Tagged By pop

PREMIERE: Foreign/National – ‘Paris’

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Foreign/National seem like a bunch of dudes who enjoy irony. I’ve never been to Paris, but I hear they’re all assholes anyway.

‘Paris’ is the newest track from the Melbourne five-piece, taken from their debut EP set for release in 2014. Previous demos (‘Life Tourist’, ‘She Told Me A Story’) are scattered with jazzy hooks and cooool percussion plucked directly from the EASY-LISTENING section of the Qantas in-flight entertainment brochure. Not holding that against anyone, I could use a holiday. ‘Paris’ on all terms, is a leisurely gem of a pop tune – cascading twin-riffs, killer drumming and some cruisy mellotron harping down the chorus line. Sounds like Born Ruffians and Air floating on a raft down the Sienne. Is that even ironic? I don’t even know. Vincent Gallo eating a breadstick.

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INTRODUCING: B_U_O_Y

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B_U_O_Y

The term ‘electronic artist’ is a vague label these days; it does little to separate the diligent sound artist from the guy recycling song samples to a sea full of early twenty-somethings doing beanies and cheap tabs on the regular.

On the outset, Sydney’s B_U_O_Y seems to qualify for the broader term. I have my own naggings against electronic artists with grammatically challenged titles and symmetrical cover art, but B_U_O_Y’s first track ‘Close/Open’ is one I’ve welcomed with open ears – and at least half of the Soundcloud plays on this track.

B_U_O_Y is Charmian Kingston, who was previously a vocalist for Sydney four-piece Hello Vera. Kingston was to Hello Vera what a sole femme vocalist is to any all male, pop-jazz-hybrid band: necessary. She may have added reasonable levels of twee (including starring in the band’s own Scottish sitcom) but I think her work with B_U_O_Y makes it clear that some ladies do stuff better on their own.

On paper, ‘Close/Open’ sounds like a producer’s picnic – skittered percussion, vivid synth work, with big-expanse vocals somewhere in the mix. However, instead of being tethered to the production of the track – the crux of B_U_O_Y’s sound is owed to the instrument-like quality of her vocals. Since most young electronic producers are prefixed by the need to partion off vocals, then butcher the whole thing in Audacity to vaguely resemble a beat, hearing the clarity in this track is really neat.

Kingston’s vocal meandering obviously echoes her heroes; Bjork, Bjork, BJORK (and all the other female vocalists united by an x chromosome and the word ‘eccentric’). More apparent in my ears anyway, are the similarities between B_U_O_Y and Cameron Mesirow from Glasser. Both might both be drawn to worldly drumming and the heady glow of Eastern vocal influence, but they do share something across their scattered song ambition.

Like Mesirow, it’s Kingston’s disconnect that has most impact here. For what the song pilfers over lyrically, it makes up for with its space-of-sound intent (and killer vocals). You can imagine she’s the type to trail off mid-sentence in conversation, but the one to leave a fine impression at that. Whatever you make of this, it is a nice exercise in sound.

‘Close/Open’ is only B_U_O_Y’s first track. I like her ambition, can’t wait to hear more of this.

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INTRODUCING: Rolls Bayce – ‘Arrows’

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Rolls-Bayce

Rolls Bayce are a Brisbane three piece with some serious pop pedigree. The band is a new project for Hungry Kids of Hungary lead Dean McGrath, Neal Apel and James Wright, better known around these parts for drumming for Millions and Emerson Snowe and fostering all types of weird song requests doing DJ stints around Brisbane. While Wright is known for DJ skills, this song is definitely more for putting on at home after the club (alone, or not) than dancing.

The band do a good job of easing you into ‘Arrows’ with a smooth and slinky funk intro. McGrath has such a distinctive voice it’s hard not to immediately hear Hungry Kids of Hungary when his vocal kicks in. The drums and bassline here sounds as fresh and crisp as a brand new suit. The song has a real ‘groove’ to it, so any comparisons to Hungry’s more pop aligned catalogue are quickly shrugged off. It’s a very cool sound, and one we rarely hear done this well.

Get this in your ears.

 

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WATCH: Lime Cordial – ‘Sleeping At Your Door’

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New video from Lime Cordial for the single ‘Sleeping At Your Door’ lifted from their sweet EP Falling Up The Stairs released last week. Lime Cordial are spunky brothers Oli and Louis Leimback with help from James Jennings on awesome drums, Brendan Champion play’n Bone and Tim Fitz on Keys/Guitar. Their brand new EP Falling Up The Stairs is a real catchy, melodic, tingly, and cheeky collection of tracks. We could lob them into a North Sydney tropical sound (Holiday’s) or more rhythmic hippiness (Jinja Safari) but I reckon they’ve got a slicker, surfier vibe. It’s sunny pop with good vocals and neat song-writing. The EP has a lot going on and the production is impressive. The boys are on tour with UK friends Cosmo Jarvis, following a few local shows.

The video kinda does have a Wes Anderson feel (thanks youtube commentator) in the zooms and saturated colour but really it’s just a band playing on a barge. But it should get the girls/boys going and it’s a good track. Oh and I like the tinny cruising past.

Director & Editor: Oliver Leimbach
Director of Photography: Max Seager

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Sep 19 – Northcote Social Club, Melbourne.

Sep 27 – Oxford Art Factory, Sydney.

Sep 28 – North Manly Bowling Club, Manly

with Cosmo Jarvis:

Sunday 13 October – BEETLE BAR, BRISBANE

Tuesday 15 October – NORTHCOTE SOCIAL CLUB, MELBOURNE

Wednesday 16 October – WORKERS CLUB, MELBOURNE

Friday 18 October – KAROVA LOUNGE, BALLARAT

Saturday 19 October – BRIDGE HOTEL, CASTLEMAINE

Sunday 20 October – BARWON CLUB, GEELONG (MATINEE)

Thursday 24 October – ANNANDALE HOTEL, SYDNEY

Friday 25 October – MONAVALE HOTEL, THE ATTIC, MONAVALE

Sunday 27 October – YOURS AND OWLS, WOLLONGONG

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LISTEN: Elizabeth Rose – ‘The Good Life’

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‘The Good Life’ opens with dark sounds suited to A Clockwork Orange but quickly bounces back to dance-pop and Rose’s very high-level production. Writing of her aspiration to leave the family home and start searching the world for her own piece of the elusive ‘Good Life’, this track is as catchy as any dance party anthem but somewhat understated by Rose’s reserved indie vocals. Mastered in London with award winning engineer Matt Colton (James Blake, Coldplay… what??), ‘The Good Life’ follows her awesome debut EP in 2012, Crystallise.

Get along to one of her spectacular live shows at Bigsound or the OutsideIn Festival:

Wednesday 11 September – Bigsound, Brisbane

Thursday 12 September – Bigsound Showcase at Bakery Lane, Brisbane

Saturday 21 September – OutsideIn Festival, Sydney

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LISTEN: Baptism of Uzi – ‘Stray Current’

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‘Stray Current’, the first single off Baptism of Uzi’s upcoming 10″ EP, is quite a departure from the band’s previous output. These guys have krautrock and hair metal running in their veins – they’ve supported Can’s Damo Suzuki and Neu!’s Michael Rother, and their compositional style is reportedly modelled on early Black Sabbath. The band’s previous tracks have names like ‘Crushed’, ‘The Drought’ and ‘Dead by Dawn’; essentially proggy jams bound together by the towering riffs of guitarists Bojan Stojanov and Tom Battersby.

An earlier incarnation of ‘Stray Current’ saw a release on a 2011 EP; I’ve got the cassette on my shelf with its $9 price-tag. This is a different animal altogether. There’s a ‘Brit-Invasion’ feel and long, noodle-y bits that draw the whole thing out by an extra minute or so. The new version retains the track’s (excellent) central hook, but it’s been stripped back, slowed down and distilled into a far purer pop single. The rough-edged guitars and warped keys have been cleaned up and supplemented with handclaps, a concise riff, and spare, reverb-heavy chords.

‘Stray Current’ was mastered ‘by some dude who did Backstreet Boys and Britney Spears’, according to the band’s Facebook, which perhaps explains a thing or two. They recently described themselves to Triple J Unearthed as ‘a Daft Punk/Thin Lizzy hybrid of sorts’, which pretty much sums it up. The band haven’t strayed too far, though – there’s still a spaced-out jam in there for the psych fans, but for everyone else this is just a flippin’ great pop song.

 

Baptism of Uzi are launching their Stray Currents EP on these dates:

Friday 28 June, at Brighton Up Bar, Sydney with guests TBA

Saturday 6 July, at Northcote Social Club, Melbourne + Turtlenecjk and Atolls

 

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EXCLUSIVE: Greyjoy – ‘Greyjoy’ EP

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In case the obvious wasn’t apparent enough – yes, Greyjoy is a Game of Thrones reference. These Perth guys aren’t just a bunch of tv-gruffs though. Their sound is a lot more interesting than horsemeat consumption, the plague or the gratuitous bad sex offered by said reference, so you should probably listen up.

A project between Karlin Courtney and Matt Crocket, Greyjoy came around somewhere in between meeting through friends and purchasing a Juno 6 two years ago.

Greyjoy definitely have a ‘Sydney’ sound going on. The interwebs makes the state by state divide a little less divisive these days, but it’s not to say that bands still don’t hop onto scenes and sub-scenes in their own pockets of town. While some people are still set in tunnel vision that everyone from Perth is either pedal-heavy or still frothing over Xavier Rudd, “garden shed” producers making sunny-synth pop like these guys prove otherwise.

Greyjoy’s debut EP is one for late nights and early mornings. Marked by equal parts sunny-side-up pop gems (‘Strangers’, ‘Distance’) and others which live on the slow burning descend (‘Emerald’) this is a great effort for a first release. I find it difficult to digest synths with the same seriousness that I once did in 2007, but for every pastiche going in their description (including the Thrones reference), these guys make it work.

Greyjoy are releasing their self-titled EP on Wednesday, but for now you can stream an exclusive listen below.

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1. Strangers

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2. Idle Thoughts

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3. Distance

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4. Amygdala

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5. Emerald

Listen to

 

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