Posts By Annie Toller

WATCH: Two Steps on the Water – ‘YoYo’

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two steps on the water

Having released a compelling set of country-punk tearjerkers late last year – the brilliantly titled ‘Having pop punk feelings in a country-western body’ EP – Melbourne-based three-piece Two Steps on the Water are now gearing up for their debut LP, God Forbid Anyone Look Me in the Eye. The band – comprising violinist Sienna Thornton, drummer Jonathan Nash and frontwoman June Jones – yesterday released ‘YoYo’, a tender, Kate Bush-referencing ballad underpinned by the trio’s lilting harmonies and Thornton’s intuitive counterpoint. Today we’ve got the video for you, beautifully shot in soft afternoon sunlight by the Yarra. June Jones spoke to us via email about the new record and the band’s upcoming June residency at the Gasometer Hotel.

Can you tell me what ‘Yoyo’ is about? did you write it for someone in particular?

‘YoYo’ was primarily written for myself when I was younger. I have suffered from post-traumatic stress disorder since I was 14, which made life pretty hard especially when I was a teenager. I used to beat myself up about being so terrified all the time and it took me a long time to realise that I wasn’t to blame for my trauma. ‘YoYo’ was written for me back then, but also for anyone who needs to hear that it’s not their fault, that they are beautiful and dangerous. I should probably mention here that the first two lines of the chorus are totally ripped from ‘Cloudbusting’ by Kate Bush (a timeless classic).

Is there a narrative behind the video clip? It’s a gorgeous setting – where’d you guys shoot?

Nah, no narrative. The last clip we made (for a song called ‘More True More Rowdy‘) was pretty heavily rooted in narrative, and we filmed that in a few different locations which meant that it was a pretty time-consuming process. This time around we just wanted something simple and pretty. Working with absolute legends Nina Renee and Olivia A Fay, we filmed the whole thing in Fairfield by the Yarra. One half was at the beautiful amphitheater and the other half was with a group of friends in a clearing that Sienna knew about (and I think people put on raves there sometimes?).

Congrats on recording your debut record! Can you tell us about how it all came together – the writing and recording etc? How would you compare the new album to HPPFIACWB, whether aestically or thematically, or the process in general? 

Hey thanks! We wrote all the songs in the second half of last year I think. Made some demos in Sienna’s shed and sent them to Simon Grounds (who was recommended to us by our friend Laura Jean, an amazing Melbourne musician). Recording took place from early February through to late April, starting at Bakehouse Studios with Simon and then RMIT with some friends who are studying sound production, then doing all the overdubs at Simon’s home studio.

Aesthetically I think we’re working with similar ideas to what’s happening on HPPFIACWB, but there’s no electric guitar this time around. Thematically I think God Forbid Anyone Look Me in the Eye is more coherent. I’ve realised that lyrically I tend to tackle three themes over and over again, and those are trauma (spanning the last 10 years), my social experience as a trans woman (the last year and a half), and lastly the object of most songwriting ever: love and romance. The three overlap and intermingle and fight between each other. For example, there are three songs about love/romance/sex on the record but two of those are very much about my experience of these things as a trans woman looking to be recognised as such by my partner.

You guys are great at encapsulating your work in titles; ‘having pop-punk feelings in a country-western body’ sums up your sound pretty perfectly. I was wondering if you’d mind elaborating on the new album title?

I didn’t realise how representative of our work the title of ‘Having pop punk feelings in a country-western body’ was when we agreed upon it. I just thought it was a pretty funny title. It was a lyric salvaged from a song that we recorded for that EP but never ended up releasing. God Forbid Anyone Look Me in the Eye is the second line of the second song on this record, and I think it sums up the vibe of a lot of the lyrics throughout its nine songs. I have a hard time just being in public, and I wear sunglasses as often as I can without seeming like an asshole. In the context of the song ‘My Medusa’ the line is a reference to meeting eyes with the titular character (a role played by any stranger on the street ever) whose eyes can turn me to stone, which I guess is all about anxiety/PTSD/being vulnerable as a trans woman in the world.

Do you guys listen to much country music (or at least a bunch of Drag City LPs)? Or is this just how the sounds come out when you three are playing together? What bands have inspired your sound?

Sienna and I have definitely listened to quite a bit of country music, and while I don’t think it’s heaps Jono’s bag, he and Sienna used to play in a bluegrass band a few years ago with my old housemate. It wasn’t overly intentional to start a Country Band, and I wouldn’t really describe us that way, but the combination of acoustic guitar and violin definitely does evoke that vibe at times. I’m a huge Drag City fan, with stuff like Joanna Newsom and the Silver Jews influencing my songwriting in a pretty big way. People compare us to the Dirty Three pretty regularly, for which I blame Sienna (just kidding, they’re great), but I guess that’s what happens when you’re the only band with a violinist on most bills, lol.

I love your singing voice – mercurial and sort of old-timey, kind of like a yodel. How’d you stumble upon that style and realise it worked for you?

I think I started doing that yodel-y thing when I was 18 or 19 and just starting to sing. I was really into that band Clap Your Hands Say Yeah, and imitated the singer’s style for a while. Since then I’ve had fun incorporating stuff like screaming and singing in falsetto into my vocal style. I still feel very much like a beginner with singing. I’m aiming for the whole Joanna Newsom thing of developing my vocal ability throughout my career as a musician, album by album, ha.

You guys have got some amazing artists joining you for the Gaso residency. The choices seem to be in the same spirit as Transgenre – lots of femme and non-binary voices, and a mixture of bands and spoken word performers. What drew you to these artists? What’s your connection with the spoken word scene? 

Yeah the Gaso residency is gonna be great! We feel super lucky to be able to play with all of the artists on the lineups. I came into the trans music scene soon after coming out as Not A Man, and all of those performers on the lineup are friends. We’re so fortunate in Melbourne to have such an elaborate and diverse group of trans and GNC artists, as well as the broader feminist side of the music scene. The queer thing is what connects me to the spoken word/poetry scene (I’m not really that connected to it at all to be honest). Jules, who is reading on the first night of the residency, is a friend of mine who we’ve performed alongside of at least 3 times before. Her poetry hits me really hard, which is rare because I usually feel like I don’t get poetry. And Kylie Supski, who is reading in the second week, is truly a force to be reckoned with.

Transpixies looks intriguing. Can you tell us about them? 

Yes! They are amazing. So it’s a Pixies cover band made up of two trans women and a non-binary person, all friends of mine with their own amazing solo projects (Simona Castricum, Brooke Powers and Geryon respectively – look them up!). I’ve seen them play a few times now and can confidently say that they do the songs so much justice and are also more entertaining that the Pixies were when I saw them at V Festival in 2007. I was pretty stoned though.

I’ve been seeing more and more trans and GNC/non-binary artists on line ups in Melbourne over the last year or two. They’ve surely always been there, but visibility seems to be really growing at the moment. What’s it like being a trans artist in Australia right now?

Yeah the trans/GNC and queer music scene is definitely going strong at the moment. It’s bloody great. I honestly can’t speak for anyone else, but being a trans artist in Australia – for me – right now is… okay. On the one hand we get a lot of support from the queer community and each other, meaning that gigs can feel more like a party than just another show. But at the same time there are some real obstacles. The most obvious to me being that I regularly play shows with only male and female bathrooms, and while I am a trans woman, I don’t always feel brave enough to use the little girl’s room when I’m alone. I’ve been kicked out women’s bathrooms before and have no desire to use the men’s, so I’m a pretty big advocate for non-gendered loos. Not to mention the fact that heaps of people don’t identify within the male/female binary! Beyond that there’s the problem of tokenism – being understood only through the lens of gender and not for your art itself. And don’t get me started on the idea of touring. Melbourne is pretty cool a lot of the time, but I can’t speak for other cities let alone small towns. Being trans is confronting (to others and consequently to yourself) and we have a long way to go as a society to make trans people feel safe, comfortable, and accepted. We’re doing an album launch tour in August and while I’m super excited, I’m also nervous to leave my comfortable Melbourne bubble.

YoYo’ is out now on Bandcamp, with God Forbid Anyone Look Me in the Eye due for release in August. 

Catch Two Steps on the Water at the Gasometer every Tuesday in June. They’ll also be headlining The Lifted Brow‘s issue 30 launch party on 11 June, alongside Jessica Says and Pillow Pro. 

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LISTEN: Civil Civic – ‘The Hunt’

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Civil Civic the Hunt

It’s been five years since Melbourne expats Civil Civic released their debut record Rules – a driving mix of noise, post punk and math rock. The duo met via email in 2009, and began trading ideas between their homes in London and Barcelona. It could be a slow, convoluted process, but the results were manic and immediate, and often gleefully nerdy, with fast-paced songs changing key and time signature mid-flight.

Since then, the band has released a single with outsider artist and lo-fi pioneer R. Stevie Moore (it sounds a bit like the Cure fast-forwarded to 160 per cent), and guitarist Aaron Cupples produced the Drones’ outlandish new record, Feelin’ Kinda Free. Along the way they worked on a follow-up record, describing it early on as “a big, ballsy expansion and escalation of the sonic turf we staked out on our 2011 debut Rules, with more high emotion and destruction and joy and carnage.

“Even at this stage, with the long and punishing mixing process ahead of us, we’re already scared of the results.

“This thing is going to give people brain tumours (the awesome kind). All we wanted to do was make a jaw-droppingly awesome record, not some sort of hyper-music-weapon that gets us ‘black-bagged’ in our sleep and end up working for the C.I.A.”

First single ‘The Hunt’ has finally landed, making its Australian premiere right here. It’s an acrobatic number, veering between shimmering, harmonic chords and blinding electronic passages, all underwritten by relentless 909s, prog solos and a wash of noise – kind of like Fuck Buttons spliced with TNGHT. Aaron sums it up like this:

“You wake up late afternoon, your hair a mess. You smell like a bin. Breakfast is the rest of the falafel from the night before. You’re volatile, energised, funny as fuck. You don’t give a single shit what others think of you.”

‘The Hunt’ will be out 24 June on Civil Civic’s Gross Domestic Product label, via Believe Digital, with an album to follow in spring. Check out the teaser below:

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INTERVIEW: Pikelet

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evelyn morris

Earlier this month, Evelyn Morris released her third Pikelet LP, Tronc. After the expansive, full-band psychedelia of 2013’s Calluses, Morris returns to her roots on the new album, crafting experimental pop gems at home with a loop station and an array of analogue gear. She spoke to us recently, via email, about making the new record, her feminist practise and working with the LISTEN collective, patriarchy and white supremacy in Australia, and her upcoming launch show at Hugs & Kisses this Saturday night.

Hi Evelyn! We were really sorry/mad to hear about your gear; I hope it’s making its way back to you. Anything our readers can do to help?

I’ve been very fortunate in that everyone pitched in and crowdfunded the replacement of my gear! So I’m not feeling as awful as I did when it first happened, as it’s been somewhat affirming to have so many people rush to my aid like that. However there are some bits of gear on the list I posted on fb that can’t be replaced so… I guess just keep an eye out? If you happen to be a regular Gumtree or eBay shopper. Thanks for the sympathy!

Tronc is a pretty different record to Calluses. It’s recognisably Pikelet, but it sounds more lofi and possibly more eclectic than ever before. After working in a studio with a full band for Calluses, why did you decide to do a solo home recording this time round?

It happened rather naturally, given that I’ve had to squeeze my music practice in around my feminist practice with LISTEN, which consumed my time and energy for a good year and a half or so. The work I did with LISTEN also really highlighted my own insecurities as a musician and helped to allay some of those fears because I’ve started to understand that some of them are to do with living within patriarchy and within the binary. So exploring feminism has given me a renewed confidence – and hence recording on my own in my own way was both very interesting and much more possible than ever before. I always needed other people to validate my ideas prior to this record… so I released it as quickly as I could, because I needed to do that in order to stop myself from allowing those doubts to creep in that usually cause me to turn to others for advice. That process of self doubt slows things down immeasurably.

Tronc seems quite avant-garde; there are a lot of ideas in the mix (and what i think is the first Pikelet r’n’b track?). I was wondering if you could tell us something about the ideas you had in mind, and any reference points you had for the album?

I am so heavily influenced and inspired by music that’s around me, because that feeling of watching your friends get up and do something beautiful is like no other. So there are many of my friends’ musical inspirations infused throughout. Orlando Furious (Ben Snaith) is where I found an access point to r’n’b, though I suppose I was aiming more towards an experimental electronic track originally [on ‘the Neigbour’s Grass’] and my pop tendencies is how that aim ended up in r’n’b territory. Other local influences for this record would be Laura Jean, Rogue Wavs, Lalic and the collaborations I’ve done with Nick Allbrook have probably also had a big influence. Also more experimental acts in Melbourne are always keeping me refreshed… a band I’m in called Prophets inspires me greatly, as do artists such as Eves and Carolyn Connors.

My constant and ever-present reference point is Broadcast, and track 2 is an ode to Trish Keenan who tragically passed away not long after I had the pleasure of touring with broadcast. That track is named ‘Trish’, however on the cassette the track listing says track two is called ‘Tronc’ for some reason, I guess because I rushed the artwork along and didn’t notice it had been written indirectly until too late.

A lot of times, this sounds like a pretty angry record. On tracks like ‘the Neighbour’s Grass’ and ‘Interface Dystopia’ you talk about feelings of dispossession and disillusionment. There are places where you seem cautiously hopeful, too – making reference to human plasticity/possibility, and finishing up with a track called ‘Survived’. Could you talk a little about the themes of the album, and what kind of headspace you were in while writing it?

I have been dealing with all these themes for many years, however perhaps in a less direct way in the past. I have been stuck in a place of in-betweens my whole life in many ways. In-between the gender binary, in-between my favourite music styles but not really knowing where I sit, in-between poverty and comfort also not really always knowing how good I have it when compared to others… these strike me as fairly universal feelings for a large portion of the population, and especially for Australians that don’t opt to be as wilfully ignorant of suffering as we’re encouraged to be. We are living on stolen land and have been destroying that environment and First Nations people’s lives every day since we first arrived here. We continue to do so every day that we stay here without acknowledgment of the white supremacy infused in our culture. We are also simultaneously actively allowing for the suffering of refugees and asylum seekers to continue because we think we have a right to keep this place to ourselves. I don’t know how anyone could live in Australia and not be angry.

But it’s not just that Australian anger that I have expressed in these songs, it’s also the anger that has built up since realising my feminism more fully. The years wasted on hating myself and undermining myself because that’s how I have been raised in this structure… I’ll never get those years back.

There’s so much happening emotionally on this album though, and ultimately like any record, I wanted to find a way to capture those feelings so I could look back on them some day. I suppose the cautious optimism is the only way that anyone can look at these themes and not feel really stupified as to what we should be doing. You’ve gotta convince yourself of the fact that there’s purpose to continuing to work towards change.

What’s your favourite track on the album, and why?

‘Interface Dystopia’ is my favourite. It was a lot of fun to make; I recorded much of it on this very small little portable tape machine that my housemate loaned to me. It feels as though it speaks to something I’ve not been able to articulate before as well. Plus it’s a bit silly at times so feels like it’s in a nice grey area between the heavy themes I mentioned previously and also the absurdity of making a song about anything. The feeling of ridiculousness that we’re sometimes left with amidst all this intensity seems to have been captured. Like at times you feel like you’ve been caught with your pants down, and that you’ve made an absolute idiot out of yourself, exposing some privilege you’d not noticed before. Embracing that it is necessary to sit with those feelings and own up to mistakes is important to me. So the song couldn’t speak to those themes with a sanctimonious attitude. Because I’m just a bumbling idiot trying to get my head around this mess and find my most effective place in it just like everyone else.

How have your experiences working with the LISTEN collective informed Tronc?

Like I said above LISTEN has both impeded and contributed to my making music because though it took my focus for a while, it’s created a much stronger sense of myself and my abilities. It’s affirmed my right to do what I do via fighting for the rights of others in this city who I admire greatly. I am also giving myself more space to take care of myself which is something I learned through feminism, and a skill that people need to spend time developing in order to unlearn the capitalist mindset that work for money is all that matters.

I hear you’re going overseas for a little while. Is that for touring, or are you just looking to move somewhere else for a time? 

I’m doing a few short runs of gigs yes but mainly the trip is for a residency that’s for developing my piano pieces and my compositional skills. I’d love to live somewhere else sometime but don’t really know how someone goes about doing that really. Plus I do love Melbourne.

Who’s at the helm of LISTEN now? Do you think you’ll go back to working there when you come home?

Yeah LISTEN will always be a part of my life I think. I’ve taken a huge step back though and there’s a new crew of volunteers who are rising to the challenge of running it. It was always part of the plan for it to become the property of the community, because I don’t want my ideas to monopolise the organisation. When I return from overseas I plan to focus on the editorial and publication-oriented elements of the project and leave any events/structural organisational tasks and more public-facing aspects to other people

We’re really excited for your launch show next week! How are you finding it, playing these songs for a live audience?

Actually so far they’ve been incredibly challenging to perform! Mainly because of the heavy emotional content, and the fact that I didn’t have much time to road test them. So there’s been a lot of pressure in my mind leading up to the launch. That’s fuelled me to work very hard on them though and, despite the setback of losing my gear, I feel fairly good about them now.

Suss Cunts is a name we’ve been seeing around recently. Can you tell me a bit about them? How bout Ninetynine?

Suss Cunts is a band that some really good friends of mine are in. Helena Holmes is the bass player and has been one of my dearest friends for many years now. I was so happy when she started this band with friends, because she’s always been quite an integral person in some small music communities I’ve circulated in; I’m glad she’s also found a project she’s enjoying finding a voice in. They play kinda punk stuff.

Ninetynine have been around for ages and were a band I was super into before I got really serious about being in bands. So very formative as an influence for me. Amy Clarke (who is no longer in the band) and Laura MacFarlane were really up on a pedestal for me for some time. Cameron Potts who drums in that band was also an inspiration when it came to drumming, and he and I played together in a band called Baseball for around seven years and toured extensively with them.

Finally, I asked WTH contributors if they had a burning question for you and our photography ed. Bec wanted to know, “How are you so cool? you are a super inspo power woman.” Any advice for Bec?

That’s a very sweet question! I feel completely uncool almost all the time so that’s amazing. Thanks Bec. I dunno about advice… I think everyone knows themselves and their own lives best so maybe like… trust your instincts? Haha. I reckon everyone has a role to play within communities, and we all influence each other and inspire each other. I find it hard to imagine telling ‘me from the past’ all the things I’ve managed to do and be part of in the last five to ten years. They would never have believed any of it was possible.

Pikelet launches Tronc this Saturday, 21 May, at Hugs & Kisses with support from Suss Cunts and Ninetynine. RSVP here.

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LISTEN: Tim Richmond – ‘Come to Papa’

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Tim Richmond Come to Papa cover 300

A chef and a publican (he co-owns the lovely Longplay in North Fitzroy), Tim Richmond has been composing songs, slowly and steadily, since 2008, using a guitar he first bought as a teenager. His last record, Dot, consisted of stark, skewed guitar pop, as idiosyncratic as you might expect from a businessman with the freedom to experiment, tinkering determinedly after hours.

Richmond’s first two solo records were made with local stalwarts like Declan Kelly, Nick Huggins, Kishore Ryan and James Cecil. For the latest Tim Richmond Group release, What’s in the Middle?, he’s convened another all-star team, with Mark Monnone of the Lucksmiths, Monnone Alone and Lost & Lonesome Recording Co. on bass and Joe Alexander of Terrible Truths and Bedroom Suck Records on drums.

Lead single ‘Come to Papa’ sounds slick and dense compared to Richmond’s earlier work. In place of Dot‘s spidery riffs, he’s opted for bright chords and effects pedals, and a characteristically agile bass line from Monnone is well paired with Alexander’s featherlight drumming. Cheerful, wry and just a little creepy, the track’s basically a football anthem for cool dads – with a sneaky change of time signature to underscore the strangeness of this chorus: ‘Come to papa / Bada bing bada boom … Booya!’

What’s in the Middle? is out on 1 July via Lost & Lonesome. You can catch Tim Richmond Group supporting Cool Sounds at Hugs & Kisses on Saturday night, and at Lost & Lonesome’s Gasometer residency on Tuesday, 17 May.

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LISTEN: Palm Springs, Calamari Girls & Lalic

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palm springs

Erica Dunn debuted Palm Springs just last October, releasing a pair of 7″s that sound like dust-streaked sunlight. Now, the SMB having hung up the fishnet stockings for a little while, Dunn’s been back in the studio, her group rounded out to a trio to record a new cassette. Engineered by the Drones’ Dan Luscombe and mastered by Mikey Young, the Flowers in a Vase EP features an updated version of the sublime ‘Winning & Losing’, a charming Randy Newman cover (with more harmonica than honky tonk, to be sure) and a suite of aching gothic-country numbers, delivered in Dunn’s dusky contralto.

Palm Springs are launching the cassette tomorrow night at the Gasometer Hotel. Calamari Girls will be playing in support (along with Caroline No), so this feels like an excellent opportunity to talk about the Before Darwin Tape.

Calamari Girls features members of Melbourne garage punks Constant Mongrel and the Shifters. Quietly released in July 2015 via Al Montford’s Hideotic Records, their sole release has flown more or less under the radar. There’s not much press out there on these guys; one of the only leads to follow is a cryptic message left on their Bandcamp page: ‘Long live Takashi Mizutani’. It’s a reference to the frontman of Les Rallizes Dénudés, a Kyoto band that operated in the late 60s, making long-form, DIY noise rock inspired by the Velvet Underground. This actually tells you a lot of what you need to know about Calamari Girls. Scrappy but charming, the Before Darwin Tape combines post-John Cale, pre-Loaded Velvets with the naive pop of the Beat Happening. In short, it rules, and it’s available right now as a free download.

While I’m on the subject of cassettes, I found this one mooching around on Bandcamp:

Lalić is led by Melbourne’s Mladen Lalić Milinkovic, a GNC artist who’s been recording under their mother’s maiden name since high school. Milinkovic has described Bed Tape as ‘an interim release’ before a third LP comes out later in the year, and it does have an ephemeral feel – more a collection of textural experiments than a song-driven album. Its palette drifts somewhere between Animal Collective’s early acoustic recordings and the narcotic teen fantasies of Foxes in Fiction. Milinkovic moves tentatively, testing out a melodic phrase, a synthesiser setting, a sample – adding layers almost haphazardly to the mix. The results are surprisingly lovely, with songs that stumble, frayed, then miraculously coalesce: reaching, collapsing and reforming.

Bed Tape is out now through World News Records.

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LISTEN: A playlist by the Goon Sax

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the goon sax

“We can agree/I’m not quite what I used to be,” James Harrison, a preternaturally world-weary teen, mumbles on ‘Telephone’, a standout track from the Goon Sax’s debut record, Up to Anything. At once self-conscious and naïve, it’s one of many tunes on the theme of adolescent awkwardness, with lyrics detailing sweaty palms, unconsummated affection and the indignity – even “heartbreak” – of a home haircut.

Despite their youthful preoccupations (the band’s youngest member is only 17), this trio has sophisticated tastes. On the eve of their album launch tour, they’ve sent us a playlist: 17 songs about water. Featuring tracks from Soft Machine drummer Robert Wyatt, as well as John Phillips’ cult first record the Wolfking of LA, it’s a timely reminder that, though just out of high school, the Goon Sax are cooler than you.

Singer/guitarist Louis Forster writes:

‘The following songs aren’t connected by any kind of genre or time period, but what they all have in common is that they are set beside or based on some kind of body of water. Whether it’s the Marine Girls’ loneliness scaling the depth of the ocean, or Neil Young’s bitter observations on the beach, by the water is always a brilliant setting for a song, and serves as the perfect comparison to just about any emotion.’

Tracklist:

The Marine Girls – 20,000 Leagues
The Beach Boys – Feel Flows
Robert Wyatt – Shipbuilding
Bob Dylan – When the Ship Comes In
The Velvet Underground – Ocean
Pulp – My Lighthouse
Erika Eigen – I Want to Marry a Lighthouse Keeper
Mercury Rev – Opus 40
Neil Young – On the Beach
Creedence Clearwater Revival – Proud Mary
Talking Heads – Take Me to the River
Canned Heat – Going Up the Country
The Waterboys – Fisherman’s Blues
John Phillips – Malibu People
Gordon Lightfoot – The Wreck of the Edmund Fitzgerald
G. Wayne Thomas – Morning of the Earth
The Triffids – Seabirds
You can catch the Goon Sax on their east coast tour in April:

Saturday, 2 April

Sydney – Newtown Social Club
supports FLOWERTRUCK and Solid Effort
https://newtownsc.ticketscout.com.au/gigs/5101-the-goon-sax?_ga=1.2921016.983764161.1456103188

Saturday, 9 April
Melbourne – The Tote Hotel
supports Chook Race, Hearing and Dag
https://thetotehotel.oztix.com.au/?Event=60520

Saturday, 30 April
Brisbane – Trainspotters
supports Blank Realm and Scraps
tickets on the door

Up To Anything is out now on Chapter on vinyl, CD and digital. Order it here.

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LISTEN: TRANSGENRE Playlist

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transgenre

The work of trans and gender non-conforming musicians in the local underground community has become increasingly visible over recent months, thanks to the efforts of figures like Simona Castricum and June Jones, as well as discussions sparked around the LISTEN collective. These artists have been out there for a minute now, collaborating and playing gigs together, creating songs, poetry and artwork with a fierce DIY energy.

This Sunday, 3 April, a group of them are coming together for TRANSGENRE, ‘a mini music festival celebrating trans and GNC (gender non-conforming) musicians, DJs, poets, and performance artists’. They’ve made us a playlist showcasing the range of talent on the bill – from the droning, industrial synth pop of Simona Castricum and WK II (Wet Kiss) to the downer country jams of Callan and Two Steps on the Water. There’s also spoken word by Xen Nhà, experimental noise from Jack Mannix’s TERMINAL INFANT project and the incisive folk of Native Cats’ Chloe Alison Escott.

TRANSGENRE takes place from 5pm at Howler, with DJs playing till early morning. Get your tickets here, and RSVP on Facebook.

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