The first time I heard Brisbane two-piece Multiple Man for real was at this year’s Shedstock festival in June (which is a travesty considering how often they play in my town). I had ‘fallen asleep’ early and was lying in my tent when outside started what sounded like the most insanely fun party ever. The music was violent and dark but driven by these bouncy synths that made everything so bloody danceable.
I wanted to get up and throw my body around and yell for no reason but being too ‘sleepy’ I just lay on my half-deflated blow up mattress and had a fucken great time throwing shapes internally.
‘Persuasion’ is Multiple Man’s newest single, and comes with a suitably dark, Euro-electro inspired video by Alex Dunlop. The title track from their forthcoming EP, it sounds like someone found everything good about the 80s and put it in a dance song, when what they kinda wanted to do was tell you to go fuck yourself. It’s sexy, aggressive, fun and really, really cool.
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, former Damn Terran
drummer and Yes2Renewables
campaigner interviewed Melbourne trio Nun of the Tongue
, ahead of tomorrow’s Rock4Renewables fundraiser
. All proceeds from tomorrow’s show at the Gasometer go to support Y2R’s continued work campaigning for climate change action.
Name + instrument: Oscar (guitar, vocals).
In three words, how would you describe your band? Lo-fi, trashy fun.
Any tours, notable gigs or record releases lately?
We just launched our debut 7″ EP last month at Bar Open, titled Burger Porn Real Estate.
Why do you support renewable energy?
Electricity is one of the most important aspects of modern day life. Finding a self-sustainable energy source is one of the most important tasks as a species.
There’s an election coming up in Victoria, do you have a message for Victorian politicians on renewable energy and climate change?
It would just be to look at the facts and decide through that. Creating a renewable energy infrastructure would create jobs and cut c02 emissions. It’s all about what the science says.
Your band is a renewable energy source. What is it?
Wind power. From our butts onto Tony Abbott’s face.
Rock4Renewables’ fundraiser happens at the Gasometer Hotel in Melbourne tomorrow from 4PM until late.
Here’s your first taste of Cooked, the new EP from Melbourne six piece The Dead Heir. The band recorded with Joey Walker from King Gizzard & The Wizard Lizard, which probably justifies the splintered guitar intros, tandem vocal biking and why it takes more than six people to make a psych song. As per usual legacy, these are still the slack-eyed, major-minor poems about nothing parading as something. Case in point, and all in good fun.
The Dead Heir launch the Cooked
EP at The Toff In Town on Thursday October 9 with special guests, The Citradels
& The Infants.
Buy the EP over at Bandcamp
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Our old pals in parliament have been making their usual slew of embarrassing, socially divisive calls lately – including a lack of support for climate change action. A bunch of local Melbourne bands are having none of it, and are getting together to raise funds for the cause this weekend. All proceeds from the ‘Rock 4 Renewables’ fundraiser will go to assist Yes 2 Renewables‘ campaign for renewable energy.
The initiative, lead by Leigh Ewbank (former Damn Terran drummer) has already made a mark in the community; challenging anti wind farm campaigners in Canberra – and more recently, helping the Anglesea community fight to close a polluting coal power plant operating just 500 meters from a primary school. For more information on Yes 2 Renewables’ work, head on over here.
Good lineup, great cause. More details at the FB event page.
Gordi is vocalist Sophie Payten. ‘Nothing’s As It Seems’ is the new track from the Sydney based musician / medicine student. ‘Nothing’s As It Seems’ might appear polished, but if not for the hushed instrumental, it could easily carry on just entirely carried by Gordi’s vocal. Lyrically, it’s not overly ambitious – but Gordi’s pastoral nuances don’t call for it. The low-key arrangement keeps the folktronica twee-preening to a minimum. The track is still ethereal without being flail-your-guts-out emotive. (PS. I’ll be waiting for the Enya mash-up.)
Gordi plays Spring St Social in Bondi tonight and Goodgod Small Club on Wednesday October 22. Head here for a full run of show dates.
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The Frowning Clouds latest release, Legalize Everything, offers psych vibes that’d be welcome in the UFO Club and a reflective and varied approach to production.
Sonic tweaks over the album’s 12 tracks highlight a number of different elements as the sounds move from clarity to ambiguity. Tracks like ‘Dead Growth’ are reduced to a handful of haphazardly mixed instruments, and the results are more like a bootlegger’s eavesdropping than a studio product. Meanwhile other songs, like the excellently titled ‘Sun Particle Mind Body Experience’, bring to mind your favourite 60s psych-pop bands with an extra helping of grit.
It’s refreshing to genuinely have no idea what’s coming next, and while consistent in vibe, the album lays down an impressive variety of tunes. There’s even a bit of kazoo!
Charming and addictive, Legalize Everything is well worth a spin. Pick it up now on Rice Is Nice, and hear lead single ‘Move It’ below.
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For those who are punk-inclined, I have found you a Fugazi. In a context where everything else resembles an actual fugazi (variously defined as a fake or a fucked up situation), Yes I’m Leaving is the brutal and efficient slap of sense that Australia has been missing. The new album is direct, punchy, cathartic and chaotic; it feels like a bandaid being ripped from the hairiest part of your skin, over and over again.
On their fourth LP, Slow Release (which is being released via Homeless Records), Sydney’s holy trinity sound dirtier, scummier and more savage than ever before. The production values have been extensively upgraded, with every scrape and bellow of their instruments being picked up and intensified. But rather than creating some sort of squeaky clean parody of themselves, the studio treatment has ensured that Yes I’m Leaving’s usual maelstrom is even more pronounced.
Opening track ‘One’ is especially fearsome. As all members link into a staccato pounding of the hooves, stampeding doom seems an impending reality. The finale is sheer ferocity, frontman Billy Burke screaming ‘One!’ in his banshee cry with enough force to rip the hair right off your head. Latest single “Fear” has a similar effect. It’s basically an expanded Drive Like Jehu track that’s been embellished with a particularly foreboding melody and a strong Australian accent.
Yes I’m Leaving may be more cynical than a Scrooge who’s been through the Vietnam War and create a more gnashing atmosphere than a Tasmanian Devil going through withdrawals, but that’s exactly what separates them from the rest and places them in a higher domain of punk music. Slow Release is an essential listen for anyone who likes to get their heads thumped in by carnivorous punk. And for those who haven’t had the pleasure of such an experience? The perfect introduction.
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