Here’s a sweet new jam from Sydney’s Bearhug. Been sitting on for a while due to business/laziness so you might’ve heard it elsewhere already. If not, here it is: ‘Grapefruit.’ I posted a sick demo by Bearhug last year in which I implored them not to tidy up their sound too much. ‘Grapefruit’ kinda disregarded my plea – this shit sounds like it was actually recorded in a studio high end – but it still keeps things a bit loose, switching up tempos and whatnot. That tropical riff that drops in and out is total winner.
Looking forward to their full-length debut EP To Anything pretty hardcore right now, which will released through Spunk later this year June 25 (cheers to Polaroids of Androids for doing my research on that one). If you don’t know much of their stuff, their demo EP is available for free from their Myspace. You should get it.
Sometimes I wish bands gave me all the information I needed when they sent me a song. That way, I wouldn’t have to Google them and stumble across posts on Coldplay message boards about how they met the singer in the line at the Coldplay concert and thinks they’re good. That kinda shit is pretty damning on a band. I’m willing to chalk up one’s presence at a Coldplay concert as “I was a fan of their first album,” but having fans of Coldplay go pushing your band on forums is kind of like being a fashion designer and having a middle aged mother you met at KMart telling people about your new collection at Playgroup.
Point is, send me the information I need for a post lest the above happen again. Even when I found the band’s Myspace, it was only to discover that a) yes, they were Australian, and b) the above song was the only decent one. I came pretty close to deleting this post, but I am putting it up to thinly veil my elitism to those who think being musical elitist is a bad thing.
Oh, and the above song is a pretty decent pop tune that I can see making waves on radio. Did I not give you enough information about the band? Just hit Google and see what you find…
Perth band Pond, was formed like a dream and that ‘fantasy’ feeling, beamed throughout the show that played to a packed Workers Club in Fitzroy on Sunday night.
Nick ‘Paisley Adams’ Allbrook on Vocals and glitter mayhem – he joked that he’ll probably have to clean up the place himself. Joseph Orion on bass and Jay Watson, the drummer of Tame Impala, make up the core members. Jay played a bunch of instruments, swapping around with Jamie Terry who plays guitar and keys in The Silents. Kevin Parker, Tame Impala’s lead guitar and vocals, played the driving drums that seemed to tie the whole room together, not unlike Lebowski’s rug. These guys are all very bloody talented and made the show one of the most fun gigs I have seen at this venue.
Remember back in 2004 when acoustic singer-songwriters were seriously in vogue? The commercial success of Missy Higgins, John Butler, and Pete Murray turned the time-honoured practice of honing your craft and touring your arse off into an honourable pursuit. Eventually the zeitgeist moved on in the direction of Natalie Bassingthwaite and the singer-songwriters went back to the slog, unrecognised and slightly appreciated.
Busby Marou know all about the slog. Forming in my beloved hometown of Rockhampton, they’ve spent years playing pubs, clubs and theatres, recording at Pete Murray’s home studio along the way. Thomas Busby’s voice is similar to Murray’s, but the addition of a co-writer in Jeremy Marou saves the music from becoming dirge central.
Busby Marou launch their single at The Globe Theatre in Brisbane on Saturday night, with Cairns band The Medics also on the lineup.
I posted the video for this track a while back. I’d not heard of Ghostdrums until then, but the unassuming, ‘analogue-synths-meets-glitch-meets-lofi-meets-lullabies’ sound of Perth drummer-cum-electronica kid Pete Guazzelli caught my attention on first listen . It’s weird because there’s nothing really about this track that makes you stop and pay attention – it’s almost deliberately dry and understated. And yet it works, and the genius of his tracks’ simplicity unravels with each successive listen. It’s also weird that, despite alove of analogue equipment, Guazzelli has eschewed a vinyl release for a limited edition USB. It should be noted that the USB comes in an old cassette tape case, and it’s this combination of the new and the old – the digital and the analogue – that makes this music alluring, especially since it extends even to its packaging.
This is DLC’s first music video as a major-label band and the increase in budget is pretty apparent, not that their old videos didn’t have their charms.
It’s a tonne of animation in the same artistic style as their album art. Watch out for the awkward nudity.
Last year, after more than a decade of riffs and tours, singer/guitarist Cam Baines and drummer Shane Wakker called time on their seminal punk band Bodyjar. Their new vehicle is former side-project Cola Wars, and if you’d told me this was new Bodyjar I wouldn’t have blinked an eyelid. It’s in the Hot Water Music/New Found Glory/Polar Bear Club vein of melodic punk, which basically guarantees fun shows and crowd singalongs. If you liked Bodyjar, you’ll like this. In fact, if you squint your eyes you could almost pretend it is Bodyjar.
If you sign up to the band’s mailing list on their website, you land yourself a free mp3 0f the above track.
‘Fields’ is the new single from Chicago-based Australian Via Tania (aka Tania-May Bowers). Originally a bonus track on the US edition of her 2007 album Moon Sweet Moon (released Stateside only last year), I guess Bowerss realised that it was too good to resign to obscurity in her backcatalogue and decided to put it out as a digital stand-alone back home.
With a simple, repetitive structure and minimal instrumentation, the song relies and thrives on Bowers’ breathy, double-tracked vocals and buoyant melody. One of those songs that’s better to just kind of float along with, picturing the titular fields she is singing about.
Here is a little sneak peak of Melbourne outfit The Frowning Clouds’ music video for ‘Purple Heart’.
The video was shot at the historic Montsalvat Castle in Eltham, Victoria. Quite a fitting location for this troupe of beatniks, as Montsalvat was also where the Rolling Stones conducted interviews on their Australian tour in 1973. The ornate backdrop of this castle/artists’ colony seems to provide an appropriate stylistic vibe for the jangle tripping R&B sounds of the track. It will be interesting to see the final product.