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.

NEW MUSIC: Joe McKee – I’ll Be Your Host

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Joe McKee used to be the main guy in Snowman but now he’s based in Los Angeles and has recorded a new album, An Australian Alien, under his own name, alongside members of Ariel Pink, Drugdealer and The Pixies.

‘I’ll Be Your Host’ is a beautiful hazy, dream-like drift of avant-pop, complete with a heavenly sax solo. Check out the video and then hit the Bandcamp link to stream and buy the album in digital and vinyl formats.

INTERVIEW: The Goon Sax

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TALKING WE’RE NOT TALKING

Brisbane trio The Goon Sax return with their second album and as Louis Forster and Riley Jones explain to Chris Familton, the desire to document their thoughts and experiences through an open musical relationship remains the driving ethos of the band. 

They were still teenagers negotiating the twin worlds of school life and being in a band when they released their debut album Up To Anything and now, facing the challenge of adulthood and the new responsibilities that come with it, The Goon Sax have found some different angles from which to write about familiar themes on its followup We’re Not Talking.

“I think growing up was definitely a big theme,” says singer/guitarist Forster. “We were writing more about love than we’d written about before. On the first record we were writing about that from an outside perspective, as a foreign concept. This time it was closer in that sense,” he reveals. “It was also about finishing school and worrying about what we were doing everyday, which we hadn’t had to do for 18 years.”

The group recorded the album down in Melbourne at Super Melody World and though they have mixed feelings about the experience, both Jones and Forster agree that it yielded positive results. “The recording process was really different because we worked with producers who had an idea of what we should sound like and we had a different idea, so the album is like both sides pulling and fighting for some middle ground which definitely makes it interesting,” reflects Jones. Forster agrees, adding, “we started writing as soon as we finished recording the first album, from 2015. It’s coming from the same place as the first record. I think there’s tension in every aspect of the record. It feels like it has so much tension and energy, that feels like it’s on the verge of falling apart or exploding which is a good thing. It didn’t seem like a good thing at the time but maybe it is now,” he says, with the benefit of hindsight.

One feature of the album is the increased democratisation of the musical relationship between the three of them. Alongside James Harrison, all members contribute lead vocals to the new album. “We definitely sing the songs that we write and then the others chime in. We recently made a rule that anyone can chime in whenever they like and so far that has worked well,” explains Jones.

That willingness to try new things on We’re Not Talking extended to the use of new instrumentation  such as strings, piano and more across its 30 minute playing time. “We wanted to experiment with drum machines a bit and have some horns and things.” says Forster. “We all wanted to sing more on each other songs. There are more group vocals and we were all having more influence on each others songs, both with the singing and the ideas we were putting forward. There are bits of Riley and James on all my songs and vice versa which wasn’t maybe there before that. It wasn’t necessarily a conscious thing but we did it at the time and it felt good.”

One common element that the newer songs share with the first album is the streak of melancholy and self-doubt that permeates their music. Is that a representative of their personalities or just the mood and tone of how their creativity is naturally expressed?

“I think to some degree it is part of our personalities but we definitely wrote about things that were difficult and that bummed us out at the time and writing about them made us feel good again. Sad music is made for a reason and maybe it’s to repurpose something you’ve gone through, “ ponders Forster. “It’s important for us to make music that feels necessary, not just for the sake of it. You need to feel like you have to do it. I like the absurdity of putting sad lyrics to happier sounding music, it just makes me laugh.” Jones has a similar take that also reflects the way she enjoys listening to music. “I like it when you can be nostalgic about those kinds of feelings and remember through the music how strongly you felt about something.”