NEW MUSIC: Buddy Glass – If You Sail Out (feat. Rhiannon Back)

A steady chiming guitar sets the scene before Rhiannon Back’s (The Gaze) hypnotic and melodic incantations enter the fray on Sydney songwriter and Peabody frontman Buddy Glass‘ new single, the second taste of his forthcoming album Wow & Flutter.

As a primitive Mo Tucker-indebted percussion joins the procession, there’s a clear nod to the Velvet Underground and their droning pop nuggets. While Glass’ first single ‘Wasted Habit‘ was a frantic, frayed-nerve dispatch, ‘If You Sail Out‘ is all about a controlled and dreamy mood amid questions of context and perspective on one’s life.

“If you sail out past this story, you’ll see your life in all its glory. If you sail out into the darkness, you’ll see your life in all its starkness.”

NEW MUSIC: Tom Ashbrook – Oaktrees

Ambient and (neo)classical compositions can often tread a fine line, evaporating into the ethereal realm or overstating their grandeur. Both extremes lack the required balance of satiating the heart and the mind. In the hands of auteurs such as Nils Frahm, Brian Eno and Harold Budd, music of this ilk can blossom and sway with the most subtle of transitions and adjustments – and it’s those qualities we’re always looking for when we’re hunting out new artists and compositions.

Tom Ashbrook, a British composer, fulfils and exceeds the criteria on this new track ‘Oaktrees’, the third single released from his new EP Sensibus. You can hear the mechanics of his playing and the surrounding sonic detritus in the air. Soft synth pads widen the textural qualities of the piece and summon both the immersive sensation of being underwater and in space. Drift and a poetic sense of flotation being the common factor.

NEW MUSIC: IDLES – A Hymn

IDLES have released ‘A Hymn’, a new single and accompanying video clip from their forthcoming new album Ultra Mono, set for release on 25 September 2020 on Partisan Records.

The music video features the band driving with their parents through their hometown streets to the shops, providing a grey window into suburban English life that matches the song’s heavyhearted churn.

Frontman Joe Talbot says of the song: “‘A Hymn’ is a hymn that rejoices in the sinister flesh-eating virus of the pedestrian. It sings the tune of normal’s teeth sinking into your neck as you sleep stood up with your eyes open. Amen.”

Pre Order / Pre Save

I want to be loved Everybody does I find shame in the crack-like corpse un-cadaver reign I want to be loved Everybody does I find shame gripped tight like your withering fame We made it Shame.

Hot Zumba classes at the new church I lost ten pounds for the wedding I played happy til my teeth hurt Sofa surfer extraordinaire Lambert’s ash in my falling hair, yeh.

I want to be loved Everybody does I find shame cuts rips real nice as we change lanes We made it I want to be loved Everybody does We made it We made it

Shame.

Teletext has a place in my heart Ten percent discount, I’ll show you how Gregory’s birthday in a placid town, wow Janine held the flag with white knuckles I’m burning the Astra til the wheels buckle, yeh.

I want to be loved Everybody does

Shame Shame.

NEW MUSIC: Buddy Glass – Wasted Habit

Sydney songwriter Buddy Glass (Bruno from Peabody) is back with a brand new single and video, his first since he released his self-titled solo album in 2014. ‘Wasted Habit’ comes from his forthcoming new album Wow & Flutter, due out September 4th on Glass Half Empty Records.

‘Wasted Habit’ is a hard-strummed acoustic and densely fuzzed out electric shakedown. There’s desperation and anxiety in the frantic twitch and thrash of its sound, like clinging on for dear life as you hurtle towards the inevitable.

“I recorded the vast majority of the album on 4-track cassette in the back room of my house in Marrickville, in between dogs barking and babies crying – but this track was done on a digital 8-track machine I’ve had for over 20 years.”

Buddy Glass on ‘Wasted Habit’:

“It’s a song about knowing the outcome of a situation before it happens, but nothing you try to say or do stops you from taking the steps necessary to fulfill that outcome, even when that means a raw deal for everyone involved. It’s like being in a car crash but also witnessing it from the outside. It’s essentially about determinism over free will. The video clip features me flailing and dancing around in a cat mask in a David Lynch-style room. My friend said it was like Ian Curtis trying to dance like Peter Garrett. I hope that’s accurate.”

NEW MUSIC: Rhian Sheehan – Still

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.

Recollections, Vol. 1 is out now on Loop Recordings Aot(ear)oa.

NEW MUSIC: Daniel McCagh – Altered States

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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.

Altered States is out now via n5MD

 

NEW MUSIC: JARV IS… – House Music All Night Long

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Jarvis Cocker returns with his first album since Further Complications in 2009.

JARV IS… is a band and the album is called Beyond the Pale, out on Rough Trade Records on May 1, 2020.

JARV IS… features Jarvis Cocker (vocals, guitar, percussion), Serafina Steer (harp, keyboards, vocals), Emma Smith (violin, guitar vocals), Andrew McKinney (bass, vocals), Jason Buckle(synthesiser & electronic treatments) & Adam Betts (drums, percussion, vocals).

JARV IS… formed to play a show at the Sigur Ros “Norður og Niður” festival in Iceland at the very end of 2017.

JARV IS… was conceived as a way of writing songs in collaboration with an audience. As the material they were playing was in a state of flux the band decided to record their live shows so that they could monitor how the songs were developing. After an appearance at the Desert Daze festival in California, Geoff Barrow (Portishead, Beak) suggested that these recordings could be used as the basis for an album.

Overdubs & vocals were added at Narcissus Studios in Neasden, London. Post-production work took place at Jason Buckle’s Place du Big Boss studio in Raynes Park, London. The album was mixed by Craig Silvey at Toast Studios in West London.

JARV IS… – Beyond The Pale
SIDE 1
1: Save the Whale
2: Must I Evolve?
3: Am I Missing Something?

SIDE 2
1: House Music All Night Long
2: Sometimes I am Pharaoh
3: Swanky Modes
4: Children of the Echo

ALBUM REVIEW: Chastity Belt – Chastity Belt

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Music is about mood and the way it sonically hits the ears, heart and mind just as much as it’s about the stories and ideas conveyed by the lyrics. The appeal of Chastity Belt’s new self-titled album lies in both elements but it’s the overall sound and the warm dreaminess that billows out of the speakers that provides the strongest appeal and connection point.

All four band members share lead vocal duties and they’ve spoken of adding more dynamic harmonies and violin on this record. Those changes are key to the overlapping, drifting and lightly psychedelic sound across the ten songs. Structural experimentation, such as the drums taking a minute and a half to enter the fray on Elena, take the song structures away from standard rock shapes and closer to post-rock or a dream-pop version of Sonic Youth, bereft of their sharper edges. In a way the album sounds like lo-fi jangly guitar songs recorded in high fidelity, given the rich and lush treatment given to the recordings. The result is immersive and, once the listener lets go, quite immersive.

Many of the songs unfurl slowly, gently revealing their melodies on repeat listens as they seep in. A distant descending guitar riff on Rav-4, the counter playing on Half-Hearted that works like a beautifully disembodied version of Verlaine and Lloyd duelling in Television. Split is another gem, bathed in reverb and a tumbling verse that breaks through the clouds into a skyward chorus, it again shows the band quietly pulling at the threads of guitar pop – like The Smiths and some of the bands that emerged from the underground scene in ‘80s New Zealand.

The album never reaches the peak and immediacy of the single Different Now from 2017 but taken as a whole and listened to accordingly, there’s a beauty in the textural nuance and overall gentle hypnosis of the album.

Chris Familton