Tagged By Sydney

INTRODUCING: Driffs

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driffs

Driffs are four housemates from Sydney who make loping pop of the supine kind; the sort of thing critics like to call ‘the soundtrack to summer’ (see? couldn’t help myself). Their music does have a beach-ridden feel. I imagine that when they decided to form a band they were reclining with the sun in their eyes; someone tried to say the word ‘drifts’ but couldn’t quite be bothered.

New single ‘Back to Bellevue’ was recorded at their home in Annandale and mastered by Mikey Young. These guys clearly have a thing for Underwater Peoples (the US label that handles Real Estate, Julian Lynch and Australia’s own Free Time and the Twerps). Their bell-toned guitar is heavily refracted, like a glimpse of something discarded on a creek bed, and the vocals are gentle and hazy. ‘Back to Bellevue’ is a pleasing step up in tempo for Driffs; sharp, cheerful and concise.

 

Driffs have an official release slated for early 2014.

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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: Chunyin

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Rainbow Chan, the Sydney-based songstress who’s responsible for one of Australia’s more notable pop releases this year, has come out with a side project, Chunyin.

Chan’s Long Vacation EP (out through Silo Arts & Records) set indie scensters alight with her brand of delectable pop, but this latest project sees a break in that trajectory.

Often associated with Sui Zhen (hopefully not because of inadvertent racism), Chan’s melodies inhabit a space that could be considered whimsical—no doubt fostered by a love of vintage toys.

However, Chunyin’s a whole new ball game.

The first, and only track posted on Soundcloud, ‘Monochrome’, is reminiscent of Collarbones circa Iconography. It’s an abstract work that probably won’t be as blissful to the ears as say ‘Fool’s Gold’. The vocals that underpinned that release aren’t present here. Tagged as ‘Stonewashed’ on Soundcloud, ‘Monochrome’ distorts the the ‘vintage toy’ aesthetic into that of chopped up samples, loops, and general electronic goods.

What propelled Chan to break open this side-project is anyone’s guess, but it’s going to be interesting to see Chunyin develop as a counterpoint to the stylings of Rainbow Chan.

It’s hard not to read over this track with the multitude of sampled influences that could’ve been referenced in the making of ‘Monochrome’. From Four Tet’s ‘Rounds’ to Mount Kimbie’s back catalogue, the creation of Chunyin taps into a scene which places the musical ‘figurehead’ in the backseat. And, considering all the attention Chan’s received for Haircut, can Chunyin be seen as an antagonist to the pop idolarity fostered by the Long Vacation EP? 

Probably not, but I’d love to find out.

 

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WATCH: I Know Leopard – ‘She’

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she

“A few years ago, the members of I Know Leopard left behind their picturesque one-pub town in the Adelaide hills. Upon arriving in Sydney, they were confronted not only with the prospect of broader horizons but also with the unmistakable feeling of displacement. With this as a central trope, ‘She’ was born”. And so goes the presser.

My first watch of this video was with bleary eyes at 6 in the morning and for just one sec I thought I tripping. It’s been shot really… dreamy. Damn, I swore I wouldn’t use that word. But how can you help it. It’s so god damn dreamy. Shot by Hari Jago featuring a very nice tune that opens with a throwback to animal collective but moves into a thunderous mind melting breakdown with catchy drum rolls and layered vocals.

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Touring the new single ‘She’ on below dates:

Thurs, 7th Nov – MELBOURNE Prince Public Bar w/ special guests

Fri, 8th Nov – WERRIBBEE @ Mynt Lounge w/ special guests

Sat, 9th Nov – MELBOURNE @ The Workers Club w/ special guests

Fri, 15th Nov – SYDNEY @ OAF Gallery Bar w/ special guests

Sat, 16th Nov – BRISBANE @ Trainspotters, Grand Central Station w/ special guests

Fri, 22nd Nov – ADELAIDE @ Ed Castle w/ special guests

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INTRODUCING: Little May

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Little May

I love Australian folk music. I’m in Canada right now, and being away from home has made me appreciate the distinct sound of our local singer/songwriters on a whole new level. Right now, it’s Sydney outfit Little May who are helping with the queasy feeling of homesickness.

Little May’s debut single ‘Boardwalks’ is such a wonderful package of everything you love about folk music: soft, weathered vocals, a driving rhythmic section and lyrics that offer something a bit more. It’s difficult not to fall in love with the trio as they send you down a pensive spiral with their words and sounds. Taking inspiration from Fleetwood Mac and Local Natives, the trio features Liz Drummond, Hannah Field and Annie Hamilton. While the trio are relatively new, having formed only last year. They may be a folk outfit, but they are also undoubtedly resonating.

The three piece have handpicked certain elements to create their own fusion of percussion-heavy, guitar-driven folk. Coupled together with some intriguing storytelling, they’re doing it right.

 

‘Hide’ is the second taste of Little May’s upcoming EP, due in November.

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PREMIERE: Unity Floors – ‘Day Release’

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unity-floors

 

Here’s the first listen of ‘Day Release’ from Sydney duo Unity Floors. Words that could be used to describe this track are ‘shabby’, ‘friendly’ and ‘pleasurable’ (especially the former). Those descriptors sound like real estate copy for a fancy smack-den, but mouldy suburban lounge rooms do plenty of good for the imagination. Following ‘Nice Fit’, ‘Day Release’ is the next excellent track off the band’s upcoming debut LP Exotic Goldfish Blues (which I’m assuming is the shitfaced, slightly more humorous cousin of ‘Sharkfin Blues’).

‘Day Release’ is an exemplary snippet of ‘polite’ garage. The band have a mutual affinity for bands like The Clean and Dinosaur Jr, as much as they like digging on lost love, petty theft and women’s golf. The new track is a fun cut-and paste project with Henry Gosling’s nod-along drumming at the wheel and Gus Hunt’s choppy riffs chugging away back and forth on all ends of the good-time spectrum. All I can hear when I listen to this is Gerling’s 4 record – eternally chuffed. I’m so glad Sydney bands are bringing back some optimism, because the sad majority of what I’m wringing out of Melbourne at the moment are skinny things wanting to 2 B THA FUTURE, trying to fart out appropriations of R&B in drop-crotch pants and double-mounted hair buns (prove me wrong).

Unity Floors have been quick to dismiss their jams as ‘scrappy rock music’, but the whole two-piece setup lends Unity Floors a weird connectedness that’s both slapdash and completely engaging. I’ve been nodding along to this one for the last hour. You’d be hard-pressed not to as well.

‘Day Release’ will be available on Unity Floors’ debut LP Exotic Goldfish Blues, available on November 15th via Popfrenzy.
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WTH PRESENTS: Cull – ‘Inside Your Head’ Tour

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Cull sort of sound like Deerhunter and Brian Eno at a scientologist’s housewarming party. If you can get your head around that, then you’ll probably dig them, as we do.

If you’ve heard ‘World Inside Your Head’, ‘Good People Disappear’ or managed to grasp an earful of the band’s strange, starry-eyed schtick, you’ll agree it’s pretty special. Cull’s sound is warm enough to feel familiar, but the odd face-melt of a solo makes keeps things interesting and makes the rest of our exports look a bit Lame Impala.

We’re presenting the band’s upcoming ‘Inside Your Head’ tour. We’re also giving away a double pass to each show – email editors@whothehell.net with your details and why you’d like ’em.

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Cull – ‘Inside Your Head’ Tour

Friday November 1st – World Bar, Sydney

Friday November 9th – Grand Central Hotel, Brisbane

Sun November 19th – The Den, Wollongong

Sat November 30th – Reverence Hotel, Melbourne

 

ATTEND HERE.

 

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