Straight out of the gate this one hits you with its widescreens wall of guitars that phaser and shimmer like a slow motion glitter explosion. Total Rubbish is an all-female trio from Philadelphia who claim they’re inspired by disappointing relationships, new beginnings, odd-end jobs, and their Chicago & California garage rock roots. You can hear everyone from L7 to The Primitives, Veruca Salt to The Dandy Warhols in their bittersweet, heavy-haze grooves.
Total Rubbish are signed to Born Losers Records and are planning to release a debut EP, Triple Negative on November 20th.
Cosmic psych pop is the order of the day on this new track from Melbourne artist Wilding. He’s got a brand new album called The Death Of Foley’s Mall out now on Half A Cow Records and ‘Swipe Right‘ is one of a series of character-study songs Wilding wrote about people who live in his neighbourhood of Coburg, Victoria.
This single has a a brilliant build and momentum through it and guitar and synth layers that fold in and on top of the track. Fizzing melodies and an infectious thread run through the song, recalling British acts like Blur and Supergrass. There’s also a jerky undercurrent that brings to mind Talking Heads.
We’re excited to be premiering the brand new single/video from New Zealand legends The Bats. The track comes from their forthcoming album Foothills, out Nov 13th via Flying Nun Records.
There’s a warm and heavy-lidded dreamy quality to ‘Gone To Ground’, in large part courtesy of the use of EBow on the guitars and the way drummer Malcolm Grant gently propels the song along. A rich atmosphere pervades the song, perfectly capturing a wistful sense of retreat.
Robert Scott on ‘Gone To Ground’ — “Hide and seek, do we want to be found…. maybe not. Many people have gone to ground in these tricky times. A slight sense of unease pervades the song with the spooky strains of an E bow filtering through the trees. You could walk the marshes and go far. It’s funny how you can draw connections between a fictitious tales and present day life.”
The video clip was created by Sports Team and Annabel Kean has said on the ‘Gone To Ground’ video, “This is by far the longest we’ve spent on a video. We started about a year ago when we heard an early mix of the song, but the discovery of perpetual motion by way of spinning veges really opened a can of worms. Then it took us three attempts to pluck up the courage to light a guitar on fire.” Co-director Callum Devlin adds, “It was a total collaboration, and a very instinctive process. We wanted to try and capture what we felt listening to the song. There’s an uncertainty and a mystery to the lyrics that I feel lead us somewhere a bit more conceptual.”
Foothills is the band’s tenth album, on top of their many singles, EPs and compilation releases and over 35 years they’ve never put a foot wrong. The new album was recorded in Spring 2018 at a country retreat pop-up studio. At that time, 15 songs were captured and immortalised in the Canterbury foothills of the Southern Alps, Aotearoa (New Zealand). Only too well, The Bats know the possibilities, potentialities and sonic vistas that arise when one takes the reins for the recording process in a beautiful place that’s on home turf.
Robert Scott, on the making of Foothills has said “Time marches on… finally, we found a gap in our busy lives and chose a week to convene. We found a house that is usually inhabited by ski field workers — Kowai Bush, near Springfield about an hour west of Christchurch and of course nestled in the foothills of the mighty Southern Alps. The songs had been written, demo’d and arranged for some time, but still with a little room for trying things out in the studio. Many carloads arrived at the house, full of amps guitars and recording gear, we set up camp and soon made it feel like home; coloured lights, a log fire, and home cooked meals in the kitchen. We worked fast, and within a few days had all the basic backing tracks done, live together in one room, the way we like to do it – it’s all about ‘the feel’ for songs like ours.”
Jessica (one half of Jep & Dep) has just released her brand new debut album The Space Between on Bandcamp and ‘Pictures’ is the second single from to be drawn from what is a beautifully ethereal and immersive collection of songs.
‘Pictures’ rides a hypnotic guitar line reminiscent of Radiohead’s Jonny Greenwood before Jessica’s vocal takes centre-stage, unfurling and overlapping with itself as she wanders a shopping mall before taking refuge in a dreamy and futuristic karaoke bar.
We’ve got a full album review coming soon but for now, dive in for yourself over at Bandcamp.
We loved ‘Blue State’, the first new single from the band and this one kicks with the same dark intent. Choppy verses that emerge into a widescreen rock chorus that swings like a heavyweight. Shades of QOTSA with a side serving of Fugazi just below the surface.
“’Close to the Edge’ is a commentary on a communication breakdown” states Joel Byrne, “it’s essentially the soundtrack to a really bad argument, in particular the kind that tend to be carried out over social media. The main riff (and overall track) is intentionally a bit nasty and vulgar because it represents the uglier side of people’s personalities that tend to come out in the heat of the moment, particularly when their opinion or ego is challenged.”
The track comes form their forthcoming new album NIL which is set for release on Friday 20 November via Part Time Records / Remote Control.
Pascal Schumacher is a Luxembourgan composer and vibraphone player who’s built up an impressive resume playing with quartets through to orchestras.
This new release comes from an EP Tropismes (The Mudam Session)where he performed at Mudam, the contemporary art museum in Luxembourg, and you get a real sense of how he operates at the nexus of classical and minimal electronic composition. The lightness and beauty of his playing is hypnotic, like a dreamstate transmission. Heavy-lidded yet full of life and verve, fragile yet full fully-formed. Beautiful stuff indeed.
Check out his full-length 2020 release SOL for a full and immersive deep dive into his work.
*Shameless self-promotion – Chris Familton of DS is the bassist in the Finalists.
It’s Sydney in the year 2020 and for the last two years The Finalists have been honing their sound beneath a Waterloo tin roof, in a Petersham attic, and down long, polished corridors leading to a Marrickville practice room. The results are the musical amalgamation of singer/guitarist and songwriter Mark Tobin (Scarlet, Panic Syndrome, The Black Halo), guitarist Robert Young (The Wednesday Night, Semi Lemon Kola), bassist Chris Familton(Charlie Horse, Thorazine Shuffle) and drummer Matt Brown (Charlie Horse).
The band’s debut single, ‘Ignore All The Hate (On Your Telephone)‘, on Half A Cow Records, is an understated slice of melodic melancholia, draped in acoustic and electric guitars that sparkle and gently jangle over rolling bass and Velvet Underground meets The Ronettes drums, while Tobin sings of the darker side of social media and modern technology. “It can be a bruising experience for someone in the sights of a social media hit squad, that ruthlessly cuts down those who don’t conform to their perceived correct set of values and beliefs,” says Tobin.
“Some enjoy antagonising this mob and can cope with the resultant social media pile-on, but for others it can mess with their mind so much they decide to stay silent in the future. This song is about how to avoid the negative effects on your frame of mind if you find yourself at the centre of an awful online onslaught,” he says, offering some strong advice that, “if you have something important to say you should never pull your punches out of fear of a backlash.”
With a sound that draws on the band’s collective music history playing in a number of bands in Sydney, Australia and Auckland, New Zealand, they’ve concocted a blend of jangly guitar-based indie rock, with elements of psych-rock, shoegaze and post-punk threading through the music. You can hear the ghosts of Factory and Flying Nun Records, the evocative strains of The Go-Betweens and The Smiths and other Antipodean contemporaries such as Underground Lovers, Rolling Blackouts Coastal Fever and RVG. On their debut album, the twin totems of melody and melancholy course through the sparkling and shimmering guitar lines. Elsewhere the group take flight in Sonic Youth-inspired six-string explorations.
The songs of The Finalists are predominately written by Tobin, with Young and Familton adding colour, shape, rhythm and texture. Tobin’s lyrics capture and reflect on the contemporary human experience with astute and measured poeticism – whether it’s the chronicling of fractured relationships, navigating the modern world or writing about a catastrophist who starts smoking again because he believes the world will end before he gets cancer.
Let’s kick off the new week with some really nice post-rock sounds out of Kirikiriroa (Hamilton) in New Zealand. If you dig the type of music created by Mogwai and Jakob then this will be your kind of thing. ‘Ultraviolet’ is moody, dark and ominous even when it’s not heavy. It’s cinematic too, but still operates in a compositional rock format.
Empasse is the work of Nick Johnston, a local government bureaucrat by day and musician by night. Some of Nick’s previous bands include post-rock band Sora Shima, and indie pop bands The Changing Same and Dynamo Go.
Nick describes the Ultraviolet EP as a “soundtrack to a story that is not well known in New Zealand outside the Waikato Region where I live” – the story of the town of Rotowaro, a former mining village that was entirely removed in the 1980s to make way for an opencast coal mine. The mine fuelled the Huntly Power Station, the largest thermal power station in New Zealand which has been identified as responsible for over half of New Zealand’s carbon emissions from electricity generation.
“Ultraviolet is about the damage and wounds that we cannot see – in this case, it is the rural communities that have battered over many generations to grow and power our larger cities, as well as the carbon emissions damaging the health of our planet.”