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PRESENTS: ‘COOL PARTY’

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Cool. That word still hurts. I gave up a long time ago at 13 where my aspirations ended at owning at least two pieces of Dada Damani clothing and saving enough pocket change to buy an Amanda Perez CD. No regrets though. Turns out all the other gawky kids who also spent recess labeling their floppy disks in the library and tinkering with the Casios at concert band practice ended up doing alright. Most of the them turned out to electronic freaks of nature (see list below for proof).

We’ve teamed up with our friends from incredible Brisband/NYC electronic label Silo Arts for a not-so-official BIGSOUND showcase & after party, aptly named ‘COOL PARTY’.

 

☯ FEATURING ☯


CHARLES MURDOCH
FRIENDSHIPS
RAINBOW CHAN
CASSIUS SELECT
THE HARPOONS
NAKAGIN
GUERRE
TINCTURE
HTML FLOWERS
MOTION PICTURE ACTRESS

+MYSTERY DJS 

 

Come and celebrate all things fun with 10 of Australia’s best electronic/pop acts + FREE entry. It also happens to fall on my birthday, so there’s a high chance you’ll find me in a corner of Alahmbra Lounge cradling a loop pedal and eating cake.

Full event details here. See you there. #COOL

 

 

INTRODUCING: Gentlemen

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Gentlemen

 

When I first heard Gentlemen I had no idea what to expect. I saw one of my favourite London bars were putting a free show on for a mysterious band who had yet to perform live in any capacity. Their Facebook page only had a few likes, no photos and definitely no music to give myself and other punters a real great reason to brave the cold.

Surprisingly, their performance exceeded expectations. It didn’t take long for the quintet to bring wide smiles, closed eyes and loose bodies to the front of the stage. Although based in London, Gentlemen’s singer, keyboardist and drummer are Australian and relocated to provide for a denser and more accessible scene. The lead guitarist and bassist are Italian and English respectively – altogether bringing a unique influences to cook with, evident in their brand of dreamy psych rock.

Gentlemen stray from the pack of the pseudo vintage rock bands over-saturating the streets of North London. They may play ‘psychedelic rock’ by definition, but the band’s music is carried by a strong pop sensibility. The hypnotic blend of heavily reverbed guitars and warm synths allow for the vocals to take on a ‘less is more’ approach; serving as a player to the melody rather than a lead.

Since their debut show, the band have quickly picked up support slots for popular acts such as Foxygen and Childhood as well as performing at small festivals. With Tame Impala and ‘new’ kids on the block Jagwar Ma already marking a strong impression in the UK, it’s safe to say that Gentlemen are currently in the right place at the right time. Let’s just hope they can strike while the iron is hot before every other band turns the delay pedal up to eleven.

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INTRODUCING: Jimmy Tait

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Apologies to any Sarah Blasko fans out there, but acoustic guitar-slinging songstresses have never really been my thing. You know, the ones who write weepy ballads about their ‘man’ or, possibly worse, peppy empowerment jigs about moving on. The same thing goes for the boys, I guess. Hopefully one day John Butler’s dreadlocks will strangle (or at least gag) him.

For some reason, these lightweight, folksy ballads irk me more when they come from women. That probably makes me sound like some sort of iron-trousered, neo-Thatcherite anti-feminist, but hear me out. In an industry that’s still mostly male-dominated, when a woman gets herself out there I just don’t want to see her ‘femininity’ come off so darn cliched.

What I do want to see are post-punk hellraisers like Savages, fall-down drunks resurrected like Cat Power, psychedelic mums like Beaches‘ Alison Bolger, digression-prone eccentrics like The Orbweavers‘ Marita Dyson. Or jaded cynics like Jimmy Tait front woman, Sara Retallick.

‘All my friends/Sitting on the fence/They’ll never rush to my defence,’ Retallick sighs on new single, ‘All My Friends’. She sounds a bit mournful, but mostly just resigned. She’s been referred to as ‘Australian gothic’, but the result is less gauche than that might lead you to believe.
The new song creeps up on you, accruing some satisfying little touches as it goes along – like the bend in the main guitar riff and the low voice that shadows Retallick’s lead. With the swaying choral ensemble of the last few bars, it’s probably the most melodically beautiful thing Jimmy Tait has produced so far.

Retallick has been performing as Jimmy Tait since 2008. The band’s current incarnation features members of the Gin Club, The Orphanage and The Wintership. People like to point to the influence of slowcore on Retallick’s songwriting, and there are intimations here of Low’s Things We Lost in the Fire, but her music also calls to mind the deep drawl and simple riffs of Smog.

That alt-country link rings true to some extent – Jimmy Tait was named after Retallick’s drover grandfather James Tait, and the upcoming album was recorded in her home town of Katunga, a blip on the map of North-East Victoria. The record is due out some time in September. If it lives up to the promise of ‘All My Friends’, Australia’s got a new singer/songwriter worth getting behind.

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LISTEN: Velcro – ‘Tidal Wave 2009 – 2013’

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Curtis Wakeling was tinkering around with his computer one day when he dropped his tiny screwdriver down the back of his desk. He crawled in under the desk, past boxes of old records and footy jumpers, and came across a large gray box with a funny shaped lead running out the back. It was a hard disk drive (HDD) from 2009.

Intrigued, he plugged it in and discovered a series of audio sketches for tunes he had been writing over the last five years.

After having a sandwich, he decided to complete what has become a collection or compilation, of complete songs, which has served as the perfect release for his housemate’s new label Osbourne AgainTidal Wave (2009-2013) is a limited-edition run of 50 cassettes complete with very lovely artwork or a digital download off bandcamp.

‘Rise’ is a freebie on the bandcamp page and it’s a nice lazy-morning track. Kinda demotivating actually. You can feel hungover just by listening to this one. ‘Dreamboat’ is way more romantic. This is the kinda track that sooths me like a snuggled baby being cooed by its mother. Despite describing an anxiety dream, Curtis executes the perfect dole-pop sound with catchy guitar and sincere vocals.

If you’ve been playing at home than you’ll recall that Curtis recently spent an extended stay in the wonderful city of New York, New York. ‘Stoned’ was written there and is an honest account of what many young Australians experience abroad. Loneliness. Despair. Boredom. And masturbation. Sounds like a good Saturday night because he somehow manages to make it sound like something you’d want. What Curtis does so beautifully in every track is take these experiences and put them into song without a filter. I’ve said before how honest the Velcro music is and this compilation lays it all out for you. It’s quite remarkable that the result is such a warm and easy to listen to record.

Velcro will be launching the tape very soon so we’ll keep you posted but for now check out the other tracks on bandcamp or Curtis’ other band The Ocean Party, who were recently picked up by Spunk. Wow.

UPDATE: Brisbane Tape launch Sep 6th 2013 – details here.

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COLLECTIVE PEG #8

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This round features a very special group of Australian artists that contribute to our fine musical landscape via a visual medium. A sprinkle of directors who have made videos from many of Australia’s most successful byproducts including Midnight Juggernauts, The Jungle Giants, Boy and Bear, Otouto, Alpine and the amicable Boomgates among many. These directors often go unnamed but are critical in the promotion and elevation of the artists you love. So we thought we’d let them tell you about some videos and tracks that they’ve been diggin’ on for this month’s C̶o̶l̶l̶e̶c̶t̶i̶v̶e̶ Director’s PEG.

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Krozm

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Directors Christopher Hill and Lachlan Dickie aka ‘Chris & Lachlan’ aka ‘Krozm‘ have been directing music videos since 2006 for bands including, Cut Copy, Architecture In Helsinki, Midnight Juggernauts, Miami Horror, Jet and Sarah Blasko. They have been directing commercials since 2011 and in 2012 won a Cannes Young Directors Award.

 

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Owl Eyes – ‘Closure’

Director: Jackson Dickie

The video for Owl Eyes ‘Closure’ probably represents a conceptual minimalism realised to a standard rarely seen in the Australian music video world. Not only does it look good, thanks to cinematographer Germain Mcmicking, but it also has a strange emotional weight and a simple, concise concept that actually pays off at the end. There’s also an instinctual attraction to the elegant yet ridiculous extremes in facial and body contortion… something we can personally relate to.

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Midnight Juggernauts – ‘Ballad Of The War Machine’

Director: Vincent Vendetta

We’re always a fan of a strong concept and the balance between subtlety, detail, extremism and the ridiculous. Speaking of which this low-fi video directed by our friend Vincent of the Midnight Juggernauts another recent favourite. The shots of the Juggernauts in uniform dancing in Russia and on various military hardware could perhaps qualify as genius.

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Anthony Salsone

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Anthony Salsone is a freelance video director and producer from Brisbane, Australia. He has worked with artists such as The Jungle Giants, The Medics, Dune Rats, Holy Holy, and more. Anthony is currently aspiring to learn a second language and find a real job. Let’s hope he never succeeds on the latter cause we need him making cool videos instead, eh.

 

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The Trouble With Templeton – ‘You Are New’

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For me, one of the most satisfying parts of listening to music is hearing an artist mature from one release to the next. Case in point, The Trouble With Templeton. TTWT’s new record Rookie sees front man Tom Calder navigate away from the singer-songwriter sound and into a much more dynamic and honed ensemble.

Their recent single, ‘You Are New’ waltzes from beginning to end, adding and subtracting well-crafted layers that, together, create an effortless drive. Its purposeful simplicity tells us that this group has nothing to prove—comfortable and secure enough to favour melodic song writing over delay-soaked guitar hooks.

The production is equally enjoyable. Here again, Matt Redlich shows us why he is working with some of Australia’s most talented artists. Throughout the album, Redlich pulls some of the warmest and sexiest drum tones I have heard in a long time.

TTWT is one of those bands that very obviously put a lot of thought into each of their clips. For this reason, you can consistently rely on them to produce something worth watching. This track’s video sees the band continue their fruitful creative partnership with director Josh Calder (Tom’s brother). Here, Josh does exactly what he needs to, matching the clip to the track’s mood and pacing. Combine this with the on-screen charisma of his brother Tom, and we arrive at a very enjoyable music video.

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Gus Kemp

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Gus has been in the desert for 9 weeks shooting a cultural/ adventure documentary & listened to almost no music in that time. Just big big spaces, freezing nights and lots of stars; strange coloured dirt and sand, sometimes some dingoes howling. But mostly, always a fire; and a place to come back to. It rained a lot too and the atmosphere was super electric. Back in the city, he has a hearth, a studio, and great collaborators.

He was in Mauritius earlier in the year shooting a drama in a cyclone. Now he’s working on a screenplay for a film in the desert. Not something that arose from any recent experiences there, but something very strange that happened there, in the past. He only likes being behind the camera when there’s a story unfolding in front of him.

“There’s nothing more interesting in the world than a good yarn. The stranger the better.”

 

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Montero – ‘Adriana’

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I actually like this song a lot because of the video. It’s got rocks and wool and mime. Hardness. Softness. Horns. Maybe it reminds me a little of The Olivia Tremor Control. Not in a direct way, but more in a way of how I may have loved them once because of where they took me – strange places, other worlds, though not uninhabited.

 

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Paul Andrew Rhodes

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Paul Andrew Rhodes (aka par) is a music video animator/director from the ‘swing-seat’ of Sydney’s west (we’re so politically aware). He started Negative Films, and has made videos for Audego and Boy and Bear amongst others.

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Jasper – ‘Dr No (ft Simo Soo)’

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Jasper has been making music in Sydney’s inner west for ages. Previously working under tonnes of pseudonyms and with various bands, he’s now releasing new work as Jasper Clifford Smith. I was hooked instantly when he dropped ‘Dr No’ – a collab track with Simo Soo. The Tipping Dollars EP is available at his Bandcamp page.

Facebook / Bandcamp

 

 

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Luci Schroder

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Luci Schroder is a film director currently based in Melbourne, Australia, with a background in Fine Arts. Schroder received much interest after making music video clips for Australian artists Donny Benét & Alpine. Schroder garnered several award nominations and a commissioning by British photographer, Nick Knight of SHOWstudio, for a film on fashion fetish. Schroder’s last music video took place in Paris with the French band Juveniles.

 

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The Night Terrors – ‘Lazers For Eyes’

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‘Lazers For Eyes’ is no slow-wave, sleep inducing fair. It sounds and feels like a futuristic nightmare. It would be a pleasure to create a world for such a nightmare; grandiose and sprawling.

When I saw The Night Terrors play, they were supporting Italian band, Goblin at the Melbourne Town Hall (the one with the gargantuan organ).

Goblin is perhaps most acclaimed for creating the soundtrack to classic Dario Agento’s 70’s horror films, films like Tenebrae, Deep Red, Suspiria, Phenomena – which I must admit was the reason for me being there. But after the show, I couldn’t stop thinking about The Night Terrors, and stories that would make justice to this big ass sound. Not to mention the theremin magic performed by Miles Brown.

Definitely a big fan.

 

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Mia Mala McDonald

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Mia is a photographer, whose work has appeared in the The New York Times, Frankie and Golden Plains among others.

Her first time as cinematographer was working with director Emma Freeman on the video for ‘Gallows’ for ‘freak folk’ duo CocoRosie. Since then, she’s shot clips for Boomgates, Darren Hanlon and most recently worked on the SKYWHALE project for artist Patricia Piccinini.

Her excellent video for Dick Diver’s ‘Calendar Days’ was her first outing as director and cinematographer. Impressive.

 

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Beaches – ‘Send Them Away’

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It’s so hard to nail the vibe in a clip that suits the band. Ben Monitor recently got it so right with his animated video for Beaches. It’s a beautiful layering of muted colour and light hearted images of puppies, a special Beaches pinball machine, big adventures, mini adventures and a true celebration of amazing hair.

The video takes you back to childhood as it is reminiscent of cartoons on Saturday morning. It’s textural, combining hundreds of Ben Monitor’s illustrations. Al from Beaches mentioned that “Ben had many friends help him get it finished” – perhaps this is why the video is so warm and and so full of beautiful imagery.

Ben Monitor is a illustrator/artist and it is so exciting seeing his work as moving images. I look forward to seeing what he comes up with next.

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Check out previous editions of Collective Peg HERE.

 

 

LISTEN: Manor – ‘Architecture’

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Aside from cheap vinyl and tinnitus, coupled-up duos are probably one of my favourite things about music. While that’s possibly just the Thurston/Kim truism I’ve been harbouring for forever – or the general assumption that tormented bed friends make better musicians (true?), I’ve always found that these kind of musical partnerships give a depth and a truthful backlog to artist’s songwriting, something that a group of boys, or girls clamouring on about their hormones could never provide.

Manor are Nathaniel Morse and Caitlin Duff. Both Morse and Duff previously played in now sadfly defunct Adelaide band Fire! Santa Rosa, Fire!, before relocating to Melbourne. I really doubt these two are even a couple, but in respectable dream-pop tradition ie. Tennis, Chairlift, Wye Oak, Big Deal – they are for the sake of this write up.

The duo’s previous single ‘Afghan Hound’ may have been equitably more math-rock on the outset, but the band’s new single ‘Architecture’ is timeless pop right from the first off-beat. To the main point, the fledging groove here sounds waaay too much like Chairlift’s Caroline Polachek doing a cover of Men At Work’s ‘Land Down Under’ for anyone to ignore.

Manor are releasing their debut EP at the end of 2013. GET THIS IN YOUR EARS.

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LISTEN: Zone Out – ‘This Place’

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‘This Place’ is the new single from Zone Out, Melbourne’s latest incarnation of the twee spirit, led by Ashley Bundang. Zone Out’s music is an affable blend of gentle strumming and fey vocals, replete with the lulling effect of xylophones, oohs and aahs, and woollen scarves and mittens. The band’s core line up of Bundang and Zahra Khamissa has been expanded to include ScotDrakula‘s Dove Bailey and Totally Mild‘s Elizabeth Mitchell. With the fuller sound that the new members provide and the song’s spacious, warm production, ‘This Place’ may be Zone Out’s loveliest release yet.

Bundang is part of the unfeasibly productive Osborne Street group, based in the suburb of Brunswick. She plays in Velcro, Pencil and Hot Palms, all of whom make some form of loose, meandering indie pop (I’m trying so hard not to use the word ‘jangly’). She’s also got a couple of solo ventures up her sleeve, under the working titles White Australians and Obviously. Written on casio and guitar, these songs are more insular than anything Zone Out has done – largely because Bundang buries the vocals beneath synth tones and effects that sound like a UFO landing rendered through computer speakers.

Zone Out is the most accessible of Bundang’s projects. A comparatively obscured version of ‘This Place’ appeared on Obviously’s Mondayitis EP. The promise of the song’s progression was already clear, but Bundang’s melodies fare much better under the warm, full-band treatment that Zone Out provides. It sounds as though she swallowed the complete Twee as Fuck compilation and assimilated it bodily, to churn out gorgeous, tea-cosied pop songs forever more. ‘This Place’ reminds me of the Shop Assistants, the Softies and Blueboy in particular, but Bundang pulls off this style so convincingly that the fact it’s been done before seems kind of irrelevant.

‘This Place’ is the teaser for Zone Out’s Something Less EP, which is due out on 23 August. The EP will also feature previous release ‘What’s Missing?’. It will be available digitally, as a limited run of 50 cassettes through Osborne Again and on CD through Why Don’t You Believe Me?
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