Posts By David Payne

COLLECTIVE PEG #4

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ANDREW MCMILLEN

Andrew McMillen (@NiteShok) is a freelance journalist based in Brisbane, Australia. He writes for Rolling Stone, The Australian, The Global Mail and Qweekend, among others. Find an extensive collection of his work here: andrewmcmillen.com

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Urthboy – ‘Empire Tags

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This is a classic example of telling an Australian story through hip-hop; a vision of the local version of the artform at its strongest. It’s my favourite track on Urthboy’s fourth album Smokey’s Haunt, released October 19 via Elefant Traks.From instrumentation and production through to lyrical content and message, this is simply a killer track. The Australian flag issue gets nudged every few years and I’m glad that Urthboy is doing the same through a contemporary medium.”From a time when the empire tagged the globe / We ain’t cleaned that graffiti off the front of our home,” he raps; in the album liner notes, he writes, “Let’s keep it simple, the flag of another country sits in the corner of ours and that’s some shit straight outta the 18th century. We’ve been staring so hard at the past maybe we’ve gone cross-eyed.”

I feel pride when I listen to this: for my country, for our freedom and ability to question the status quo through song, for Australian hip-hop, and for Urthboy himself. I’ve followed him since his 2004 debut Distant Sense Of Random Menace. It’s been a pleasure to watch his talents grow and grow. I can’t wait to see what he comes up with next.

www.urthboy.com

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A.H. CAYLEY

A.H. Cayley (@ahcayley) is a Sydney writer, editor, broadcaster, and, evidently, hat-feather collector. She is the deputy editor of PAN Magazine, curator and host of quarterly live-reading night Confession Booth, a presenter on FBi Radio, and a contributing writer for publications like Time Out and The Big Issue, but she devotes most of her words to local music over at Mess+Noise. Her personal work found here: www.ahcayley.com

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Lower Plenty – ‘Nullabor

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I broke up with the man I was supposed to marry a few months ago, not long after Lower Plenty’s Hard Rubbish came out. The whole situation was so hard and so sad, and for nights on end, lying paralysed in the dark on my best friend’s sofa bed while he tried to find a new place, and pack up the life he’d shared with me, and come to terms with the bombshell I hadn’t been able to hold any longer, this song, playing on repeat through a set of battered earbuds, felt like all I had in this world.

‘Nullabor’ kicks me in the guts and makes me feel suffocated and restless and tired, but at least that’s something. It inherits a place as distant, desolate and lonely as the inhospitable stretch of country after which it’s named, and it’s just as beautiful; it’s as stunning as the whole outback. That nodding, mournful beat sits heavy around your neck while Al Montfort’s unique, wavering voice tells such an immense story in so few words. For the purity of its sadness, ‘Nullarbor’ is at its heart an optimistic song; it’s about letting go, and it’s about freedom, as painful as it can be. Even in the depths of its apparent hopelessness, there’s still that glimmer of hope in its protagonist’s eye; that brief but steely reassurance that says you’re doing the right thing, and that keeps you driving on, numb, through the dust.

soundcloud.com/special-award-records/sets/lower-plenty-hard-rubbish

 

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MARCUS TEAGUE

Marcus Teague (@MarcusTheVine) releases and plays music under the moniker Single Twin.
His previous band Deloris released four albums throughout the ’00s and he is currently recording with a new project, Near Myth, who are set to release their debut album in 2013. He co-founded Mess+Noise and is currently the Deputy Editor of TheVine.com.au.

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(DAVE: Rules are meant to be broken and sometimes pegs don’t fit; so we went with all three of Marcus’s PEGs this month. Mostly because I couldn’t decide which ones to cut… I mean, could you?)

Collarbones – ‘Hypothermia

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I have a tendency to either listen to a song once and move on or just loop things over infinitely. As with this. What I like so much about ‘Hypothermia’ is — apart from that weird whirring sound that hums throughout, like a generator next to the bins out the back of a bar, which in turn perfectly illustrates the late night, just-outside-of-everything fuge state that the song has in store — is that I don’t think even it knows what it’s doing. I couldn’t say if there’s a verse and a chorus. It’s propulsive and arch and longing and melancholic. It could be your party jam or your breakup song. It could be background music or you could learn all the lyrics. You could play it on a guitar or in your rock band. Everyone concerned sounds effortless. It scans as a true and an entirely self-generating four and a half minutes of music. I don’t know if people realise how hard that is to create. I can’t really think of anything better you could say about a song.

collarbonesband.tumblr.com

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Grand Salvo – ‘The Boy’s Story Of His Faithful Family Dog

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Grand Salvo—Paddy Mann— is consistently making some of the most focused, technically incredible, and melodically and lyrically gifted music in the country/world. It’s just true. His musical universe is wholly contained and to be treasured. I’ve said it before, but if Paddy was from the UK or the US or, I don’t know, Iceland, he’d be globally revered, no doubt about it.

While his strength will always be finding nuance in simplicity, Paddy’s music has been getting more complex and layered across his six albums, although fundamentally his great gift is honing in on simple motifs and tweaking them, to the point of unearthing some crucial element that was hidden before. Or up ahead. His latest, sixth album ‘Slay Me In My Sleep’ is probably the Grand Salvo world at its most baroque, so I get that the passing listener might think it sounds fluffy or twee. Maudlin, maybe. Those people are wrong and idiots and missing out.

‘Slay Me In My Sleep’ is not a collection of standalone songs. It’s a self-referential, circular work that requires multiple listenings. So it’s hard to pick one song from the album. But the fact that he calls his dog a “teenager” in this is incredible.

www.grandsalvo.com

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Ballads – ‘Your Mistake

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Disclosure: I’ve been in two bands with the singer in this band. He never sang in my bands because he said he couldn’t sing. Even with a microphone in front of him on stage. He sent me these songs and I wrote back “Sounds great! Who’s singing?” He said it was him and I got really mad. Because he never sang in my bands and because I wasn’t in this band.

Ballads are all friends from Newcastle who came together in Melbourne and they’ve only released, I think, four songs, including a 7”. ‘Ballads’ as a band name makes more sense after you’ve heard their music. They’re not a folksy “woe is me and her” band. More forlorn and doomed. There’s a definite sleepy, half-drunk/broken Grizzly Bear vibe here. If you don’t want to skol shots and slink underwater in the bath looking up at the woozy light here I don’t know what would do it. They’ve got a Wurlitzer in the band and it makes me want one. I’m still a bit mad.

ballads.bandcamp.com

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MEGAN GORDON

Megan Gordon (@groupiemagazine) is the unashamedly keen Managing Editor of Groupie at Pages Digital. She once dressed as Dobby the Elf at a Harry Potter screening she helped organise at Sydney University. She’s also spent some time in Montreal were she was cold, drank bad coffee, spoke terrible French and worked at Nightlife.ca in her spare time.

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Pear Shape – ‘The Coca-Cola Kid

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Pear Shape is one oddly sculpted sound situation you want to happen to you! The Sydney band crafts a decidedly exuberant brand of pop.

Their tune ‘The Coca-Cola Kid’ is as joyful as an advertisement for its namesake, only way less calorific and 100% more genuine. The band is also respectfully corporation free, producing their new EP (also named The Coca Cola Kid) independently.  Underneath the playful hooks, there’s a serious commitment to solid musicianship. These boys may play silly, but they’re dead set committed to their craft Their songs are crisp, structured and lyrically strong.

‘The Coca-Cola Kid’ is one of the best pop songs written by an Australian band this year; it’s a real shame that it isn’t on repeat across more stereos. But as the sun starts to shine stronger, I have a feeling people’s thirst for this tune will grow. Drink it in kids.

www.facebook.com/pearshapemusic

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DAN AZZOPARDI

Dan Azzopardi (@dan_azzo) is the director of Sydney-based artist management and publicity agency, Mammal Sounds. Two years ago, he co-found Acid Stag, a music blog specialising in local and international indie and electro. Every Saturday night, catch him on FBi Radio, laying down sweat-inducing disco.

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Elizabeth Rose – ‘Give In

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Admittedly, I’ve given a lap-dance to this song. The electro pop jam sports seductive vocals and a deep, grind-worthy bass-line, making it a total boudoir anthem. ‘Give In’ is the opening track to debut EP Crystallise from talented Sydney producer Elizabeth Rose. Due to its accessibility, it’ll likely be the 21-year-old’s next single release, and subsequently picked-up by mainstream media.
Do me a solid? Imagine your dream date straddling your lap whilst the following lyrics are being sung in an innocently breathy tone: “It’s too late to cool it all down; especially when the wheels are in motion, I can feel a reaction to the words coming out; and if you feel the need to survive, I got answers tonight, you just tell me how; why won’t you give in?”
If you reacted to the above with a stir in your loins, don’t feel ashamed – you’re not alone.

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The Ocean Party – Social Clubs

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I wrote some stuff about the The Ocean Party’s single ‘In A Knot’ earlier this year. I’ll summarise, I thought it was good. Their newly released record called ‘Social Clubs’ includes that single and many more treats. It’s up on bandcamp and will be available as a limited edition 12″ Lp through Birds Love Fighting from early November so pre-order that shit. Now that the links are outta the way, let’s get down to the nitty gritty.

The Ocean Party are a solid bunch of music making people with many other projects going on. I’m not actually sure who is playing in their band at the mo but I really dig their sound. The band has a coherent signature sound but it isn’t just slacker pop. There are more varied and complex things going on here. ‘Social Clubs’ delivers a diverse mix of tunes and yet it retains a unified tone throughout. Like gentle waves on a sunny beach or a veteran porn-star in a gang bang, there is an inherent rhythm in the Ocean Party sound that is filled with warm melody that lulls you into their hazy world of confusion. Make no mistake, this is a sound that is uniquely Australian. It takes the best of our singer-songwriter traditions and infuses post pop, city-dazed, country tales that are genuine and drenched in reverie for something more.

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The Ocean Party – ‘Sit On The Hill’

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Go see them play:

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LISTEN: Bleeding Knees Club – ‘Let It Go’

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I’ll spare you any nonsense and just list the relevant key words:

Bleeding Knees Club, ‘Let It Go’, ‘Nothing To Do’, Step-Panther, Alex Wall, Dev Hynes aka Blood Orange, triple j Mag, NME, South By Southwest, GrimesLike A Version, Splendour In The Grass, Call The Cops, DZ Deathrays and Yacht Club DJ’s. “It’ll be pretty good” whothehell.net.

Tour Dates:

Sat 3 Nov       The Zoo, Brisbane, QLD

Sun 4 Nov      Alhambra Lounge, Brisbane, QLD (Under 18)

Fri 9 Nov        Metropolis, Fremantle, WA

Sat 10 Nov     Amplifier, Perth, WA

Thu 15 Nov    Karova Lounge, Ballarat, VIC

Fri 16 Nov      Fowlers Live, Adelaide, SA

Sat 17 Nov     Corner Hotel, Melbourne, VIC

Sun 18 Nov    Ding Dong Lounge, Melbourne, VIC (Under 18)

Thu 22 Nov    Entrance Leagues, Central Coast, NSW

Fri 23 Nov      The Standard, Sydney, NSW

Sat 24 Nov     Transit Bar, Canberra, ACT

Sun 25 Nov    The Lair @ The Metro, Sydney, NSW

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Melbourne Music Week

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Brilliant. Yeah. That’ll be the word used all over the interwebs when describing Melbourne Music Week. The program is out friends and let me just say it – Melbourne is the music capital of Australia. MMW is as diverse as it is crowd pleasing. Heaps of music stuff linked up with the most creative artists, film makers and industry specialists. Performances, exhibitions, workshops and special talks, walks and even a breakfast program. Too cool Melbourne. Let’s talk specifics:

WHERE?HOUSE

A hidden warehouse forming the heart of the festival. Well not so much hidden… you can’t hide a warehouse can you? But the location is secret. All will be revealed on Friday 16 November. Internationals will mix with locals with themed nights of very interesting music. Straight Arrows, Bitch Prefect, Oliver Tank, Lost Animal, Courtney Barnett, Terrible Truths and No Zu have all got slots. Brilliant.

LABELS SERIES

Chapter Music are celebrating their 20th Birthday with an indie music spectacle sure to make even the most hardened mess + noise critic weep with joy. Crayon Fields, Twerps, Pikelet, Laura Jean, Primitive Calculators, Bum Creek, Standish/Carlyon, Jonny Telafone, New Estate and more. Not that you’ll need it. Tickets are still available here – loco. Cutters Records and Two Bright Lakes are doing a sweet night and so is Siberia Records. All worth a look.

LIVE MUSIC SAFARI

Ok, here is where Melbourne just shows off. It’s like when European cities open the doors to old museums and stuff for one night except this features more than 40 Melbourne musicians/dj’s most of who have been plugged on here before so you can be sure it’ll be a massive night of awesome. They are playing at ten of Melbourne’s most famed least shit venues all in one day/night and it’s free. Boom.

Of course there are heaps of other things happening as I mentioned in that pumping lead paragraph so check the festival guide. One last thing though –

SIGNAL PRESENTS //THIS THING//

Yeah I’ve got a sweet spot for ‘This Thing’ cause they are… Brilliant! They are doing a free event (did I mention how much of this festival is free – it’s crazy y’all) at Signal, Northbank Flinders Walk which is one of those places that you go by and think, damn it’s sweet to live in Melbourne. It’ll be ‘all ages’ and will definitely blow the minds of every unsuspecting tourist passing by. Be there.

We’ll update you with more details of good stuff closer to the date on our Facebook but keep an eye on the festival site:

Melbourne Music Week

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LISTEN: Teeth & Tongue – ‘The Party Is You’

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Beautifully haunting, emotionally uplifting, a real talent from down under. Melbourne based musician Jess Cornelius aka Teeth & Tongue has delivered another truley impressive piece of well-considered contemporary rock.

I hope that quote ends up on the next Teeth & Tongue press release. Not to build the ‘who the hell’ brand (pftt… as if we need it) but because it’s true. Also it’s totes eloquent writing yeah, for real.

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Teeth & Tongue ‘The Party Is You’

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