Tagged By melbourne

LISTEN: Smile – ‘Sunni Hart’ / ‘Born Again’

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Melbourne band Smile formed in 2012, when two members dropped out of the unwieldy seven-piece Red Berry Plum, leaving the rest to go it alone. The present line up is led by singer/guitarist Pete Baxter and features Josh Delaney of Rat & Co. and Chet Faker and Max Turner, who also plays in Mouth Tooth.

Smile’s debut album, Life Choices, came out just over a week ago. It’s full of warm, reflective pop songs that fall somewhere between slowcore and slacker rock. Their sound reminds me of Spain‘s mellow hooks – and there’s an appropriate nod to the Velvets in opening track ‘Still Waiting For My Man’.  There are some nice Melbourne references on the album, with songs called ‘Pascoe Vale’ and ‘Amess St’, but for some reason it always makes me think of summers in Sydney’s eastern suburbs and the afterglow in your skin when you’ve spent the day in a hot dusty car between beaches.

Smile recently put out a video for ‘Born Again’ – a title which, along with B-side ‘Jesus Song’, hints at some childhood experiences with religion that Baxter’s alluded to in interviews. The single has been neatly prologued with naive love song ‘Sunni Hart’, a short-and-sweet, Lemonheads-style number about a girlfriend with a wonderful name who’s almost too good to be true.

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Smile are launching Life Choices on 19 October at new Melbourne venue Boney. For now, you can get the album here and here.

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PREMIERE: Woody Pitney – ‘You Can Stay’

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Woody Pitney is a 22 year old singer from Melbourne. His debut EP garnered traction after hitting top spot on the JJJ Unearthed charts and he’s previously notched up some great support slots for Vance Joy and Big Scary. Did I mention he has a great beard? (Apparently a necessary commodity for being a successful artist nowadays…see herehere.)

The video for Pitney’s new track ‘You Can Stay’ plays out like a Smith Journal reader’s wet dream. Pitney is seen doing ‘manly’ stuff, like harpooning trout, lying in dirt and splashing his chiseled beard/good looking face with mineral water from some free-flowing stream. There’s also a great shot of Woody and his band playing instruments made out of driftwood and looking really stoked, despite the obvious splinters. Whattaguy.

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‘You Can Stay’ is taken from Pitney’s forthcoming EP Afterdust, which will be released on the 30th of September.

 

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LISTEN: Manor – ‘Architecture’

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Aside from cheap vinyl and tinnitus, coupled-up duos are probably one of my favourite things about music. While that’s possibly just the Thurston/Kim truism I’ve been harbouring for forever – or the general assumption that tormented bed friends make better musicians (true?), I’ve always found that these kind of musical partnerships give a depth and a truthful backlog to artist’s songwriting, something that a group of boys, or girls clamouring on about their hormones could never provide.

Manor are Nathaniel Morse and Caitlin Duff. Both Morse and Duff previously played in now sadfly defunct Adelaide band Fire! Santa Rosa, Fire!, before relocating to Melbourne. I really doubt these two are even a couple, but in respectable dream-pop tradition ie. Tennis, Chairlift, Wye Oak, Big Deal – they are for the sake of this write up.

The duo’s previous single ‘Afghan Hound’ may have been equitably more math-rock on the outset, but the band’s new single ‘Architecture’ is timeless pop right from the first off-beat. To the main point, the fledging groove here sounds waaay too much like Chairlift’s Caroline Polachek doing a cover of Men At Work’s ‘Land Down Under’ for anyone to ignore.

Manor are releasing their debut EP at the end of 2013. GET THIS IN YOUR EARS.

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INTRODUCING: Soda Eaves

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Soda Eaves is Melbourne-based, Hot Palms guitarist Jake Core. ‘Doll’ is the first single from his debut album Like Drapes Either Sides, which will be released on vinyl early August. This is one of those tracks we’d like to call warm and fuzzy but it has an eerie darkness that I find very attractive. Like how girls like bad boys, I like moody, bleak Australian accented vocals. Swoon.

Update: You can nab the full length record on bandcamp or purchase the sweet vinyl edition here or at these shows:

16 Aug – * Red Wheelbarrow Books, Melbourne 7pm
w/ Popolice, Rory Cooke & Garth Madsen

21 Aug – The Front Gallery, Canberra 7pm

24 Aug – Hibernian House, Sydney 6pm
w/ Shiver Like Timber, Joseph Liddy & more

25 Aug – Yours + Owls, Wollongong 7pm
w/ Catman

30 Aug – Terrace Bar, Newcastle 8pm
w/ Joseph Liddy & Charles Buddy Dabouul

31 Aug – * Roots Records, Bellingen 1pm
(instore)

7 Sep – * The Waiting Room, Brisbane 7pm
w/ McKisko, R.L. Jones & Hugh Middleton

13 Sep – * The Cot, Townsville 7pm
w/ guests

14 Sep, Cairns* (to be announced)

*The Finks not appearing

 

 

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PREMIERE: The Ocean Party

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We love these guys. Most bands don’t usually don’t make more than twice an appearance on this blog (so many new bands, so little time), but these guys have somehow found a way around that. Dave has a blatant man crush on everyone in this band – while The Ocean Party’s member spawn-out into other local acts like Velcro, Kins, I’lls, The Removalists, Pencil, Ciggie Witch and Mining Boom makes shirking away from Band Bias almost impossible.

Amidst this band’s thread of solo projects, side projects and gratuitous sharing of talents across acts that have, and still continue to make important contributions to local music, The Ocean Party is the constant fixture in the chaos. And in a way, their Brunswick sharehouse (which featured in our photo essay of the guys earlier this year) seems to have become a central meeting point, literally and lyrically.

The band’s new track ‘Split’ which we’re premiering today sums up the band. The song’s subject is about moving away, but it’s a bit of a homecoming really.

Much like the song title, the band has had it’s share of vagabond members traipsing off to the UK and New York before returning back to the band or leaving to work on other projects. The Ocean Party originally met in high school in Wagga Wagga, but didn’t become a band until years later when they all found themselves living in Melbourne. After drummer Ben Protasiewicz departed for Perth, Simon Lam joined when their debut record The Sun Rolled off the Hills was recorded. 

After the album tour, Simon left Australia for England with his other band Kins, while the band started penning their follow up, Social Clubs. Simon made a prodigal return, coming home to record the second album, before departing again to focus on his other project, I’lls. A few months later, Curtis Wakeling (Velcro) left for New York for six months, so Joe Foley (Aleks and the Ramps) joined on bass and Lachlan Denton’s younger brother Zac moved from Wagga as a drummer. Curtis eventually returned from NY, and after getting the songs together for the new album the band packed up the van and headed to Tarcutta in NSW to record new material.

‘Split’ was recorded on Lachlan and Zac’s grandparents farm. During recording, the band moved away from the traditional idea of Lachlan Denton being the lead singer. Instead, the band took a literal approach to the song title, with every member of the band writing and singing their own songs. Zac penned ‘Split’ after moving from Wagga to Melbourne. “At the time I was just 18 and living with the rest of the band who had time to spare and less responsibility” Zac says, dividing time time for music and working as a plasterer for “shit wages and a hard-arse boss”.

Suburban nuances, the whole slave-to-the-man mantra is the obvious common thread through all our local bands denoting that token pop jangle. The point is to make the end result appear a lot effortless than the track’s intention/subject matter – and these guys do it well. ‘Split’ is a gorgeous, leisurely jam that could easily fool Shazam for a Real Estate b-side, but it’s not a sound we’ll tire of soon. The band have honed a much cleaner sound here, but those rolling guitar hooks and wistful lyrics are still hanging out right where they left off. The Ocean Party’s modesty and unassuming nature is what makes them so damn likeable. Knowing the nature of this band, the guys will probably see through a few more lineup changes. As long as they stick around chugging along making tunes about chugging along, we’re content.

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INTRODUCING: Banoffee

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If you’re wondering how a generation brought up on American cultural imperialism translates musically, then look no further than Melbourne’s Banoffee (Martha Brown). This chanteuse seems to have come out of nowhere, until you unpick her linage as part of Otouto, and sister of Two Bright Lakes head-honcho, Hazel Brown.

It’s fair to say that Banoffee has been long-awaited.

I first came to discover Martha through Otouto, a band which I think is peerless. Brown’s vocals are distinctly Australian (but not), whimsical (but not forced), and most importantly, in a class of its own (and underrated). It’s rare to find an Australian vocalist who manages to stamp a definitive identity through the mic, and Brown has this in spades. Here sits a voice that belies classification – vaguely reminiscent of the subtlety of Pikelet’s Evelyn Morris, but not quite.

On ‘Ninja’, you’ve got this mixed in with Brown’s reclamation of a certain late-90s, early-00s R’n’B aesthetic. This track’s antecedent is clearly Destiny’s Child’s ‘Cater 2 U’, and that’s really refreshing. Looking at Two Bright Lakes’ roster, Collarbones and Oscar Key Sung have done enough to instill R’n’B throughout the Melbourne-based collective. And this is where I feel acts like Banoffee mark a paradigm shift in Australian music. Considering the dominance of American urban music at the close of the last millennium, it’s high time for musicians brought up on this to translate this to contemporary audiences. In an Australian context, our failure to produce credible urban music has always been a chip on our shoulder, but with Q-Tip collaborating with Hiatus Kaiyote, times seem to be a changing. With Brown touting UK Bass and Detroit Synths as influences, here comes an artist that will most definitely shake up connotations of Australian ‘alt-pop’.

In sum, you need Banoffee in your life.

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LISTEN: Bushwalking – ‘No Enter’

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It’s such a treat to share Australian music every week. And some weeks it really does floor me how much great music comes across my desk. Today I’ll kick off with the excellent release from Bushwalking’s forthcoming LP No Enter. This is the titled track from the group formed by Ela Stiles from Songs with Nisa Venerosa from Fabulous Diamonds and Karl Sculllin from Kes Band. The opening bass line sounds like something My Disco might create if they had vaginas. I don’t mean to be controversial. This sound is pleasantly devoid of the male pounding that typically drives “droning jams over tightly regimented songs”, mess and noise.

It takes a hellova lot of restrain to create this mood. Far more beautiful and enchanting than a Celine Dion record, Bushwalking is music that your church group can get behind. Instantly recognisable for its thick bass, spiralling guitar and stirring vocals. No Enter follows on from First Time released last year and will be out through Chapter music on September 6, as the Americans say.

We’ll preview more from the LP in the coming months.

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