Wellington’s Al Green has been making music as Groeni for a little while now but has started grabbing some international attention with the recent release of his new EP, Hewn. The sophomore release is five songs of beautifully down-beat electronica, which fits somewhere nicely in the continuum between Vacation-era Shlohmo and the more recent Caribou stuff.
I first saw Groeni at Chronophonium festival back in January and was taken aback by how developed the sound was for something that began life as a bedroom recording project. Reverbed 808’s rang out across the fern-covered Tapu Valley and I swear I’ve never heard a more perfect match of sound and environment in my life.
Labels like ‘post-dubstep’ or ‘bass-music’ get thrown around a lot these days and are enough to make you want to lose your lunch. Groeni, however, distills the best of those sounds into a warped, yet graceful whole which will have you day-dreaming in no time.
When one revivalist band dies, another springs up in its place (wherever the tambourines and Noel Fielding hairdos go). Some of Melb’s best loved locals have gone onto other ventures, like psych-doom and dabbling with German prose. Instead, pals from some of Melbourne’s hardest working gig guys (The Frowning Clouds, The Messengers & Dirt Farmer) have put their collective riff hands together and formed Kinder. This new single is the follow up to ‘Fall Back Down’, released in October last year. ‘Black and White Burning’ isn’t a lesson in literary torching, isn’t a chiaroscuro STI – but a track with some some potent pop hooks and generous hums all over. It’s a bit Bad Dreams, a little bit ‘nouj.
Kinder have been keeping busy, playing plenty of shows. The band’s debut LP Dorigo Rise will be released this year.
The amount of music floating around on the internet right now is verging on the incredible. About 12 hours of audio are uploaded to Soundcloud every minute. For the consumer, this is a pretty neat deal – there really does seem to be something out there for everyone these days. Plus we’re seeing unprecedented opportunities for collaboration and cross-fertilisation.
For musicians trying to pursue a career in pop music, however, there’s a serious problem: namely, how to get the attention of bloggers, DJs and other industry types who are, more often than not, clique-y and fatigued from sifting through reams of one-sheets for bands they don’t really care about.
Marketing, I’d like to think, can only get you so far. More importantly, you’ve gotta be able to write and produce a track that cuts through pretty much immediately. Of course, this approach is kind of a blunt instrument. There are always going to be songs that deepen significantly over repeated listens, and bands with more experimental or cerebral aims. For music like that, isolating a core audience is probably the most important first step. To really break through, though, something more dramatic is going to be required.
Straight outta the blocks you can tell this comes from a place that worships at the altar of respectable modern rock tropes. Driving kraut rhythms, tremolo’d guitar, analog strings, girl’s name for a title. And whatshisname of Oh Mercy has a timbre to his voice and a way with a lyric that actually makes you listen to what he’s saying. Two lines in and I kind of want to know what’s going on, and why this chap is so terrified of being alone.
There’s tension here, as we wait for the War on Drugs-style, head-out-the-car-window, flying-down-the-highway payoff. As he beckons her to “come closer”, begs her not to leave – the rhythm motoring along – I’m waiting for the payoff: in which Sandy either walks out the door or crumples into his arms.
But I feel like the song takes a mis-step in the bridge, applying the brakes rather than launching into the stratosphere, as the best Springsteen-esque guitar chuggers tend to. Nevertheless, it kept me hanging on, eager to know how it would end. And in fairness, the song resolves like most things in life probably do – with a wheeze rather than a bang.
You can catch Oh Mercy playing the Newtown Social Club in Sydney this Wednesday, 22 April, and Melbourne’s Gasometer Hotel on Saturday 25 April.
A few days ago, Sydney neo-soul artist Okenyo dropped the video for ‘Just a Story’, the slinky and dexterous lead single from her forthcoming EP, Mirage - and we got a sneak peek at the behind-the-scenes photo shoot. As you would expect from Zindzi Okenyo (remember this tour-de-force appearance?), the results are sexy and very stylish.
When premiering friendships’ latest vid, the UK’s Clash Magazine lead with a description of Melbourne being a “hub for the arts”. Yes, this is true. Our CBD council boats of its arts prowess, and we’ve had a knack for producing globetrotting creatives who romanticise the bluestone-lined streets of Melbourne’s inner suburbs. Each one has its fair share of Melburnian tropes at the ready – cafes with Edison lightbulbs, white tiles, or a disinterested barista put-on for effect.
But, the Melbourne represented in this clip isn’t what you’d initially jump to if you’re looking to romanticise our fashionable inner city. The suburb, Footscray isn’t going to be featured in some Monocle roundup anytime soon. It’s one that hasn’t really given into the full force of gentrification, where wave after wave of immigration still continues to makes its mark. In the vid local cameos such as Ming Ming’s, Franco Cozzo or Little Africa shine like time warped diamonds in the rough.
It’s always funny to see this place get featured. It’s romanticised by outsiders who consider it ‘exotic’ — it’s ‘Footscrazy’ or ‘Footscary’ to others. It’s a world where a technicoloured multitude of random shit greets you at a dollar shop, where said colours have faded from years of neglect. friendships’ Misha Grace (a Footscray resident) produced this in collaboration with Melbourne-based artist Ami Taib. So it’s funny to see them capture the ‘burb’s mundane reality.
For a long time, listing Footscray among Melbourne’s ‘cool’ haunts would’ve been a no-go. But now a string of younger Melburnians are capitalizing on cheap rents and large post-industrial spaces, and hosting Laneway is sure bound to shake off perceptions that it’s the inner city’s poorer cousin.
But for past or current residents, we just get on. Nobody’s getting knifed anytime soon, and nobody’s getting deprived of some ridiculously cheap okra. So take this video as an interesting juxtaposition of Footscray in its current state of flux — a perfect reading of the old and the new: a place where a gun shop can turn into an Ethiopian restaurant.
friendships are heading to the US in late May and are holding an art-show tour fundraiser. ‘Digestiblez’ will show at Friday May 1st at Forgotten Worlds, Collingwood. DJ sets from the duo and RaRa.
You know how on your socials there’s a never ending stream of bits and pieces of media you probably just scroll through because they might end up being a waste of your precious me time? Well, we’ve taken one for the team and sifted through the noise to compile a bunch of tracks you’ll be glad you shovelled into your ears. Here’s our first Aus music podcast. There’s some shoegaze from a Perth band called Hyla with enough plate reverb to feed a family of five, Melbourne’s Mangelwurzel do this thing where you don’t know whether it’s punk, ska, math or just plain nuts – plus we’ve thrown a couple of bedroom-producer-type electro tracks into this mix to smoothen out the edges. Well, enough of the chit-chat -just listen to it, will ya? Stay tuned for the next one.
This month’s Music Alliance Pact features music from 16 countries around the world, including ‘Honey’, an all-family affair from Barwon Heads duo Surf Dad. You can check out more of their material over on Soundcloud. ‘Honey’ also features in Robbie’s new Australian music podcast, streaming right here.
Click the play button icon to listen to individual songs, right-click on the song title to download an mp3, or grab a zip file of the full 16-track compilation through Dropbox here.
This supergroup formed by Facundo Flores (Onda Vaga, Nacho & Los Caracoles), Tomi Lebrero (El Puchero Misterioso), Martín Reznik (La Filarmónica Cósmica) and Jano Seitún (Campos Magnéticos, Alvy Singer Big Band) has just released their first record. According to the guys, the album sounds like “a bolero who fathered a cumbia, a chorus which is the cousin of the best zamba, and rock music that won’t leave us even if we try”. MAP exclusive download Jaqueline is our favorite track from the album.
Surf Dad is the production duo of George and Declan Sands, brothers from Barwon Heads, a small coastal town just south of Melbourne. More than a year after releasing the excellent Unholy EP, the siblings have dropped Honey, a pristine, sensual track featuring horns, bells, woodblock, field recordings from their dad’s backyard and their mum, Natisha, on vocals. George salvaged the vocal recordings from old four-track cassettes that Natisha, an artist herself, compiled in the 1980s. As you might expect from an intimate family collaboration, the boys’ woozy, organic production complements her heady performance perfectly. And Mum’s reaction upon hearing the track? She cried.
Buzz Records is taking Toronto by storm with their incredible roster of artists that include Odonis Odonis, Weaves, Greys, HSY, Anamai and more. Now I bring to you the incredible Dilly Dally, whose “I don’t give a fuck” attitude both on and off stage will have you loving them more and more.
Balancer is a trio formed by Colombians and Puerto Ricans, but based in Brooklyn. Gabriela, Felipe and Francisco have released two EPs and an album called Tipsoo. Their music is striking – it’s a world influenced by indie-rock, psychedelia and electronics. Remain Waves is the first single released from Tipsoo, which takes us through the waves to the shore with a warm, downtempo sound.