Duluth Minnesota’s Low return with their first new release since the overwhelming sonic experience that was their last album Double Negative. From the opening harmonies of ‘Days Like These’ to the stark mirroring guitar chords and the fractured static and alien vocal effect, it’s clear they’re continuing to push the boundaries of song and sound on this new track, taken from the forthcoming BJ Burton-produced new LP Hey What, out Sept 10th via Sub Pop.
The drama is high on this recent single from Melbourne artist Cong Josie. It sways, pulses and seduces like the love child of Suicide and early primitive Depeche Mode. That said, there’s a lushness to the sound. Tropical funk in a woozy state of sunstroke or The Cramps sipping piña colada’s poolside.
Cong Josie is Nic Oogjes, best known as the bandleader of heat beat ensemble NO ZU. While Cong Josie is ostensibly a solo project, Nicolaas has enlisted talented friends to contribute both to the recording and production of the album and as a live band. Cayn Borthwick (or, Cong Josie non-de plume, Johnny Cayn) also from NO ZU provides the most significant contributions performing the majority of the tonal instrumentation (Nicolaas programs the rhythms and some basslines) and support. Kate Bishop, Margarita Strateas, Cassandra Kiely (CJ band name, Cassandra Capri) of Pearls fame and Simone Page-Jones (Mona Rêves), the triple-threat star of the Dark MoFo school of alt cabaret performers all perform backing vocals. Finally, Simone Galassi (Italy) also contributed from afar to add sharp, reverb-drenched, and almost-crying guitar on two tracks.
There’s a debut solo album on the way via IT Records.
As Ant Rosen explains, the whole creative process of putting together the clip, was a highly rewarding experience. “Working on the video for ‘Welcome To The Ages’ was a really cool process. Eleanor & Giovanni work out of their home studio space in Canberra and I was drawn to their style after seeing some of the projects they had worked on. We met a bunch of times over Zoom (as you do in this day and age) to discuss the song and the feelings it evokes, which lead to ideas for the video. We came up with the idea where the main character falls into a bit of a time vortex, exploring things from his past and travelling through time before he needs to get back to where he started from. It’s a bit abstract and dreamlike, and even though it’s animated, I feel there is real life and emotion that comes through in the video. It’s a fun clip too, I reckon it looks unreal!”
“I don’t even know what’s right, and I can’t get to sleep at night, just take me back to where we were before,” sings Rosen through the chorus, an exceptionally relatable refrain in 2021. However, when those words arrive on ‘Welcome To The Ages,’ they seem to be delivered from that world of love, rather than the world of fear.
“All the songs are personal in their own way,” admits Rosen, “but a song like ‘Welcome To The Ages’ in particular is one which is quite reflective for me. Even more so now after such big personal life changes for me coupled with what we’ve all collectively gone through recently with the global pandemic. I hope that sentiment resonates through.”Arriving with the warm immediacy of power pop, swaddled in layers of guitar reverb and subtle harmonies, ‘Welcome To The Ages’ possesses that same sense of awe that drifted through so much of the triumphant rock and roll that emerged at the turn of the century. Indeed, Anatomy Class has always worn its ’80s and ’90s influences on its proverbial sleeves – from the classic sounds of Lemonheads, Swervedriver an Pixies – through to the more modern day acts like Doves, The War On Drugs and DIIV.For Anatomy Class, it’s an exciting return with what they see as just the first taste of what quite possibly is some of the best music of their career. “I feel these are our strongest collection of songs yet,” says Rosen. “After years playing together, particularly for Nick and I, the song-writing process felt a lot more intuitive and focused on what the Anatomy Class sound is all about.”
Tearjerker recently released this video clip for their new single ‘Deep End’, a dreamy, drifting slice of indie guitar rock that impresses with its slow-motion, heavy-lidded sound. Guitar notes unfurl and dissolve over the metronomically simple yet effective drumming and cyclical rhythmic quality of the song.
Things take a beautifully hypnotic and immersive turn as the song fades from view in an ether of ambience and soft bed of field recordings.
Deep End is the title track for the Toronto, Canada trio’s new EP which is out now.
The third single from The Finalists‘ debut album First, ‘Hunting Knife’ finds the band digging into a big bright sound that showcases their love of chiming and dreamy guitars, lively drums, melodic bass lines and melancholic hooks aplenty. Across its three minutes, songwriter Mark Tobin sings of a catastrophist who starts smoking again because he believes the world will end before he gets cancer.
All we need’s fresh water
A magnesium fire starter
A hunting knife
And a big box of Amoxicillin
The band’s debut single, ‘Ignore All The Hate (On Your Telephone)‘, which was a featured single of the week on 2ser 107.3FM, is an understated slice of melodic melancholia, draped in acoustic and electric guitars that sparkle and gently jangle. In contrast, their second single ‘Learn To Live Without You‘, whichpremiered on the AU review, is a concise and infectious, garage and jangle-pop guitar nugget, harking back to the golden age of the two and half minute pop song. The track was selected by The Guardian for their Best New Australian Music column and playlist for November 2020.
Restless Leg 2021. Photos by Joshua Morris
As Sydney band Restless Leg prepare to release their new LP Dream Buffet on June 11th, they’ve released the video for its second single ‘The World’s A Room’, directed by Darren Cross.
The opening track to the new album, the single is an infectious, hook-laden slice of jangly guitar pop, reminiscent of the heady sounds of New Zealand band The Bats and their numerous Australian contemporaries trading in melodic indie rock. It’s one of those songs that sways and bobs with freewheeling exuberance, another gem from a band that has mastered the recipe for mixing spirit and verve with poetry, guitars, hooks and melodies.
“This was the last song written for Dream Buffet, at the height of the COVID-lockdown in Sydney in 2020. It was probably around the same time that D.C. Cross released his record of classical guitar compositions (Terabithian) of which he said ‘were not at all concerned with the current social state [i.e. the pandemic]. Total escapism through music’. In stark contrast ‘The World’s A Room’ stares directly into the time-bending tic-toc of lockdown and invites you to dance, by yourself, to some Flying Nun compilation tape you dug out from the early-1990s. It kinda comes at the same problem, but from a different angle,” explains the band’s songwriter, Ben Chamie.
DREAM BUFFET EAST COAST TOUR
Sat 12th – The Servo, Port Kembla NSW – with guests Dropping Honey and Birdsville
Sat 19th – Sonic Sherpa Records, Greenslopes QLD (3pm instore)
Sat 19th – Can You Keep A Secret? Woolloongabba QLD – with guests Full Power Happy Hour (5-7pm)
Fri 25th – The Factory Floor, Marrickville NSW – with guests The Electorate and Knievel
Fri 13th – The Brass Monkey, Cronulla NSW – with guests Froggy Prinze and Looch Lewis & The Press Gangsters
Sat 21st – Nighthawks, Collingwood VIC – with guests Minibikes and The Barebones
JW Francis hits a super-melodic collision of indie pop and woozy, rich and warm hazy psych funk on this new track. You can hear the influence of acts such as Beck and Phoenix alongside contemporaries Mac DeMarco, Unknown Mortal Orchestra and even the more commercial indie pop strains of Boy Pablo. ‘Maybe’ is fun but it’s not frivolous, with sonic details in the rhythm section providing particular rewards.
Born in Oklahoma, raised in Paris, living in New York City, assistant to a Nobel Prize Winner, licensed New York City tour guide and Murder Mystery business owner.
Sydney musician Tom Crandles, better known as Prudence has a brand new four song 7″ Untitled EP out today (May 14th) via Endless Recordings. Featuring the tracks ‘Celestial’, ‘Chlorine’, ‘Better’ and ‘Relief’, it showcases the lush and baroque avant-pop that Crandles has been developing across a handful of tracks and an EP over the last few years.
We’re very pleased to premiere the video for ‘Better’ here on DS today. On the song, and the wider EP, Prudence filters the sound of David Sylvian, Talk Talk and numerous other auteurs of forward thinking art-pop into his own sound. Melodies run strongly through the bass guitar while tones and textures drift and blur across the speakers. It’s a beguiling mix of ornate and intimate songwriting with sonic obfuscation and a dreamy, narcotic-infused atmosphere – with Crandles’ voice leading you into the ether with quiet drama.
Director McLean Stevenson says of the clip for ‘Better’, “We shot this in Tom’s late grandparent’s abandoned, half burnt down home a few weeks after Tom met Dom (the actor) in hospital. It was shot on a 2017 Chinese manufactured Android device.”
From a wholly solo project for Crandles, Prudence has developed into a full live band with pianist Aleesha Dibbs, bassist Kat Harley and drummer Liam Hoskins.
Untitled is available to order digitally and on 7″ via Bandcamp and on the usual streaming services.