Founds, Tin Sparrow & Tigertown @ FBi Social

Last night I went down to the Kings Cross Hotel for FBi social and caught Tigertown, Tin Sparrow and Founds – or more should I say, they caught me. Fanboy Alex is on the prowl, again…

Openers Tigertown were totally harmless, rolling out some of the smoothest indie-folk around. The seven piece bask in a couple of  indie cliches – mandolin, extraneous floor toms, pan-pipey keys – but executed them with class & aplomb.  At points I felt like I was floating in and out of an indie dream, nursed by these sweet, rolling tunes. Therein lies the fault of Tigertown – instead of occasionally challenging the audience, they stay firmly within a (albiet, very comfortable) formula. The set seemed to melt into itself at points and lacked discernable climax as a whole. While each song was a catchy piece of indie-folk sweetness, there was no release, and very little development of emotional tone.

Maybe I’m just afraid of things that are pretty, but I don’t want this to happen again. Watch the space, either way.

Tin Sparrow were up next. They’re one of Sydney’s best folk-acts and are really in their prime right now, playing an exceptionally tight, dynamically gorgeous set. Spinning in off the back of their latest EP (and tour), they delivered a whirlwind set. Their performance is laced with emotion and energy, pushing out a sound much bigger than the shape of the band. They also prove that, contrary to popuar belief, drummers can write AND sing songs, following Mark Piccles (the drummer) belting out an amazingly powerful track. Great band, great set.

Now to Founds. They were recently announced triple j unearthed winners of the Bigsound opening spot – and their set proved they deserve it. They’re unique in the Australian music scene, combining indie-folk with soaring Scando-ambiance and subtle post-rock, merging many styles into something unbelievably solid. In some ways, they remind me of Melbournians Alpine – but with balls, and a better drummer. That said, they resist classification so strongly that I’m loathe to compare them to anyone.

Combine all that mystery with a fantastic live show and you’ve got something special. Their opener was a brief and chaotic instrumental piece, really setting the “epic” tone that permeates their set. Their latest single, Holograms, is an absolute killer live – it’s not pop or folk or rock – it’s just a sparkling piece of music, absorbable no matter how you cut your cloth. There wasn’t a single track they played I didn’t love.

Founds are amazing for what they’ve done in such a short time. After twelve months together they’re producing and performing music that is unmatched – and perhaps unmatchable – in Australian music. I’d love to see what happens as they grow as a band and as performers. This is a space that I’m watching, so you should as well.

More photos after the break.

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Charlie Mayfair – ‘Tell Her’ (video)

Charlie Mayfair are the indie-kids you bitch about in your corner of the local hipster tavern, cradling your broken egos over cider and tacos. They’re a reminder that you’ll never be quite as cool or as successful – or as beautiful and surprisingly charming. Unfortunately, they’re also genuinely gorgeous & fantastic musicians who are producing great tracks without fail.

This is the video clip for Tell Her, a song I covered earlier in the year. Director Jefferton James and cinematographer Byron Quandary have delivered a visual feast that compliments the emotional turmoil expressed in the song itself. While it dives into one or two cinematic cliches (e.g. the Sixth Sense dead but don’t know it standard) it’s precisely executed and lovely despite its (tiny) flaws.

I particularly love the moment in the picture below. Words cannot express the hipster poignancy that laces this moment. Plus that not-quite-shaggy-definitely-well-maintained facial hair is delightful to see in real life.

Check Tell Her out, and Charlie Mayfair as they tour near you in the nearest of futures.

P.S. I’m a fanboy, so what? You probably like The Living End and still live with your parents.

Founds, Tank, Elizabeth Rose & Rockets @ The OAF

No Dice Paradise rolled into The OAF again last night. The monthly night has been pushing some absolutely fantastic music recently. It’s monthly, worth checking out. Last night brought Founds, Tank, Elizabeth Rose & Rockets together on a brilliant mixed-bill. All the artists are super independent & super fantastic, so you should check them out.

More after the break.

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Charlie Mayfair – ‘Tell Her’

Tell Her by Charlie Mayfair

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Queensland seems to be suffering from a relentless flood of fantastic music. Riding high on the wave are Charlie Mayfair, a folk-rock six piece based in Brisbane. They’re notorious for incredible live shows, filled with rolling drums, soaring multi-part harmonies and undeniable indie charm.

I heard Tell Her for the first time in a dingy alley in Brisbane after a gig. Someone threw me a rough mix and I’ve had it on loop ever since. It’s a track for dark days and harsh nights, filled with those pounding drums and heart breaking vocals. It’s a drug you can’t deny, filled with raw emotion and soul. It’s currently unreleased, but you’ll be able to get it right here in about a fortnight – and it’s so very worth the wait.

Charlie Mayfair are hopping around the country over the next few months, supporting Skipping Girl Vinegar & Emma Louise. They’re also joining Tin Sparrow for their EP launch tour – and all of that in the next month. Make the time to catch them live.

Charlie Mayfair on FB

Little Vegas and The Fuzz Parade

Little Vegas and The Fuzz Parade – ‘Only Say It Once’

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I guess it’s not inconceivable that some people might dismiss Brisbane’s Little Vegas and The Fuzz Parade as part of the cesspool of noughties retro rockers. Based on their name alone, I certainly used to.

Hokey name aside, their music is set apart from the fecal matter floating around in said cesspool by the vocal delivery of front woman Sabrina Lawrie. Equal parts Suzi Quatro, PJ Harvey and Janis Joplin, Lawrie’s slightly husky alto will keep you interested if the riffage behind her doesn’t.
This is no-bullshit garage rock that is sexy, a little scary and fun.

www.myspace.com/littlevegasandthefuzzparade

The Woods Themselves

The Woods Themselves – ‘Groove Wind’ (mp3)

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Sydney’s The Woods Themselves released their sophomore album, (C’Mon) Do The Beach Thing, earlier this year. Nestled toward the end of the tracklist is Groove Wind, a song that’s sparse in accompaniment but dense in atmosphere. It’s three minutes of dark pop bliss that washes over you in what feels like an instant due to its meditative feel.

An organic, percussive beat drives the song forward over lilting piano chords and splashes of minimalist guitar before shifting into an outro that chants the mantra, “this is not a scene/ we don’t exist.” It’s the kind of song that grabs you in a slow, subtle way – so that you don’t even realise until you’re pressing repeat for the fourth consecutive time.

A standout on what is a very solid release. For proof of their versatility, check out the rest of the album to hear a proficiency in warm, sunshine pop as well.

www.myspace.com/thewoodsthemselves

Little Scout

Little Scout - Dead Loss

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Brisbane is a small town and if I had a dollar for every time someone told me “oh, you should check out my brother’s/boyfriend’s/workmate’s/housemate’s/neighbour’s band”, I might be close to paying off my HECS debt. So when a friend told me to check out their friend’s ex-house mate’s band Little Scout, I wasn’t expecting anything special.

However, Little Scout are something special. Mixing indie pop with folk and tinny Casio drum beats, their songs are sweet and devastatingly beautiful without being self-conscious or twee.

Debut single ”Dead Loss” has recieved Triple J airplay and the band has support slots lined up with Yves Klein Blue, The Holidays and Cloud Control over the next couple of months.

www.myspace.com/littlescoutmusic

The Hungry Kids of Hungary

The Hungry Kids of Hungary – ‘Set It Right’ (mp3)

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Little more than a year old, Brisbane’s Hungry Kids of Hungary are winning hearts with their unique blend of soul, blues and sweet vocal harmony.

If The Shins had formed in London circa 1968, this is what they would have sounded like.

The Kids’ self-titled debut EP bounces from the sparkling pop of ‘Arrest This Heart’ to the loping swagger of ‘One By One’.  The highlight though is ‘Set It Right’ which leaps from from its bed of handclaps and electric strums transforming into a foot-stomping sing-a-long replete with falsetto chorus and shimmering keys.

www.myspace.com/hungrykidsofhungary

The Maple Trail

The Maple Trail – ‘New York’

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I’m pretty excited to blog about The Maple Trail, the solo guise for Aidan Roberts, the Blue Mountains songsmith who’s more known for his work up the front of psych-indie troupe Belles Will Ring. Roberts has just released his debut record entitled Dirty Echo Spark, a beautifully well-worn piece of music that evokes images of 1960s Americana and pastoral folk in the vein of The Byrds and Crosby, Stills, Nash and Young while simultaneously tipping its hat to recent players Grizzly Bear and Broken Social Scene.

‘New York’ is engaging without being overly complicated. It’s a simple, cyclical tune built around the mantra “here comes the winter pretty baby, let’s go to New York.” Which is kinda where I’d like to be, too. Dirty Echo Spark is replete with myriad instruments which create a luscious garden of textured, melodic music that you could easily wander through all day. A real gem of an album.

http://whothehell.net/m5

Charge Group

Charge Group – ‘Lullaby for the Apocalypse’

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Only on a rare occasion does an album affect you so profoundly you’re spouting its credentials to all and sundry, including that crazy lady on the street who claims she’s a Nazi and should have “punched her fucking teeth out.”

Whoops, I digress.

What I’m trying to say is relatively simple: Charge Group’s debut record, Escaping Mankind, is brilliant. No two ways about it. From the ashes of the much-loved Newcastle outfit Purplene, Matt Blackman and co. have taken their time, slowly fashioning an album of 10 gorgeous tracks that hark back to the guitar rock of ’90s indie music, evoking images of Swervedriver, June of 44, Sonic Youth in their mellower moments and Fugazi. The inclusion of Jason Tampake on violin – who plays in the wonderful Firekites – lends the music a distinct colonial feel, which fits somewhere between The Drones’ instinctively Australian poetic incantations and The Dirty Three’s brooding indie-noir.

It’s refreshing to hear such an anachronistic sound, reminiscent of days when Something for Kate was releasing albums like Beautiful Sharks and How Machines Work was one of the most exciting bands on the Australian musical landscape.

Even though CERN’s Large Hadron Collider particle accelerator didn’t eviscerate the world yesterday, ‘Lullaby for the Apocalypse’ still feels like a fitting choice.

If you’re in a reading mood, one of my favourite local music writers, Emmy Hennings, wrote a fantastic piece on Charge Group for Mess + Noise entitled ‘A Process In The Weather of the Heart’. (Where the hell did she get that title from??) Read it here.

http://whothehell.net/sz