You can read my review of Temples debut album, ‘Sun Structures’ published via adamNOTeve, here. Advertisements
The first thing I read about DMA’s is that, ‘All the people in the picture look like the product of multi-generational in breeding.’ So that was a good introduction into I OH YOU’s newest signing if any. Furthermore, the band have never played live but are expected to announce a tour for March.
Sonically, from their first single,‘Delete’ off their self-titled EP, they sound like a mix of Oasis using the vocals of Dylan Frost from Sticky Fingers. The second reference is no surprise considering that the clip was filmed in the same house that features at the end of Sticky Fingers, ‘Australia Street’ video and also has a cameo by Paddy (Bassist of Sticky Fingers). Furthermore, the artwork was done by talented Sydney artist Total Bore. In short, this single not only showcases a damn fine up and coming band but also the talent within Sydney. You can watch this song below.
Well about bloody time, Chet Faker’s debut album, ‘Built On Glass’ has finally been announced and will be dropping on the 11th of April globally via Future Classic. From this track alone, it is no surprise why he has signed to Future Classic with the chopped up beats. However, it stands out because Nicholas Murphy brings in his own signature jazz and soul elements.
Murphy has always been a sensitive man when it comes to songwriting and ‘Talk is Cheap’ is no exception. He reflects upon the meaningless of conversation in the place of physical connection but there is a sense of irony as through his ‘talk’ he is gradually uncovered in the clip.
The piece begins with a haunting, souful saxophone solo that underlines the entire song, adding depth to an otherwise repetitive backing drum beat. Although, it comes into its own with Murphy’s stirring vocals that have made him stand out amongst many other vocalists. As the track, sadly, comes to an end Murphy begins to loop his voice over itself to further reinforce the meaning of the song.
‘Talk Is Cheap’ is a welcome addition to Murphy’s discography and acts as a good sign for the rest of the album that has finally appeared. Indeed, this strength lies within Murphy’s unique vocals, his jazz elements and not the steady drum beat.
From the moment I came across the name Mt. Warning and his press shot my gaze could not left it, there was a magnetism to it that extends to his music. For the most part, I find singer-song writers rather annoying and often overly emotional. However, Mt. Warning has changed my mind with his burgeoning tones and smooth instrumentals in his latest single, ‘Midnight Dawn’.
The song and video compliment each other cleverly because Mt. Warning explores the sacrifices he has made for his career. Alone though this is nothing impressive, merely a well-thought out music video but the voice of Mikey Bee (vocals) takes it to another level, shaping it into a heartfelt experience as we hear and see him unload the emotional baggage that he drags with him.
Furthermore, Mt. Warning is not just a one-trick pony but his other singles, such as, ‘Forward Mile’ and ‘Burn Again’ up his sleeve he is as sure hell going to an enticing performance to watch at the beginning of Laneway Festival. You can stream all his work off his Souncloud, here. His debut album will be released the 28th of March.
You can read my review of Southbound, published via adamNOTeve, here.
Following the ilk of Wave Racer and Cosmo’s Midnight, another albeit a more noticeable member has joined the new-wave of electronic Australian producers going by the name of Basenji. Basenji has just dropped his latest single, ‘Dawn’ and has also signed to Sydney-based management, ASTRAL PEOPLE. This signing speaks volumes of the expectation behind this beat-smith but it’s safe to say so far that he is meeting them.
With an almost militaryesque drum-beat to start the song, it immediately grabs your attention so that you’re easily swept into the luscious atmosphere of ‘Dawn’. Vocal samples then seep into the track, which are remarkably akin to work of Cashmere Cat. Indeed much of the song references the sounds of Cashmere Cat and that genre with its heavy use of percussion and warbling bass. Basenji and his work represents a different path that is starting to be carved within the Australian, electronic music industry and as with all genres, there will always be an inundation of mimicries of one producer but Basenji has seem to found his own way.
For some, this new-wave of producers will seem increasingly dull and rather abstract in their sonic direction. Others will find this sound, which become massively popular with the rise of Flume, exciting and if so you will find Basenji meeting your desires.
To release a single at over 8 minutes takes guts, something that only Arcade Fire and King Gizzard and The Lizard Wizard have dared to do this year. Indeed, lengthy singles are a dangerous road to take because more often than not the listener will give up after the 3-4 minute mark. However, The Occupants’ latest track,‘Wonderland’ will not have you dropping off at the 3-4 minute mark.
The distinctive, interweaving vocals of Flynn and Luke Gower are not for everyone but the sharp melodies and the dynamic atmosphere create a gripping song regardless.The steady layering within the song keeps you intrigued, wondering where it will go as the song slowly builds with energy. Indeed, the strung-out but empowering nature of the song makes it hard not to imagine that it could easily sway a stadium of people with it’s smooth vocal hooks. Far too often, Australian indie becomes a 3-4 splash of pop without depth but The Occupants latest track shows what Australian indie could be.
While The Occupants latest track will divide listeners over its length remember as the SAS says, ‘Who Dares Wins.’
Read my review of Elizabeth Rose’s performance by clicking here.
In a scene flooded with jangly indie-pop The Jones Rival are a breath of fresh air for the Sydney music scene. After teasing us with their raucous single, ‘Jumpin’ Frog’ they have returned with a debut EP jam-packed with sharp guitar licks and snappy vocal hooks that at times sounds akin to Kings Of Leon circa ‘Youth & Young Manhood’.
The Jones Rival kick off their EP with,‘Cults’ which barely lasts for two minutes but comes in hot and fast with guitar riffs and the raw vocals that ignite into a haze of garage rock. Their garage roots are revealed in their other lead track off the EP, ‘Busted’ which sees the pace and vocals drop away as the The Jones Rival bring out some howling guitars and punchy drumming. However, The Jones Rival are not just pretty faces but are capable of slower, more sensual songs such as,‘Ketamine’ with its irresistible bass-line. The best moments of this EP is the second half of ‘Ketamine’ as we see a more experimental side of The Jones Rival with their psychedelic breakdown. Although, at times The Jones Rival lose their way as their production falls through as it does with ‘My Aim’. Throughout the EP, The Jones Rival have slammed in catchy lyrics with abrasive instrumentals, creating a cacophony of sounds that take you on a sonic voyage into the free-ranging minds of the band.
An exciting EP for a new act that will surely take the Sydney scene by storm with their raging Garage Rock as it sweeps away the indie boppers.
You can stream their whole EP below:
You can also catch them this entire month at the Oxford Art Factory FOR FREE! Their dates and who is supporting them is below:
Sat 2nd – Teenage Hand Models (SYD)
Sat 9th – Soviet X-Ray Record Club (QLD)
Sat 16th – Black Springs (SYD)
Sat 23rd – Whipped Cream Chargers (VIC)