NEW MUSIC: Donny Benét – Second Dinner

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The smooth sailing prince of low-slung synth pop and disco funk is back with a new single Second Dinner’. It’s another winning slice of coy 80s electronic pop with shades of Bryan Ferry fronting a sultry disco house band with Giorgio Moroder producing.

TOUR DATES:

  • 04 Oct – Fat Controller, Adelaide, SA
  • 10 Oct – The Zoo, Brisbane, QLD
  • 11 Oct – Beach Hotel, Byron Bay. NSW
  • 18 Oct – The Rosemount Hotel, Perth, WA
  • 19 Oct – Mojo’s Bar, Freemantle, WA
  • 25 Oct – The Croxton Bandroom, Melbourne, VIC
  • 02 Nov – The Metro Theatre, Sydney, NSW

NEW MUSIC: Slark Moan – Honesty

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Almost a Beach Boys sound at the start of this new track from Slark Moan. From there it opens up into cascading piano notes before settling on a rubbery bass groove and classic baroque and power pop shapes. Vocal harmonies soar skyward while Ringo-style drums keep the song in check, while also adding some nice rhythmic colour behind the vocal, inhabited by the wandering ghost of Harry Nilsson. This is classic psych pop/rock of the retro variety but executed with skill and dreamy precision.

The song comes from his sophomore album Superstition for the Consumer Romantic (out August 9th), which took about a year and a half to craft. Sloan also spends much of his time on the road touring as a hired gun for an assortment of alt-country/pop acts such as Kelsey Waldon, Margo Price, Sam Outlaw, Erin Rae and more.

NEW MUSIC: Wine Flies – Business

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Some wonderfully weird-pop here courtesy of Wine Flies, the solo project of Swedish musician Henrik Lennartsson. It hits that same spaced-out, fever dream vibe of John Maus and Ariel Pink with a warped, lo-fi production aesthetic that accentuates the haunted feel of the music.

“Business was the result of me, merely improvising keys over a beat. I never know what I’m gonna get, since I don’t write the songs beforehand. I’m not at all classically trained in any form, I always just play whatever chords or notes I know until I get something that sounds alright (at least to me). My biggest inspiration is all the bad/boring music I’ve ever heard, because it makes me feel absolutely no pressure what so ever. I simply aim to create something listenable, preferably a hit, but mostly just barely okay. I’m basically just trying to have fun with it, because why not? 

I’d say that my fuel/drive in all of this comes down to the concept of irony. It completely destroyed me as a person, when it first hit me as a younger man, but it is also now the thing that makes me sane and keeps me going, because life is ridiculous, and so am I.“

 

NEW MUSIC: Timothy Eerie – Transformation Of Things

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A suitably trippy clip for this psychedelic somnambulant space jam from Timothy Eerie. The group hail from Austin, TX and based on this track they’ve found a damn good angle on imbuing blissed out English psych and US West Coast sounds with a post-modern dream sheen.

For fans of Mac DeMarco, Chad Van Gaalen, early Pink Floyd, CAN and The Byrds

INTERVIEW: Matt Corby

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WINKING AT POP MUSIC

Matt Corby has come a long way from his solo folk beginnings. Here he takes us into the creative process behind his colourful new  second album, Rainbow Valley.

by Chris Familton

The album title suggests some kind of idealised nature-based community where everything exists in harmony and for Corby and his family, that’s why they’ve settled in the area of the same name, in the lush surrounds of Northern NSW. “The house is situated in an amazing tropical paradise where you only really hear birds. With that kind of silence comes a certain amount of focus. I wouldn’t have made an album that sounds like this if it was somewhere that wasn’t picturesque,” Corby believes. “It was fitting to call it Rainbow Valley because it marks the place that was needed to facilitate the record coming into existence. It’s quite a sunny feel through most of it but it does have some dark moments too. It’s quite happy in an introspective way,” he adds.

The physical process of finding inspiration and capturing those ideas has become music easier in Corby’s home, with the studio he’s set up there. “I have a space I can come to where everything is set up and ready to go with mic channels, a drum kit, synths, guitars and amps. That’s made the workflow heaps easier. I can go in there on a good week and do a couple of good songs.” 

Over a string of early EPs, Corby made his name with a strong folk sound that gained comparisons to Jeff Buckley and Crosby, Stills, Nash & Young but he increasingly added soul and psychedelic influences. ARIA Awards and high charting singles followed, culminating in his debut album Telluric hitting #1 on the Australian charts. Now he’s taken the rich and modern psych-soul sound of that album and added some fascinating new angles and colours.

“I think it’s a continuation in my weird way. I never really want to make one thing again. This one is slightly more pop. It’s not necessarily pop music but it’s winking at it quite heavily. I could have gone really weird, which I naturally want to do, or have a crack and make something that is really palatable for lots of people without compromising too much,” says Corby.

The genesis of Rainbow Valley came from a few songs that didn’t make the final cut for Telluric. Corby then spent a year jamming and experimenting in his home studio with longtime friend and musical foil Alex Henriksson before he was ready to head to Byron Bay to again work with producer Dann Hume and put together the album. “Alex and I like the experimental phase and not necessarily the hard work of refining songs and trimming them and getting lyrics and melodies concise. We’d just put beats down and do fun sounding stuff. It got me to the point where when I was seriously writing songs for the album, 18 months ago, I had had all that experimentation behind me so it was easy in the moment to know what to do and reference those jams and pull bits out and use them,” Corby explains.

Corby’s creativity has evolved and matured to a point where he plays all the instruments on Rainbow Valley and he’s found the confidence and musical ability to find the sweet spot where a variety of genres blend seamlessly, where traditional and ultra modern sounds coexist and with a balance between experimentation and commercial viability.

“More and more I’m conscious of others in my creative process. I used to be against what others thought ‘fuck you, this is my art!’ Now that I’ve digested a lot of other music I understand things like what genres and time period things fit into and what referencing those does for a modern audience. It probably comes from doing music for a long time and it definitely comes into play when I make music,” Corby reflects. “When I hit something that feels good, I usually feel good because I think that other people will probably like it, which is kind of cool. Hopefully I’ve got that right on this record.”

NEW MUSIC: Niki Moss – There Must Be Something In The Water

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Plenty of cosmic twists and turns in this track, the second taste of the solo work of Portuguese musician Niki Moss, who previously has worked with the band Savanna. ‘There Must Be Something In The Water’ drips with psychedelia and a kaleidoscopic quality that sound like a futuristic Doors if they were on different drugs.

Moss’ debut album Gooey is slated for release early 2019.

 

NEW MUSIC: Fox Grin – Black Tree

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New music in the sense that it’s new to us… Fox Grin (Atlanta, Georgia) actually released their LP King Of Spades back in January of this year but we’ve only just come across this great track, ‘Black Tree’, in the last couple of weeks. It’s a upbeat shimmer and dance through art-rock and avant-pop. Downbeat by nature but thoroughly on the up musically, it cuts a fine sartorial figure as the infectious rhythm section pulses below all manner of guitars and keys. It sounds like Beck buried in a kaleidoscopic studio with Field Music.

Check out ‘Black Tree’ and find your way through to the full record on Bandcamp or hit up the usual streaming services.