Melbourne band Sunny Disposition have that certain Australian indie rock of the 00s sound in their veins. That mix of jangly guitars, angular shapes on the fretboard, jerky, curious rhythm section explorations and a fine balance between raw emotion and intellectual musings in the lyrics and vocal delivery. ‘Rain On Your Parade‘ twists and sonically wrestles with itself quite wonderfully and brings to mind Antipodean bands such as Purplene, Jebediah and elements of Something For Kate.
Sunny Disposition formed in the early-2000s and actively played regular live shows in Melbourne and Sydney. They released their debut EP ‘Drifting by a Scene” in 2005 and have now reconvened to release their new EP Full Of Reasons, recorded over a decade ago.
There’s a big New Orleans brass funk vibe happening on this recently released single by The Bigfoot Collective. There’s swagger and a nimble groove that lumbers along on the good foot, making it totally infectious stuff.
Written by trombonist Thomas Voss and featuring a trumpet solo from Harrison Smith, the song showcases the inspiration that the 18-piece Adelaide, SA group draws from the New Orleans “second line” tradition and the street performers of NYC.
Thee are a few other recent singles on their Spotify and Bandcamp and keep your eyes open for an EP due later in 2020.
There’s a wonderfully warm and rolling feel to this new track from The Finch Cycle. It’s post -rock at its core but it also dials into that beautifully emotive 90s/early 00s indie rock sound of Australian bands such as Bluebottle Kiss – when it was as important for the guitars to lull and serenade as much as they needed to swerve and coruscate. The trombone gives the track an additional depth and melancholic tone and is a key ingredient to why the track works so well for us.
‘Forty Minus Zero‘, and it’s single partner ‘Ale Of Steam (live)’, are the debut release from The Finch Cycle (Melbourne VIC), an instrumental project for Bradley Murray (ex owner of Wireless Records and member of the band Sunny Disposition) who recorded it in a single day, in a converted barn, on a cattle farm estate, Rochford, Victoria, Australia.
Bradley Murray – guitar Daniel Zugna – guitar Kirsty Letts – guitar Andrew McLaughlin – guitar Brendan Bartlett – trombone Joe Magee – bass Michael Evans-Barket – drums
‘In CD’ is a collaborative release from UK duo Stuart Harrison and Peter Dunkley who have played in post-punk bands together in the past but more recently reconvened to explore intstrumental minimalism in the vein of Phillip Glass and Steve Reich.
‘In CD’ is a piece in two parts. The first section is built around keys and guitar circling, looping and overlapping as they build up a hypnotic pulsing post-rock sound. At the track’s mid-point the mood changes, while some of the central repeating motifs still drive the piece along, albeit with a more subdued and reflective tone.
Says Stuart Harrison: “We don’t think that In CD sounds anything like In C – but we took some of the compositional elements, and in particular how Riley instructs ensembles to play his piece, as ‘inspiration’ as we constructed our music. We compose through a process of continual improvisation without necessarily having a defined outcome or even a structure, which tends to take us into unexpected. We’re constantly surprised at what we produce! With this piece, however, we took certain motifs and played them in slightly different ways on different instruments, particularly in the second section.”
Says Peter Dunkley: “Actually, it should have been ‘In DC’ as the first part is in D and the second C. We thought In CD was funnier, though!”
Check out their profile on Spotify for a bunch of other new compositions.
Japanese genre-destroyers Boris return with a new album, NO, due out July 3rd, self-released on Bandcamp. Check out the searing, careening distortion punk-fest that is ‘Loveless’.
A message from BORIS:
“International borders are ‘closed’ now.
All kinds of anxieties, fear, sadness, anger, and hatred have arisen to drive the world apart.Everyone is in a process of trial and error, doing what they can to live.The critical state of the world has placed culture, art, and other means of expressing ourselves into a dilemma as well.We decided to start managing our band ourselves again a few years ago, so we even more keenly aware of the current situation.
It was our actions up to this point and our methodology, various cultural influences, as well the connections and support we received from people around the world that led us to create this latest album.
Culture is lore that is not bound by blood, in other words ‘Non Blood Lore.’
We have put all of our influences and connections into this album so that they may be passed on circulated.That is our current stance now as Boris, our role and mode of action.
The title of this album is NO. People have a system whereby they unconsciously grow accustomed to things and adapt to them.But, this same system is also cursed in the way it allows inconvenient or troubling things to be disregarded as if they were never there to begin with and goes by other names such as ‘resignation,’ ‘subordination,’ and ‘forgetfulness.’We renounce this system.‘Is this something I felt on my own? Is this idea something I came up with on my own? Is this something I chose to act upon myself?’Everything begins with questioning and denying oneself.That is the proper stance for people to adopt.
Music and culture possess incredible power.The anger and discontent we had no outlet for in our youth shone through in our music, helping us to channel negative energy channeled towards creative ends and leading us to new means of expression and artistry.We hope this latest album can be a mirror that gathers and reflects people’s negative energy at a different angle, one that is positive.That is the power and potential of the dark, extreme, and brutal noise music that we have experienced up to this point.Today’s society is littered with words that may or may not be true, making it easy to want to just not listen to what anyone has to say.But, that’s all the more reason why we hope that you will at least open your ears to these songs sung in the language of another land.These shouts that have no proper meaning as words will help release the raw, unshaped emotions within you.This is ‘extreme healing music.’
International borders are ‘closed’ now.When we’re able to travel again, it will be proof that the world has moved forward.We pray for the day when we can share the same time and place again.
New Zealand composer Rhian Sheehan has recently released a new album, Recollections, Vol.1, which features a number of new tracks, and a number of tracks performed as part of his 2018 A Quiet Divide Album Release Tour.
‘Still‘ is a beautifully percussive and textured track that peppers an undulating piano line with clickety-clack rhythms that conjures everything from a ticking clock to a typewriter, or even metronomic footsteps. There’s a gentle lulling quality to the track for the first few minutes before tension is added using the same shapes but with greater push and a deeper synthetic swell.
Elsewhere on the album there are deeper electronic synth excursions, ambient and drone compositions and grand post-rock soundscapes.
Composer Kaitlyn Aurelia Smith has recently released her new album The Mosaic of Transformation, featuring these two exceptional tracks ‘The Steady Heart’ and ‘Carrying Gravity’. Over a push/pull rhythm track, Smith weaves dream fragments of vocals amid a wafting, gossamer haze of twinkling synths and textural pads on ‘The Steady Heart’.
‘Carrying Gravity’ begins with strings before taking an almost Oriental sound and filtering it through delicate arpeggios that hang like warm pulses in the air.
“I guess in one sentence, this album is my expression of love and appreciation for electricity,” says Smith. While writing and recording, she embraced a daily practice of physical movement, passing electricity through her body and into motion, in ways reflecting her audio practice, which sends currents through modular synthesizers and into the air through speakers. Not a dancer by any traditional definition, she taught herself improvisatory movement realizing flexibility, strength, and unexpectedly, what Smith calls “a visual language” (the term was introduced to her by filmmaker Sean Hellfritsch) stemming from the human body and comprised of vibrational shapes. Understood as cymatics, as she says, “as a reference for how frequencies can be visualized,” much like a mosaic.
Australian composer and sound designer Daniel McCagh has just released his debut album Altered States, an immersive and sonically detailed collection of compositions that range from visceral sheets of digital rain to delicate filigrees and textures. He manipulates acoustic instruments to place them in evocative settings where the organic and synthetic sounds become one. It sounds futuristic yet connected to human spirit, blood flow and creativity.
The title track buzzes and shudders like a scene from a sc-fi film, all tension and a gradual gradient of intensity and right across the album there’s a sense of graceful wounded beauty.