The second cut from the bands new album Range Anxiety (due out Jan 23) was ‘Shoulders’. Again, this one also managed to induce a dream-like state, whilst also putting forward something new in a focus on Julia’s vocals.
Now they’ve let ‘I Don’t Mind’ into the world. ‘I Don’t Mind’ is a track that feels as though it could close out the band’s debut album. It sprawls and is messy in parts, but still with that polish. Dare I say it’s anthemic, especially in that big all engrossing chorus that hits. It feels the most familiar of the three tracks, all of which will appear on the bands second full length Range Anxiety due out on Jan 23. I’ve heard this Twerps before. This is the Twerps I fell in love with.
I think what I’ve realised is that the idea of ‘progression’ in music implies something very particular. It is something that suggests growth and this almost romantic notion of an evolution in sound. It implies leaving behind the old and constantly seeking out the new.
I think with this release though I’m beginning to question just how relevant a term like ‘progression’ is when talking about music output. As music writers we want to be able to tell a story I guess, and the notion of progression lends itself to that old writing trope of the traditional story-arc where it’s all about triumph over adversity and reaching a better place. In having this as the go-to though, the stories we can tell about the musicians we love are pretty lopsided, and dare I say in many cases, not all that honest.
What about those artists that don’t leave their older influences at the door after album one and evolve in that traditional sense? What about those artists that don’t embrace a more electronic side in their latter albums? What about a band like Twerps who instead of moving on from their earlier work, are open to working with the same sorts of ideas, sounds and influences?
The story of Twerps isn’t one simply about re-visiting and re-engaging with the old ideas. It’s about doing different things with similar ideas. It’s not about going back, in the same way as it’s not about going forward. Instead it’s about the now, and the real and direct experiences gained in the present moment.
If you’re lucky enough to check out Twerps as they support Belle and Sebastian around the country, or if you’re checking them out at Sugar Mountain or Golden Plains, then have a bloody blast. And if you didn’t realise they were playing these shows and are thinking of trying to head along, then details can be found here.
For those not lucky enough to check ’em out live, then make sure you grab a copy of Range Anxiety when it’s out – you can pre-order on iTunes now or over on the Chapter records store. ‘I Don’t Mind’ got best new music on some big site called ForkPitch or something like that too. Can’t blame ’em – it is a seriously wonderful jam.
I mean, really, as if I wouldn’t be all gushin’ over this. I mean, as if Dick Diver‘s 3rd album Melbourne, Florida won’t make at least the top three albums of 2015. I mean, as if, even with a slight change in sound, I wouldn’t just fucking love ‘Waste The Alphabet’, the new single from the Melbourne, Victoria based band.
‘Waste The Alphabet’ is intoxicating. It’s a fuller sound than their earlier work, and there’s a propulsion to it, and a directness to it. It’s only taken me a couple of listens, but I now reckon maybe it could get in the top of this year already.
Melbourne band Grandstands are back with their new single ‘Getting Out’. It’s a song ostensibly about breaking up and the realisation that getting out, is in many cases, the best thing. It’s also perhaps moreso detailing this strange fixation we now have on the mundane.
It’s a phenomena that has influenced nearly everything. Things like ‘normcore’; this fascination, at least within some fields of academia at investigating the everyday; and of course the whole idea of suburban guitar pop music. We’ve now reached a point where the only way to look is back in on ourselves, too aghast at the ridiculousness modern life has become. Grandstands manage to capture this feeling incredibly well.
This evening we’re lucky enough to feature the clip for ‘Getting Out’. Shot at Melbourne Zoo, it gets that whole everydayness to a tee. There’s a strange calm to the close up shots of zoo animals doing what zoo animals do.
Alongside the clip is a really wonderful three track single with ‘Getting Out’ as the lead. You can have a listen to that one below too. The guys also have a debut album in the works, due for release in early 2015. Featuring ‘Getting Out’, it’s been mixed and produced by Josh Bach who worked on Milk Teddy‘s wonderful debut and has been mastered by our mate Casey Rice.
If you dig ‘Getting Out’ and you’re down in Melbourne then we’re also pretty chuffed to announce that the band are playing a launch at the Workers Club on November 21. Details for that one here.