Tagged By electro-pop

LISTEN: These Guy – ‘Lunchbox’

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I’ve always liked the idea of transporting my vegemite sang and muesli bar in a compartmentalised, carbon neutral (obviously) lunchbox, but in reality I just shovel last night’s pizza into a plastic bag and hope for the best. I have no idea how Joe Saxby, Josh Coxon or Eddie L’Estrange pack their sammiches or why a lunchbox is relevant to their debut collection of tracks as These Guy, and to be honest I’m not sure they do either. And that’s ok, we’re all just figuring it out and that’s fine.

Lunchbox begins with ‘The End’, where These Guy’s broad spectrum of alt-pop influences bleed together in a spin cycle of sounds that unfold over the album’s duration. ‘Coming Around‘ is the first punctuation point and one of the earliest singles, combining the indie pop ethos and sad boi pathos in what is a foundation theme on Lunchbox. Quirky synth hooks bubble up on most tracks to buoy each pessimistic lyric, refusing to let Saxby be sad about things he is justifiably shitty about (see: closing track ‘The Main Thing’, an 11-minute sprawling psych middle finger to long distance relationships). Despite this, Lunchbox is a significant upswing in mood from These Guy’s debut EP when it was Saxby’s heavily overcast solo project.

Techno pop track ‘Biscuits’ and ‘The Main Thing’ have featured in These Guy’s live set for a while now, but hearing them packaged up on Lunchbox makes the pivot from “everything is doomed’ sad to “silver-lining” sad a whole lot sharper. There are just so many quirks built into each song it’s hard to keep track of the ideas, from the disco synth hooks, full fret shredding and sax solos on ‘Over Before it Begins’ to the jangle pop guitar melodies of ‘Suburban Restaurant’, one album could hardly provide enough space to flesh them out.

Yet it’s the clean execution of these ideas which propels These Guy above the white noise of cookie cutter indie pop, with lofty vocal melodies, frenzied instrumentals, delay-heavy synths and a generous peppering of guitar licks all balanced by clever production. Lunchbox is like a pleasant hallucinatory experience, you’ll go places you didn’t know existed and come out wondering where the hell you’ve been and how you can get back there.

Here’s a treat for youse ahead of the album’s launch on June 16th.

 

You can see this play out in all it’s technicolour glory at Brisbane’s Black Bear Lodge on July 15th.

 

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INTRODUCING: Vigilantes

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Angela Ford and David Jenkins are a pair of vigilantes. The Sydney duo don’t fight crime per se, but they do fight the good fight of producing great music. Vigilantes have created an immaculate and imaginative tune with ‘Circles’ – a glossy, New Wave-y melody built on danceable beats. The duo have also recently put forth a brand new cut, creatively entitled, ‘<3’. Believe me, these songs ooze style.

‘Circles’ seems to lament or grudgingly accept the cyclical nature of things. Recurring mantras and looping synth progressions help to round out this feeling. Angela’s vocals are particularly special, moving across angelic peaks from chorus to verse.

‘<3’ has a bit more pop and bounce. This one focuses heavily on David’s sculpted vocal tones; smooth, yet not over the top. He sings about devotion, eternal love and other happy things but without sounding cheesy – no mean feat when you specialise in effervescent electro-pop.

Both Angela and David are accomplished musicians, having previously performed with Bertie Blackman and Kirin J Callinan. I’ve been told by the pair that the creative process is rarely linear, but things manage to come together with ideas and fragments recorded over time. If ‘Circles’ is any indication, I’d say the process works perfectly.

No EP or album is planned at this stage, but expect more singles that will assuredly help spread the word of this daring duo.

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PREMIERE: AXOLOTL – ‘My House’

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When I heard this track I felt like throwing up. IT’S THAT GOOD.

‘My House’ is the newest track from Axolotl and the latest single taken from their forthcoming debut album, set for release in early 2014. While the Melbourne five piece have previously supported acts like Bonobo and How To Dress Well, I think this track makes it very clear that these guys are prepped for some serious airtime. ‘My House’ is the closest thing I’ve heard to a near perfect pop track in a while. It’s a visceral, violet-hued pop number with the a bit of stage production chutzpah. Ella Thompson (The Bamboos) has some damn fine fixating vocals which walk the line between hesitancy and desperation here; her refrain reminds me a bit of Alisa Xayalith – or maybe a female version of M83’s Anth Gonzalez. The band have previously carved their way through some beautifully produced tracks so the standard of this doesn’t come as too much of a surprise. Last year’s Autonomy EP was an enjoyable slice of ‘dream-pop-nice’, but the backbone of ‘My House’ has way more grit (and bass). Also – HUGE chorus disclaimer on this one, but all intentions are good.

The band recently secured publicity and financial support from Arts Victoria to produce their debut LP. I get a really good feeling about this. Ready for the international music market in 3, 2, 1…

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LISTEN: Back Back Forward Punch – ‘Don’t Stop Now’

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back back forward punch

 

Not enough ‘disco’ happens on this blog. I’m not averse to the stuff. Don’t hate Fridays either. My penchant for disco/pop resurfaces once a year when a good track or remix comes around. For the rest, it’s subtle repression.

After being born to immigrants who conceived me over a syncopated bassline and a 4/4 beat, growing up listening to Disco made Melbourne’s Western suburbs a lot less shit. My earliest music memories involved the ass end of the Bee Gees era, Diana King and a lot of Gloria Estefan’s ‘Turn The Beat Around’. There was nothing ‘Australian’ about my childhood. There is nothing Australian about growing up watching your old man mow the lawn singing Donna Summer either. I’ve had a bittersweet affinity with the wider genre, but here’s trying not to hold it against anyone.

Depending on what your Friday vibe feels like, this is essential listening. ‘Don’t Stop Now’ is a smooth groove by Melbourne duo Back Back Forward Punch. There’s a faux-sax, laser synths and a general schmooze that could only really tag along with band name that sounds like a naff move on a Tracey Anderson workout DVD. Laura Boland’s voice reminds me of Giselle Roselli on Flight Facilities’ ‘Crave You’ (minus the twee). I’m slowly trying to be less deducive about anything electro-disco, so this one gets points for feel good tunes to tide over the week with. Excellent production and Groove Armada stamped all over this one. Still love Gloria, BTW.

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LISTEN: Cosmo’s Midnight

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cosmo's-midnight

Do you like Instagram? I like Instagram. My friend’s a Lo-fi kinda girl but I’m more of a Walden. So too is this stunning new video from Cosmo’s Midnight, filmed entirely underwater and under what looks like an Instagram filter.

The Sydney-based duo (with the help of friends) shot the aquatic video themselves, which features an illusive underwater dancer, swirling around in sync to the music, who slowly and elegantly starts to peel off each item of clothing. It’s an absolutely mesmerising watch.

Cosmo’s Midnight first piqued peoples’ interest last year with their remix of Flume’s ‘Sleepless’, later released on a Future Classic compilation. But ‘Phantasm’ is Cosmo & Patrick Liney’s brand new single, which the twin brothers dropped this week. There’s something a little Purity Ring-esque to their sound- perhaps it’s the dreamy vocals of guest vocalist Nicole Millar, albeit more mellow and ambient. The single caters to all your electro-pop needs; its lush synths are tantalisingly sweet, its jolty beat will get you body-rolling, and the tranquility in Millar’s voice with soothe those stress-induced wrinkles on your forehead.

The brothers have now joined the Yes Please family, and will be releasing a new EP on May 8. But for now, treat yo’self to a free download of ‘Phantasm’ here.

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