NEW MUSIC: Prudence – Heart Sways

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Last year we shared Prudence’s track ‘Smile & Nod’ and now the Sydney artist has released his first 2020 single in ‘Heart Sways’. It’s got a wonderfully immersive, dream-like quality with gently propulsive bass and climbing guitars. Think Ariel Pink in a hazy dream sequence with an 80s dream-pop/post-punk band. It’s that delightful blend of simple pop and arthouse sophistication – blurred and stirred.

Prudence is multi-instrumentalist Tom Crandles with Aleesha Dibbs (Divebell, Lorelei), bassist Kat Harley (The Laurels, Mezko) and drummer Steve West (Obscura Hail).

NEW MUSIC: Key Out – Chorus

 

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Straight outta Sydney come Key Out with their driving, insistent new post-punk single ‘Chorus‘. Their dark, melancholic and moody synth-rock is built on an insistent bass/drum machine combination and a melodic yet wistful lead vocal, bringing to mind acts such as Underground Lovers, Ride and New Order.

Key Out is an indie pop trio from Sydney, Australia. Its members (Paddy Haid, Rohan Geddes and Caroline Wake) have previously played in Ides of Space, Sounds Like Sunset, and with Sarah Blasko. Their forthcoming album, Anthropomorphia (June 26th), was recorded by the band at home, and mixed and mastered by Wayne Connolly (Amy Shark, Matt Corby) in his Sydney studio. The album will released on Nic Dalton’s (ex-Lemonheads) Half A Cow Records label.

 

 

 

LIVE REVIEW: Moon Duo @ OAF, Sydney

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MOON DUO 
OXFORD ART FACTORY
13/02/20

The evolution of Moon Duo has been a slow and steady one over the last decade. Originally starting as a duo of Wooden Shjips guitarist Ripley Johnson and Sanae Yamada, the pair have retained their minimal aesthetic and core personnel but expanded their live performance to include a drummer and most recently, a stunning light show, by Manchester-based visual projection artist Emmanuel Biard, comprised of projections onto transparent material surrounding the band on three sides, creating a 3D prismatic effect.

After a DJ set from Angus Andrews of Liars that travelled through all kinds of psychedelic dimensions before curtains parted and the band emerged in their triangular realm, silhouettes magnified large above the audience’s heads. Any Moon Duo show is a journey that doesn’t necessarily have peaks, instead there are sonic waves, carrying the crowd on stratospheric journeys through thin atmosphere, twinkling synth lines and winding, searching guitar filigrees or dragging them down into subterranean head trips to the centre of the earth. The Krautrock drive and relentless rhythms were like a superhighway – sleek and endless, the motorik bass and melodies of Yamada the perfect balanced foil to Johnson’s more traditional psych rock soloing – heavy on effects and open-ended explorations of the outer limits.

Tracks from most of their albums peppered the set and they finished off with their recent cover of Alan Vega’s ‘Jukebox Babe’, a perfect homage to one of their strongest influences. The combination of the visuals and the consistent and cohesive adherence to their musical parameters made the set a wholly immersive and transportive experience for the audience and no doubt the band as well.

Chris Familton

LIVE REVIEW: Joan As Police Woman @ Factory Theatre, Sydney (2019)

 

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Joan As Police Woman
Factory Theatre
9 October

As a venue, the Factory Theatre often lacks warmth and atmosphere but on this night Joan As Police Woman transformed it into a dreamy basement cabaret bar. There was no support act due to her playing two sets – another tip of the hat to the jazz bar scenario. It also gave the fans a chance to check out the fully laden merch desk between sets.

On a dimly-lit stage wreathed in smoke sat an upright piano, an electric guitar, amplifier, and a Roland Rhythm Arranger drum machine. Joan Wasser, resplendent in a disco-era jumpsuit, took a long, deep breath before easing into a gorgeous rendition of ‘To Be Lonely’. The reverence of the attentive audience was quickly broken with Wasser good-naturedly asking for the air-conditioning to be turned off as she shivered, stretched her hands and even dropped to the floor for some press-ups. A few songs later she took up an audience member’s offer to lend her jacket.

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It was clear that Wasser was in a playful and irreverent mood, exchanging banter with the audience before switching her attention back to her emotive jazz-tinged deep soul, R&B and folk inflected songs. Pretty much all the songs she played came from her recent anthology release Joanthology which cherry picks the highlights of the last decade of her solo career.

What quickly became evident from watching and listening to Wasser perform her songs, was the way she commands and steers the timing of, and space within her music. Sparse piano chords settled in unusual places, augmented by sweet melodic runs of notes. All the while her voice drifted and soared above the music, pushing and pulling via simple incantations one minute and delicate and intricate acrobatic flurries the next. Her more rhythmically dependent songs were given groove and depth via the drum machine and on her cover of Prince’s ‘Kiss’ she took the song further into coy and sensual territory. Other highlights included ‘Human Condition’, ‘Tell Me’, audience favourite ‘The Magic’ and the gentle ache of ‘The Ride’.

Joan As Police Woman has visited Australia a number of times now but this felt like the most relaxed, intimate and consummate show we’ve seen from her.

Chris Familton

NEW MUSIC: Easy Street – Get On

Australian band Easy Street throw a Dylan-like urging vocal and some loose-limbed exuberance into the musical blender on this new track ‘Get On’. It’s one of those songs that feels purpose-built for the fast approaching warmer months.

Hailing from Sydney, the quintet have a great carefree and melodic, garage psychedelia going on in their sound. We’re looking forward to hearing more from the band.

GIVEAWAY: Win Tickets to Jamie Hutchings’ Sydney Show with Mark Moldre

Giveaway

Jamie Hutchings is heading out on tour at the end of this month to celebrate the vinyl and digital release of his new live album King Hits and Goldfish Memories. Special guest on the tour is Mark Moldre who has also just released his new album, the critically acclaimed Fever Dreams. Both artists will guest in each others live sets plus along for the ride will be bassist Reuben Wills.

GIVEAWAY

Win a double pass to see Jamie Hutchings launch King Hits and Goldfish Memories with special guest Mark Moldre at Camelot Lounge Marrickville on Thursday Oct 31st. To sweeten the deal they’ll also throw in a signed copy of Hutchings’ Bedsit and Moldre’s Fever Dreams albums on CD.

To go in the running:

1. Like Jamie and Mark’s Pages on Facebook and/or Instagram
2. Share the giveaway post (pinned at the top of their FB Pages)
3. Comment DONE

A winner will be drawn on Monday 21st October. Tickets will be emailed to the winner. CD’s can be picked up at the show.

Special thanks to Wire Bluthe – who really wanted to be at the show, but lives in Townsville, for “fan-funding” this giveaway. 

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LIVE REVIEW: Ride @ Enmore Theatre, Sydney 2019

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Ride @ Enmore Theatre, Sydney NSW Sept 6th 2019

It’s been a long time between drinks for Australian fans of English band Ride but the timing felt just right with the band re-established for a couple of years now and with two solid new albums under its belt.

It’s most likely that the members of openers Shiva & The Hazards were probably not even born when Ride first emerged from Oxford in 1988. Listening to their music with that in mind casts their sound in an interesting light given how in thrall they are to bands such as Verve, Oasis and The Stone Roses. Unfortunately they were given the demoralising support band treatment with flaccid lighting and a sound mix that imagined a rock band without bass guitar and a lead guitarist whose tone sounded like it was being transmitted through a portable AM radio. They persevered unperturbed and seemed to be enjoying the thrill of a big stage gig. A song of theirs such as recent single ‘Angkor Wat’ is a strong release in it’s recorded form, ticking all the boxes of psychedelic English indie rock albeit 20+ years past its heyday, but on the Enmore stage it all sounded too disconnected and lacking warmth and depth. That said there was generous applause from those early arrivals hugging the stage barrier.

Ride have always had the ability to sound both intimate and widescreen on their albums but in the live realm they’ve made the decision to focus firmly on the latter, employing colourful stadium lighting and maximum projection, mainly from Mark Gardener. You got the sense that the newer songs they played were written with that in mind. Big riffs, repeated and pushed out into the room with emphasis on dynamics over texture. Of those new ones the two that resonated most strongly were the Primal Scream’ish ‘Kiill Switch’ and ‘Future Love’, an absolute gem of a song, easily the equal of the best in their catalogue. Live, its jangling riffs and near perfect vocal harmonies lit up the room and provided relief from the more overwrought moments on the setlist.

Of course nearly everyone was there to hear songs that thrillingly illuminated a particular corner of their musical youth nearly 30 years ago. Songs from the seminal Nowhere album and its follow-up Going Blank Again. The dense and agile baggy noise of ‘Seagull’, the chiming perfection of ‘Vapour Trail’, the cascading heavy-lidded hypnotism of ‘Dreams Burn Down’ and the interstellar gospel psychedelia of ‘Polar Bear’ from their debut album all gloriously lived up to expectations, as did ‘Leave Them All Behind’ and the dystopian light-headedness of ‘Chrome Waves’ from Going Blank Again. ‘Twisterella’ from the same album was great to hear but it hasn’t aged as well as their other songs, sounding timestamped and with a whiff of nostalgia about it.

As a band they were firing on all cylinders, tight and in the pocket. It was overwhelmingly evident that they’re the sum of their parts, even if Mark Gardener takes on the frontman role, clearly relishing his position as interlocutor for the band. Listen closely though and it quickly became clear how essential Andy Bell’s guitar playing is. Those riffs that define the golden moments in the songs, the twists and turns that add the colour and sheen that made Ride the great band they were (and still are). Steve Queralt (bass) and Loz Colbert are an underrated rhythm section too. The former with feet planted and rooted to the spot, playing it straight for the most part, occasionally delivering defining bass lines such as the central hook of ‘Seagull’. Colbert too is essential, the anchor and the engine in perpetual rhythm and motion.

Ride in 2019 are a band who have navigated the reunion process better than most. They’ve reignited the creative spark of their songwriting and recording and put together a show that pleases fans new and old. They remain vital and energised, and even though they at times overcooked the ‘rock show’ aspect of the gig, the songs and sounds they built their audience and acclaim on remain intact, and gloriously so.

Chris Familton

NEW MUSIC: The Laurels – Sound System

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The Laurels are back with a new single/video, ‘Sound System’, their first with new member Kat Harley (Mezko) on bass and vocals.

As usual they’re working that hazy and fascinating space between genres that they’ve always navigated so well. Indie rock with art-pop melodies filtered through shoegaze and psych. This time round the song has a distinctly futuristic sheen to it, in keeping with its subject matter.

“High rise apartments and rent prices loom large over this paean to a future dystopian city, the inhabitants of which are doomed to a lifetime of evenings spent in queues waiting to eat at fine dining restaurants after a round of putt putt golf.” He continues “Sound System finds this group of part-time disc jockeys loading up their van with generators and loud speakers as they seek to reignite the street party.”
– Luke O’Farrell

The Laurels have Sydney and Melbourne shows happening soon:

The Lansdowne, Sydney
Saturday, July 20th
TICKETS

The Gasometer, Melbourne
Saturday, July 27th
TICKETS