Khancoban – ‘Until It Takes You Over’ (mp3)

Sure there are big drums and meandering atmospherics that do tab out a few pages of ‘Neon Bible’, but Khancoban have managed to verge on ‘epic’ without coming out too overtly pomp. There’s plenty of room for repetitiveness, but Hooke’s delivery and a build up of nice progressions pull this tune through three min. For what it lacks in lyrical diversity, it makes up for as a good opening track. New album ‘Arches Over the Sun’ only drops in July. Until then, this one will be a good excuse to wake up early and mull over my cereal to.

www.khancoban.bandcamp.com

Read Post →

Betty Airs – ‘She’s the Juan’

If you count yourself among the masses who’ve been cruisin’ the current penchant for ‘doo-wave’, releases featuring palm trees and/or household pets on the cover + all round happy vibes (hands up) then you may dig this one from Betty Airs.

Ex Vines/Youth Group member Patrick Matthews recently joined these guys on bass.

If you’re in Syd, get down to Goodgod tomorrow night, deets below.

Thurs 24th March, CREEPIN’ IT REAL EP LAUNCH Goodgod Small Club w/Guerre, Unity Floors

Sat 2nd April, Glebe Clubhouse Fundraiser w/Made In Japan

www.bettyairs.bandcamp.com

Read Post →

You said in an interview last year that although you ‘adored’ the first album, you still felt ‘apologetic’ about it in some ways. How does Great Barrier Grief differ from Privileged Woes?

The difference was I was conscious that I was recording an album. And that Oh Mercy had a platform do to a bit of luck and some hard work around Privileged Woes. I knew people were going to hear the album and take it seriously. That was a great relief.

Why the title?

I liked how it read in capital letters. I like saying it. I like it’s bittersweet connotations. I’m interested in the concept of ‘grief’.

Do you think your writing style has changed much with Thom’s departure?

My writing remains the same. Thom’s writing remains the same. We didn’t actually write songs together in Oh Mercy, although we complimented each other musically and I think you can hear that on the Oh Mercy albums.

What characterizes that token ‘Australian’ sound?

Subtracting ‘token’; the Australian sound is abstract to me. In the 80’s there was an ‘Australian sound’, it had a lot to do with delay, chorus and organ pads. Today, I don’t know. But I understand that there is a certain angle to the lyric writing for some Australian bands. It’s dignified and doesn’t need to show all its cards at once.

Favourite song on the album to play?

Blue Lagoon. The guitar break out of the bridge is a musical highlight on the album for me.

What tunes are playing on tour?

The best of the Bee Gees and Leonard Cohen’s Death Of A Ladies Man.

Last record you bought?

The best of the Bee Gees.

How did you go about pitching the album cover idea to Ken?

I asked nicely. Shared with him my views on art, literature and lifestyle. I feel incredibly lucky that he agreed to work with us…

What’s ahead for Oh Mercy?

A national tour starting mid March. After that I hope to find the time to do some writing.

Ken Done, tea-towels as band merch, what piece of Australiana are you going to nab next?

…Souvenir spoons.

‘Great Barrier Grief’ (EMI) is out now.
www.ohmercy.com.au

Read Post →

While it’s understandable things in Townsville do run at a somewhat ‘relaxed’ pace, for the most of us (bloggers/fans/bedtime playlists in need of an update) it’s welcome news that The Middle East have finally announced a release date for their debut record – ‘I Want That You Are Always Happy’.

Recording between tours at the band’s’ Townsville studio in late 2009, the band then shifted to Midlake’s Denton studio in March 2010 after their SXSW stint. Since arriving back home in July 2010, they’ve been putting final touches on the album in a makeshift Cairns-based studio.

While ‘Black Death 1349’ takes on more shadowy tones than previous singles, typical Middle East formalities remain – melancholic themes, brooding instrumentals, vox with xanax properties etc. It’s been a while coming, but if the album is anything to go by the snippets of what we’ve heard, it should be a decent contender.

The track is available as a free download from the Golden Plains website here for a limited time.

‘I Want That You Are Always Happy’ is out through Spunk on April 8

www.themiddleeastmusic.com

Read Post →

Here’s the new clip for ‘History’s Door’ by Melbourne outfit Husky.

Upcoming record ‘Forever So’ was recorded in lead singer Husky Gawenda’s backyard bungalow and then mixed in LA with Noah Georgeson (Joanna Newsom, Devendra Banhart, Strokes).

The album is set to drop April 5th. I think there’s a unanimous feeling that these guys are going to have a very, very good year.

Husky will be launching the single tomorrow (Sat 26th) with The Hello Morning and Tash Parker at the Evelyn Hotel.

www.huskysongs.com

Read Post →

Architecture In Helsinki – ‘Contact High’ (mp3)

Everybody’s favourite cape flailing assemblage are back. Architecture In Helsinki’s brand of hyperactive muppet jams always work up the general populace into a bouncing frenzy, but those hooks always make me kinda edgy (maybe I’m just no fun). The party collective have pulled another from the music toybox – ‘Contact High’. The intro kicks off with a few Grafton Primary style tweaks and vibes a hustle away from Prince’s ‘Kiss’. It’s less twee than prior hits but doesn’t forgo typical AIH playfulness. The absence of those sporadic falsettos that AIH stamped all over 2007’s Places Like This, makes this one a bit more digestible. Architecture are far from shedding the fun factor, but this is a pace down from stuff like ‘Do The Whirlwind’, ‘Debbie’, ‘Heart It Races‘ and the menagerie of other hits under the belts of their block coloured get-ups. While the tropicana spree seems to have been traded in for some disco-pop tendencies for now, this is still unforgivably catchy.

Moment Bends drops on April 8th through Modular.

Read Post →