NEWS: Dylan Carlson (Earth) Announces Solo LP


Dylan Carlson, he of the slow motion, distorted, drag and drone guitar soundscapes, has announced a new solo album, his first under his own name. Apart from a now quarter century of Earth albums he has also recorded under the drcarlsonalbion, releasing the soundtrack for the film Gold and a smattering of other projects.

Conquistador will be released on the Sargent House label on April 27th.



PREMIERE: Hoolahan – Instant Gain

Hoolahan Press #1 Gatefold

After a 10 year break, Sydney quartet Hoolahan returned to active duty last year with the release of their Wayne Connolly-produced album Casuarina.

We’re pleased to premiere the video clip for the second single from the album, ‘Instant Gain’. It’s a song draped in chiming guitar, keening and bittersweet vocal melodies and the kind of brisk rhythm you might find propelling a song by The Chills. Precise, refined yet heartfelt songwriting par excellence.

The band will be launching the single at a show at the Marrickville Bowling Club, Sydney on March 9th.

The Hoolahan Story

Songwriters and childhood friends Tim Kevin and David Orszaczky grew up together in Canberra, swapping tapes and learning guitar via the pause/play button. Soon after moving to Sydney they formed Hoolahan with Harry Roden and Neil Bateman.

After a handful of early singles, the band’s debut King Autumn was the first album released on Sydney’s revered Ivy League label. Now hailed as a lost classic, upon release it earned glowing reviews and national airplay.

Following King Autumn’s release the band toured nationally, playing the Big Day Out festival and performing with the likes of You Am I, Grant McLennan and Robert Forster, Ash, The Vines and Swervedriver. Hoolahan split in 2007 but remained close friends.


NEW MUSIC: Tropical Fuck Storm – You Let My Tyres Down


Tropical Fuck Storm (TFS) have released the video clip for their splendid new single ‘You Let My Tyres Down’, complete with red wine, robes, rivers and spaghetti. The B-side is a cover of ‘Back To The Wall’ by The Divinyls, sung by Fiona Kitschin and Erica Dunn.

‘You Let My Tyres Down’ is a mutant swamp-pop blazer, surveying Melbourne’s suburban underbelly with a free flow of hair-raising imagery (“I grew up around her family / And they were such a bunch of losers / Anchored only to each other / On a sea of vodka cruisers”).
As Gareth Liddiard explains, “You Let My Tyres Down is basically about the real word; ordinary life, and how drab and featureless it seems until you write it down, and then you see it’s pretty wild. They say that good books make shit movies and shit books make good movies. So if you’re depressed and you feel like your life resembles a shit book, congratulations.”


Also announced is their debut LP, A Laughing Death In Meatspace which will be released on May 4th on Mistletone / TFS Records.

TOUR NEWS: Suzie Stapleton returns to Australia

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photo by Steve Gullick

Sydney-born alternative artist Suzie Stapleton is heading to Australia in March for a long awaited homecoming tour. This is Stapleton’s first time back to Oz since relocating from Melbourne to London in 2015. Over the past three years she has been captivating UK & European audiences with her electric live performances, midnight vocal, and guitar-driven noir soundscapes whilst touring with artists such as Mark Lanegan, Mick Harvey, and Jim Jones & The Righteous Mind.

The tour coincides with the release of new single “Negative Prophet”, an isolated protest in an oversaturated world where the powerful feed on the powerless. Spurred on by Stapleton’s delicate, blues- tinged guitar lines the song builds with layered ebow and loops, along with bass and bowed double bass performed by guest musician Fred Lyenn Jacques (Mark Lanegan Band / Lyenn). As the cathartic din reaches a crescendo Stapleton howls “Oh God, do you believe in me?” – a sentiment of hopelessness that reverberates loudly in the current sociopolitical climate. The track was recorded and produced by Stapleton in her home studio and mixed by engineer Drew Smith (PJ Harvey, Ed Harcourt).

Stapleton’s Other recording credits include appearing as guest vocalist on Lydia Lunch & Cypress Grove albums “Under The Covers” (2017) and “Twin Horses” (2014) as well as ongoing involvement in The Jeffrey Lee Pierce Sessions Project (feat. Iggy Pop, Nick Cave, Debbie Harry, Thurston Moore +). Stapleton first appeared on the project’s 2014 album “Axels & Sockets” and a fourth and final album in the series is currently in production.

These shows will be solo performances though an album is anticipated later in the year with Stapleton’s UK band which features bassist Gavin Jay (Jim Jones Revue/Righteous Mind) and drummer Jim Macaulay (The Stranglers).

“An unmissable opportunity to see one of the most exciting emerging talents on the London scene before she hits the big time” Louder Than War (UK)

“What she actually sounds like – more than anything – is Suzie Stapleton. The emerging wave of assertive and gifted female artists is both urgently needed and one of the few bright spots in an otherwise ever more worrying world.” Tom Robinson, BBC/Fresh On The Net (UK)

“The truth is that Suzie Stapleton is streets ahead of so many singer/songwriters that success seems inevitable. I can only assume the majors are scampering with intent toward her right now.” I-94 Bar (AUS)

Australia 2018 ALL DATES - WEB

LIVE REVIEW: Lambchop @ Factory Theatre, Sydney


Lambchop, Antonia & The Lazy Susans, Jack R Reilly @ Factory Theatre, Marrickville, Oct 19th, 2017

Early arrivals were privy to opening sets from local acts Jack R Reilly and Antonia & The Lazy Susans. The former showed a fine line in intimate, emotionally open and vocally impressive singer/songwriter fare over sparse and haunting electric guitar. In contrast, Antonia & The Lazy Susans were a confusing choice to open for a band like Lambchop. They delivered emo/indie guitar pop with an overdose of angst. The songs were overwrought and simplistic in form, a total contrast to the act they preceded.

This was a stripped down version of Lambchop – a band who have always had a fluid lineup revolving around frontman Kurt Wagner. On this tour the configuration was bassist Matt Swanson, pianist Tony Crow and Wagner on guitar, laptop and vocal manipulations.

Opening with a trio of songs from last year’s Flotus album they established the sonic palette for the evening where bass-lines formed pulsing, smooth and febrile shapes over beds of digital beats and textural clicks, beeps and washes of sound. Crow’s piano was a revelation of cascading notes that fluttered and danced through melodic passages, light of touch but beautifully melancholic and immersive. Front and centre was Wagner, the conductor and storyteller with his reading light, vocal unit, laptop and guitar. Using autotune, delay, reverb and self-sampling effects he conjured up a playful and endlessly fascinating take on the role of the lead vocalist. Older songs such as The Decline of Country And Western Civilisation and 2B2 were recast in the Flotus mold without losing any of their grace and poetic weight – an example of how, even though this was a new iteration of Lambchop and quite a distance for their country soul origins, it was still uniquely identifiable as the same band.

As the set progressed the players seemed to relax into their roles, particular Crow with his often hilarious quips, such as setting his phone to vibrate in his pocket at various moments during the show, to keep himself awake. It was certainly a show that traded on a minimalist sound that recalled Brian Eno but at the same time it embraced and reinterpreted various influences such as the textural and melodic inventiveness of Arthur Russell and the lush R&B of D’Angelo. In keeping with that they concluded with a uniquely Lambchop take on Prince’s When You Were Mine. This was post-modern soul music at its most compelling.

Chris Familton

Neil Finn – Out Of Silence album recording/webcast


Out Of Silence was recorded live in-studio via webcast on Facebook and YouTube and will be mixed, mastered and digitally released one week after the recording, on 1 September 2017.

“It’s pretty damned exciting. It’s the way I always dreamed of making music.”

Each Friday for the last month, Neil Finn has been convening in his Roundhead Studios in Auckland, New Zealand with a collection of musical friends and colleagues and a worldwide audience of over 15,000. Live streaming the sessions has allowed the general public into the world of the recording studio and a chance to intimately witness the technical and creative process that goes into preparing for, and recording an album.

The first three weeks of the Out Of Silence webcasts were used to rehearse and fine-tune a selection of the songs destined for the album as well as treat the studio and online audiences to some musical surprises. Finn was determined to make it an interactive experience, allowing for Skype calls from both members of the public and friends and family from overseas. Crowded House bassist Nick Seymour called in from Ireland and playing along to their song As Sure As I Am, Liam Finn and Connan Mockasin beamed in from Los Angeles and Jimmy Barnes (whose daughter EJ was part of the studio choir) delivered a thrilling Skype duet of the Split Enz classic Shark Attack.

Though the primary purpose of the early sessions was to rehearse for the album recording in week four, Finn rose to the sense of occasion that the process presented. In week two brother Tim joined him for a set of Finn Brothers songs while the following Friday saw Neil back on guitar fronting a tight rock band comprised of James Milne (bass), Elroy Finn (drums), Delaney Davidson (guitar) and Finn Scholes (keyboards) playing Crowded House songs (Weather With You) and Split Enz songs such as I Got You.

Each of the lead-up sessions were a tightly focused two hours but for the final webcast and full recording of the album, a four hour window was allocated. There was clearly less frivolity and loose joking around with the seriousness of the matter at hand. One got the sense the preceding week had been an intense period of rehearsing and ironing out any weaknesses in arrangements and performances. Finn also alluded to a week where many of the musicians had to battle winter illnesses to get to the final stage of the project.

“Is there anything we need to remember?” asks Finn. “Don’t fuck it up!” came the reply from his son and the album’s producer, Liam.

In a tightly packed studio, with Finn solely on piano, brass and woodwind sections, a percussionist, choir, drummer and guitarists as well as studio technicians and a film crew it was clearly an exercise in logistics and planning. As the session progressed it became clear how much of a people-person Finn is. In a high pressure environment, with the world watching, he was still able to create a working atmosphere that allowed individuals to relax and express themselves, for opinions to be voiced and all without a raised voice or overtly autocratic approach. It made for an inclusive and harmonious vibe in the room and one that filtered through into the soul of the music.

With son Liam Finn in the producer role, the album songs were recorded out of sequence, allowing them to ease into the session and also to bracket together the songs that required the various additional groups of musicians. The one constant was the choir, a who’s who of New Zealand music, including James Milne (Lawrence Arabia), Hollie Fullbrook (Tiny Ruins), Reb Fountain, Sam Flynn Scott (The Phoenix Foundation), Don McGlashan (The Muttonbirds), Sean Donnelly (SJD), EJ Barnes and Tim’s son Harper Finn. Dressed in robes and described by Finn as looking like “the mysterious alumni of some obscure university”, they provided a warm, campfire vibe that took in gospel and folk elements, giving weight and ascendency to Finn’s voice across the recordings.

Multiple takes of each song were undertaken, with micro adjustments made on each successive performance. Finn experimented with the interplay between his piano playing and singing, requesting a click track on some takes and none on others – anything to find the right mood and feel for each song. He fine-tuned string arrangements on the fly with arranger Victoria Kelly and provided suggestions to the choir on where to focus the impetus of their singing. It was a fascinating insight into both the process and Finn’s creative spirit and attention to detail.

From the momentum and pulse of Second Nature to the swooning melancholy of More Than One Of You, the Robert Wyatt’ish Alone with Tim Finn on guitar and vocals to the topical and Split Enz-sounding baroque pop of Terrorise Me with the line ‘love is stronger when it hurts’, Finn touched on themes of war, terror and policing but countered it with the greater and often more mysterious power of love. The overarching sound of the album was one of ornate and highly textured music, classic in tone and sophisticated and adventurous in its emotional range.

Chris Familton

NEW MUSIC: Zola Jesus – Exhumed

zola jesus

Zola Jesus returns with the first single from Okovi, her new album on Sacred Bones Records, due out Sept 8th.

It finds Nicole Hummel in fine form, juxtaposing dramatic flurries of strings, industrial electronic rhythms and low frequency bass thrums as she backgrounds her lead vocal with the deathly howl of her self-voiced choir. There’s a turbulent, anxious and haunting feel to the song that seems to be addressing death, rebirth and the shadowy netherworld that lies between both.

ALBUM REVIEW: Hollow Everdaze – Cartoons

hollow everdaze

Artistically speaking, pop art is an apt description of the style and approach that Hollow Everdaze have near-perfected on Cartoons.

A decade into their career they’re still uncovering lush, sun-kissed pop nuggets that swoon, sway and deftly swagger through 60s eccentricity, 80s/90s British indie and right up to the modernism of a band such as Spoon. There’s a wistful quality to the songs yet they invest just the right amount of grit and depth to keep them grounded.

The distorted guitar on the title track and Flat Battery, the bass and reverb on Running Away, and the violin on Same Old Story and the warped psychedelia of Still Ticking all add fascinating tangents and layers to their sound.

This is sophisticated pop music par excellence, endlessly inventive, devoid of schtick and all class.

Chris Familton

Cartoons is out now via Deaf Ambitions.