Sarah Jane is a singer-songwriter from Sydney, Australia who creates grunge and alternative rock music while also fronting her band The Violet Stones. She is well known for her impressive YouTube channel which has well over 200,000 subscribers and millions of views after creating such talented covers of her favourite songs and occasionally uploading some originals too. Her debut album was released last year and has been well received with her fans as it showcases her strong abilities as a solo artist. She is now smashing it out of the park with her second album “Tainted Timeline”, which includes 12 rad tracks.
“Sleepwalking” is the first track on the album and is definitely a perfect start to kick everything off as it packs energy with the grungy vibes and pristine vocals combination that makes it perfectly catchy. “Cross Contaminate” starts off with the engaging sounds of a piano followed by a steady rhythm and soft vocals. The rhythm stays strong underneath these strong vocals and helps isolate them, making you focus on them and appreciate them. A notable acoustic guitar leads you into “August” which sounds like it should be featured in a melancholic movie. With an incredibly catchy chorus and great instrumentals, this track will be a favourite with fans for sure.
“Control” is a 2 minute track that has a bit of energy with its deep guitar sounds, groovy rhythm section and great vocals while “Poison” is filled with moody guitar and gorgeous vocals that create a stunning track, definitely a highlight track and one of my favourites on the album especially towards the end when the fuzzed guitar kicks in and completes the song. “Rest” fills you up with a strange feeling of nostalgia. The quality lyrics and flawless vocals mesh perfectly with the guitar making this track another powerful stand out one.
Strong 90’s vibes and a catchy chorus in “Marry”, the 7th track on the album will definitely get stuck in your head from the first listen. The three minute track even though short, it is a very strong song as the fuzzed guitars come in and accompany the strong vocals.
“Suffocate” is filled with soft instruments and well-written lyrics while “Bully” feels like a true grunge song with it’s rad guitar riffs, fuzzed guitars and powerful vocals. “The Kids” and “Talk About It” show more of the softer side of Sarah with the calming vocals and instruments but strong lyrics.
The last track on the album is titled “Cut My Teeth” and is a perfect way to end it as the track starts off somewhat soft but then crashes into heavier guitars that complete everything.
This album has everything you need from a solo artist, showcasing the instrumental talent and the strong vocals to the incredibly clever song writing.
This album is a perfect example of the talent that this artist has to offer. Her ability to create such captivating songs that really make an impression on listeners is outstanding. “Tainted Timeline” is an unforgettable album that is raw, full of emotion and radiates 90’s grunge energy that is destined to catch your attention and will leave you wanting more. Make sure you check out the album and follow Sarah on socials to keep up to date with her projects.
Recently we caught up with Siobhan from Sydney’s punk trio SCABZ to chat about their latest single, saxophones, politics, and their upcoming debut album. Here’s what she had to say:
Recently, you just dropped a new single called ‘Guess Who?’. What can you tell us about this song?
Basically, we really wanted to write an anti-cop number. The three of us had been talking about write a song about the cops for a while, and we didn’t really know what angle to go for it, like if it should be funny or serious, or how we would get the message across. One day, I was hanging out in Newtown, where Lozzy (another member of the band) also works in a pub, and I saw a big pack of coppers going into all the venues and checking in on everyone. They went into Lozzy’s work, and I sat down at the bar and we just started writing all these silly lyrics, like “what kind of person actually wants to be a cop when they’re a kid? Like, who actually chooses that path for themselves?”, and that was kind of the angle that we went with. So, we continued writing lyrics and the song ended up like that.
What was the inspiration for this track?
There were two main songs that we were listening to when we were writing it. One of them was ‘Constable’ by Pete Temple, which is like a very deep song. It’s almost like a bush-ballad about this constable who’s just reminiscing about their life. It’s very heavy, but a very good snapshot of what it’s like to be a cop, and a very interesting take on how police kind of fit into Australian society; and that was the serious song that we took inspiration from. The other was from Frenzal Rhomb with their song ‘Who’d Be A Cop?’. We listened to that a bit, and we tried to be serious but also funny in the way that Frenzal Rhomb would do it, and that was our inspiration, I guess.
Do you think that this type of song with affect police and security at festivals and gigs in the future?
I was also wondering about this, and we had a little pre-plan before the shows about what we would do if the cops did show up (but luckily, they didn’t). I have spoken to cops whilst on stage at a festival before, and I think they realised that they were outnumbered and so they just ignored me. I don’t really know how that’s going to go down at the moment, and there seems to be a large number of them at gigs with all the Covid safety restrictions, so I guess we’ll find out on tour.
Where did the saxophone in the song come from?
We were actually talking about the artwork and what that was going to look like, and if we’d have time to do a film clip and what that would look like. I was like “oh, maybe we could do like a Benny Hill thing, where the cops are chasing people in that old, comical, cartoon police style”. There’s a big sax solo in the theme song for that show, and so we thought that we should chuck a sax solo in the song. Loz was like “my friend Vuli plays sax and he said he wanted to do something with the band”, and I thought that this was a sign and that we have to do it. It all happened pretty organically, considering how outrageous it actually is.
TD has a signature question- if ‘Guess Who’ was a song, what would it be and why?
Probably red, to represent all the bloodshed from the NSW Police.
‘Guess Who?’ is going to be a part of a debut album. What can you tell us about this album?
The album is something that was definitely written during quarantine. There are a few songs that are very 2020 specific, like “Double Dole” which is about getting that sweet, sweet double JobSeeker for the first time in my life and having enough Centrelink to pay the rent. Then there’s songs about going back to the pubs once they all reopened. We’ve also got songs like “Guess Who?” which is much more political. It’s very much an album for 2020.
What can listeners expect to hear from it?
I think they’ll be pleasantly happy with all the silliness on the album. People who have seen us live will know that we like to crack jokes and have a fun time. There’s also a bit of political commentary, and I think that it’s the first time that we’ve tried to tap in and write songs with a bit more of an introspective look at how politics affects us opposed to how the world around us affects us, and how we all fit into the that world in a bit more depth.
Were there any big challenges when making the album?
I think the biggest challenges were for us in thinking that we could actually do it. We’ve always been that fun/party/silly band, and we really wanted to knuckle-in and write a really good, slick album; book a studio for a whole week, stay there the whole time, bring in a heap of extra gear, play a heap of extra instruments, get a sax solo in there, and really try to focus a lot more on the writing and music than we usually would, instead of just chucking a single out there so we could go on tour again. It was a good challenge to try and push ourselves to be more of a studio band than a live band.
Are there any tracks that you think listeners will hopefully enjoy the most?
I hope everyone enjoys the track “Pressure” that we’ll be bringing out shortly, because It’s my favourite song that I’ve written for a while. We played some new ones live over the weekend, and there’s one called “Just at the Pub Gossin’ With the Gals”, which I think people will enjoy and really like because it’s a nice, fun song. As much as we like doing the political stuff, sometimes it’s nice to just enjoy the simpler things in life.
Do you have any favourite moments from creating the album?
Getting sent the sax solo and hearing that for the first time was pretty cool because we had all just been singing it in a studio and we weren’t really sure how it was going to turn out. Vuli sent us the file and it just fit so perfectly and sounded so sick. We were also, in typical SCABZ form, a bit rushed getting everything together when going in the studio. We weren’t quite finished writing all the songs or any of that kind of stuff, so I think that the fact that the three of us managed to get there with have all these half-ideas for songs and finish them in the studio and just work really hard on the song-writing. It was really cool overall and it’s not something that we’ve had time to do before, so it was really nice.
Do you reckon there will be any tours or live shows coming up soon?
Yeah definitely. We’ve just finished booking a tour of seated shows; We’re going to call them ‘Scabaret’, and we’ll be going to Canberra, Ulludulla, Sydney, Wollongong and Miranda, so hopefully we’ll be announcing that in the next few days, and it should take us up until the end of the year. It should be pretty fun, I reckon.
How would you describe the current music scene in Sydney?
It’s a pretty nice kind of place at the moment. There’s a lot of variation in the venues, especially with some of them specialising in different genres. There’s also a lot of good promoters and agents around too, and they put a lot of effort into putting on really cool parties. I think as long as a lot of the venues can stay open over the next few months with restrictions and with smaller seated shows, once everything opens again, it’s going to be a really exciting place in Sydney. With the lockout laws that were bought in a few years ago, there’s talk that maybe they’ll be wound back to help the entertainment industry make back some money that it lost during this quarantine period. I have a feeling that when everything opens up again, the world goes back to normal and Sydney will be lifted from these lockout laws and restrictions, it’s going to be a fun place to go and see a band and have a party, I reckon
How did COVID-19 affect your plans for 2020?
I realised today that the last time we played a show was in February, other than the one on the weekend just gone, and that’s the longest time I’ve gone without playing a gig in my whole life, so it was very, very strange. We were kind of hoping to book a support tour overseas this year, and we were trying to play a lot more shows in Victoria because our last gigs went really well down there. A lot of our plans were touring based, and when that didn’t happen, we decided to write an album instead, which kind of worked out, I guess.
Is there anything else we should know about the album or about SCABZ?
We’re usually pretty transparent about what’s coming up, and we’ve got the ‘Scarabet’ shows coming up soon, and a new single from the album in a week or two, hopefully at the beginning of November. There’s a few other little bits and pieces to keep an eye out for as well.
SCABZ debut album ‘Pressure’ will be out November 30.
Just off their brand new release of ‘Got a Girl’, The Grogans took some time to chat to us about their favourite surf bands of all time and there’s certainly some interesting ones in there. Check out the bands, and the playlist below!
Hockey Dad – These guys have always been a pretty solid influence on us and our music. They’ve created a pretty amazing scene for themselves and for others to look up to and their music ability as a duo really inspires us to make some really big sounds and melodies.
Allah-Las – These guys just have a really unique sound that we can’t get enough of! Everything about their music inspires us from the tones of the guitars, the way they sing and just their songwriting. It’s a really great sound in our opinion and you don’t really hear much like it anymore.
The Beatles – Like many bands and songwriters, The Beatles are huge influences, same for us. Not only for the incredible songs they produce but we also really enjoy the experience of listening to their records, it’s almost too much to process, the shock wave they had on the world and the enormity of their music kind of freaks us out but at the same time intrigues us.
The Pesos – The bands laid back approach to music really changed a lot with us as a collective. Even their production. It seems so lo – fi and old but it just heightens their lyrical and melodic content to make the music almost paint a picture of an era or time. Sometimes the lyrics are actually super heavy but the instruments seem a little more tame and relaxed. A band we all instantly fell in love with.
Pixies – The Pixies have such a unique and distinctive sound that binds a punky, surfy and alternative rock feel. The way they use loud – quiet dynamics in their songs is so simple yet so effective. They can have more acoustic side and the heavier side of rock which is really cool, and something that I think we try to do as well.
‘Lo‘ has produced an absolute wonder of a single with this track “Away”. Lo is the solo project Lauren O’Hara who spent years touring with sister duo “Flossy” but felt it time to write and record her EP “Plan for an Independent Future” earlier this year.
“Away” is an incredibly beautiful track that screams nostalgia. In my listening, I felt a strong sense of “I have been here before, I have felt this feeling” – I was not prepared to be captured so deeply in Lo’s aura. I could not help but fixate on the incredible lyrical journey she takes us on. I especially love:
“I am yours even when I’m not, you captured me on the very first night”
What an incredibly intimate experience fuelled with love, pain, and a whirlwind of emotion. I adored the simplicity of the electric guitar in the background that subtly complimented Lo’s powerful words. I could not compliment this track more. Lo is powerful in her every move. Her words are strong, and her sound is exclusively hers. I am so excited to hear more from Lo and already being a pre-existing fan, I am always so excited and eager to hear more. So, sit down with a cup of coffee by the window and watch the rain fall to “Away”. It will truly take you to another place.
Brisbane indie-rock legends ‘Ball Park Music‘ have continued their string of wonderful albums with their latest self-titled LP ‘Ball Park Music’. Quickly becoming one of Australia’s favourite bands all throughout the 2010’s, their music has constantly made Triple J’s Hottest 100 countdowns and Triple J’s Album Poll’s too, as well as racking up several award nominations over the many years too. This is album number six from the five-piece band, and unlike a lot of other bands who would start to lose the quality in their music at this stage in their career, Ball Park Music are releasing music that is not only as consistently great as their other 5 LP’s, but also perfectly recaptures the best elements of those albums and also does something more personal and independent as well, making for what is honestly one of the best albums of 2020.
The first half of the album is fun, with the single ‘Spark Up’ opening up the album with an infectious rhythm from the percussions, synths and bass. I wasn’t hugely fussed on the song when it was first released, but it did grow on me very quickly with its catchy beat. It definitely starts off the LP with a bang. Similar to 2018’s ‘The End Times’, it perfectly captures the tone of the whole album, with the groovy sounds that the band produces. The keys here are very unpredictably wild, making for one of the tracks best aspects, as well as this, the vocals have a nice dreamy sound to them.
‘Head Like A Sieve’ follows it up with another extremely fun song. It reminds me a lot of 2018’s ‘Hands Off My Body’ and 2010’s ‘Sad Rude Future Dude’ in the vocals and lyrics, and instrumentally it’s one of the most impressive from the album. The drums really bring the track to life, whilst the lead guitar drive the track into a whole new dimension with its fuzzy riff, all coming to a finale that can really only be described as truly wonderful. It’s songs like this that really show why Ball Park Music have been so popular for such a long time.
‘Nothing Ever Goes My Way’ starts off with one of the funkiest sounding drum beats on the album. Production wise, it sounds super unique from the band; with an epic hook that is filled with huge amounts of delay and reverb. Ball Park Music really show off their chaotic energy with this track, especially in the climax about halfway through, and then it slows down and introduces some piano into the mix, and it somehow works so well, not just for the song, but for the whole album, as it really is a rather colourful and personality filled banger. It’s a song that is also driven just as much through the sometimes-melancholic lyrics, and the contrast between them and the instrumentals is pretty hectic, making for one of the best songs off the album.
The transition into ‘I Feel Nothing’ really keeps the sombre tone in the lyrics flowing really smoothly. Instrumentally, it almost sounds like something from 2016’s ‘Every Night the Same Dream’, with that it’s one of the more classic Ball Park Music rock songs. Because it is less chaotic in the production, listeners can really hear more of Sam Cromack’s raw vocals, making the hooks even more impactful. The joint harmonies in the bridge are a really nice blend of happy/sad, and towards the very end, the listener can really start to hear the passionate vocals belting through the speakers, with the keys tying it all together.
‘Bedroom’ is a catchy song with its fuzzy instrumentals and a chorus that is guaranteed to be stuck in your head for a week. The biggest highlight of the track is when Sam just screams out: “I NEED TO GET OUT; I NEED TO GET OUT OF MY BEDROOM!”
‘Katkit’ is the shortest track here, and it’s really just an intermission to separate the fun and instrumentally filled first half from the more lyrically driven and slower songs in the second half. The transition into the song is seamless and I do like the synths and the sci-fi tone to the track. Being more of an intermission track, it does its job of opening up the second half of the album nicely, even if there isn’t much to say about ‘Katkit’ as a whole.
The title alone for ‘Bad Taste Blues (Part III’)’ is enough to get fans of 2012’s LP ‘Museum’ excited, and it also helps that it is one of the standout tracks too. This is also the track where the songs do slow down and become less chaotic than in the first half. Lyrically, it really does a great job of recapturing those ‘Museum’ vibes, especially with the dreamy vocals and beautiful harmonies created by Sam and Jen.
‘Cherub’, the most recent single that dropped before the album, is not only one of the best songs from the album, but it’s also probably the most personal in the lyrics too. It’s a beautiful and gorgeous song from start to finish. Being the longest song on the album, the track is perfectly structured and spends it time building up to a big climax at the end, with the big deep guitars and colossal drums to close out the last minute or so, resulting in another big highlight on the album. It also boasts one of the most emotional choruses on the album, making ‘Cherub’ a song that’ll stir up the crowd’s emotions at their future gigs
‘Obit’ really stands out too with its distorted and effects-filled vocals. Looking at the production, Obit gives off a massive 70’s rock sound to it, or even something from King Gizzard & The Lizard Wizard’s 2014 LP ‘Oddments’. The bass riff is pretty funky I also really like the build-up into the chorus, which almost reminds me of an upbeat version of the Gang of Youths track ‘Kansas’. The chorus is both minimal yet captures the happy/sad tone of the song, definitely making for one of the tracks best parts.
The second single and possibly the best song on the album is ‘Day & Age’. Lyrically, it’s one of the most poetic songs here, and the bridge is one of the most effective coming from the band, drawing out the song with the repeated phrase:
It’s one of the dreamiest cuts from the LP with the lilting guitars and melodies, making for another angelic song on the album, similar to ‘Cherub’. The hazy vocals are a real treat for the ears, as it feels like a soothing lullaby for the listener. It’s also one of the more optimistic songs on the album, contrasting brilliantly with other fantastic songs like ‘Nothing Ever Goes My Way’ and ‘I Feel Nothing’.
The album closes with ‘Turning Zero’, one of the most minimal and mature sounding songs on the record. Much like the rest of the second half of the album, it’s filled with some peaceful instrumentals and relaxing lyrics. The acoustic guitar intro and double-tracked vocals make for a really great introduction, and once the drums come in, it strangely reminded me of the King Gizzard & The Lizard Wizard song ‘Work This Time’. The contrast between ‘Turning Zero’ and the opener ‘Spark Up’ really shows how well constructed this album is, but also diverse Ball Park Music can get when it comes to creating music. It’s a solid closing track that ultimately feels reflective of the personal tone of the album.
There aren’t many bands that have made six consecutively great albums in recent years, but Ball Park Music have certainly just showed us that they can with this album. With fresh sounding songs, unique production, a fun energy that’ll translate strongly into a live show, elements of why we fell in love with their previous work, and lyrics that make up what is ultimately their most personal album yet- it’s undoubtably one of the best albums from 2020.
Stream Lea is the solo electronic project from Sydney Musician Joshua Engstrom. Releasing his newest single after a premiere at Deafen County, ‘How Am I The Same?’ this track is a sonic massage that we all need right about now.
The track will transport you into a hypnotic state of synth and electronic drums, met by brilliant, stylistic vocals from Joshua. Some tracks you just fall in love with immediately, and it’s evident that How Am I The Same is one of these. With lyrics referencing insomnia, regret and introspection, lyrically, this strong as just as strong as the surreal, atmospheric instrumental.
I can image listening to this track driving through the city late at night, when everyone is asleep and you feel like you’re in a movie.
Although the track runs for just over five minutes, it simply doesn’t feel like enough. Not many people can pull off a track for a large length of time, but Stream Lea has and based off of this track, will again.
If you haven’t heard from Stream Lea before, you may recognise Joshua from his work in Ultracrush, a 5-piece band from Sydney. I highly recommend chucking this song in your playlists and just drifting away into the emotions that Stream Lea has created. Personally, I can’t wait to hear what else this phenomenal artist has up his sleeve.
‘White Bonsai‘ are an up-and-coming alt-rock band from Melbourne, and their new single ‘Towards the Sun’is a pretty enjoyable track that gives off big Smashing Pumpkins and Hockey Dad vibes. This is the bands follow up single to their song ‘Shiver’ which was released back in March, and really shows the 4-piece group making music that not only sounds great, but also shows the band having the potential to do bigger things in the future.
‘Towards the Sun’really takes the listener back to those classic Australian indie rock sounds right from the opening guitar riff. It’s a song that feels like you’d listen to whilst hanging with your mates in the summertime as it plays off someone’s speaker. The melody is really strong in the song too, which really reminded me a lot of Jet’s ‘Look What You’ve Done’ and Dinosaur Jr’s ‘Feel the Pain’; two songs that I personally really like, and so it was nice to hear something like that from a new and fresh-sounding band. The hook also gives off a big ‘1979’Smashing Pumpkins sound, making for one of the best and most memorable parts of the song. The chorus itself is also really great, with the band’s frontman showing off some impressive vocals and lyrics.
Instrumentally, the song is also well played and makes for another strength to the song, really showing what White Bonsai are capable of doing as a band. It’s nothing too complicated during the verses, but I like that the band does go for something that sounds harder in the chorus, which works so well with the hook. The band also does a pretty sweet instrumental section after the second chorus, with drums that not only enhance the beat but also add a lot of energy to the song. The guitars also go fairly wild in this part, and they just keep going until the end of the song, making for a track that I’d honestly love to hear the band close a set with hopefully in the future.
If ‘Towards the Sun’ shows us anything about White Bonsai, it’s that the band are talented musicians with excellent influences. This is the type of song I want to see Triple J, Double J and Triple J Unearthed play a lot more of across the Australian airwaves. This is a song that is definitely worth a few listens, and a potential-filled band that I’d really recommend getting behind soon.
In the strange time that is 2020, flashing your headlights at the stage is the new way to cheer on live acts. Crowded mosh pits have been replaced with carparks for now, and while it is a different experience, there is still some great live music to enjoy even in these unprecedented times.
After a huge lineup of bands competed in the heats of the University of Newcastle’s Band Competition, it has all led to the Drive-In Grand Final. Audience members could park their cars for free and watch all the acts from the relative comfort of a vehicle. The University did very well in providing such an impressive set up for the emerging bands of the campus, with the drive-in setting providing a great atmosphere for both performers and the audience. It was like experiencing your own personal festival within the confines of a car.
Notably, all except one of the bands featured on the night were either solo women or female-fronted bands. In pre-COVID times, festival lineups were still struggling to include more than a handful of women into their ranks, so it is extremely refreshing to see the immense girl power exuding from the UON competition.
The night was filled with so much talent, so here are some of my personal favourites/ stand out moments of the night
First up, and a highlight of the night is ‘Berlyn’, who immediately set the tone for the night with her brilliant set. Effortlessly cool, sunglasses and all. Her sound is familiar – with her introduction likening her to Angie McMahon – but she is remarkably unique. There are some hints of 90s-sounding rock throughout her set which separates her from other acts on the night. The band behind Berlyn was fantastic, some extremely nice guitar solos heard on the night. Her standout song was ‘Breathe Alone’ which is phenomenal, and to my dismay, not on streaming services currently. Berlyn set the precedent for the whole show, and I can easily picture her playing the opening slot at Groovin the Moo whenever festivals are allowed to make a return.
Another stand out from the night was ‘Hey Jan,’ who gifted the audience with some funky jazz sounds to liven up the evening. To change it up, they provided the crowd with some moody tunes too. The stage was doused in blue light to neatly signify the mood change. Much like the rest of the lineup, Hey Jan has a unique sound that is all their own. Frontwoman Zoe Hallam’s voice is unlike anything else heard on the night. Her presence is commanding; she’s a natural on stage and effortlessly manages to interact with the audience- even if they may be inside cars. Their song ‘Easily’ is a crowd pleaser, an upbeat tune that is dangerously catchy (and yes, it’s still stuck in my head days later). It was clear to see why Hey Jan deserved to win the Wild Card recording package on the night, keep a keen eye out for their upcoming EP release.
‘Cooks andBakers’ have been around the Newcastle scene a little longer than some of the other acts on the lineup – I can even remember seeing them at The Cambridge before live music ceased to exist. They’re very composed and succinct on stage; they know exactly what they’re here to do, and they do it well. Their set is tried and true, and it hits the spot. A stand of the boys’ set was the track ‘Cage’, with the quintessential ‘Newy rock’ sound.
Finishing the night was ‘Viragos‘, a very new band who only played their first gig together back in August. This is not at all apparent during their set, as they play together like a band that has been touring for decades. Viragos are introduced as having influences from early 2000s pop, and it definitely comes across through their sound. With every song having high energy and reinvigorating sound, it’s a complete experience all the way until the end of their set. Lead singer IndiaSeddon-Callaghan even goes into a spoken word bit mid set, keeping the audience on the edge of their seats. With excellent harmonies and a full set of songs that are all bops, it’s not hard to see why they took out the top prize for the night. I expect big, big things from Viragos– they are something special.
It’s wonderful to be able to see Newcastle bands new and old back in action once again, and with restrictions slowly easing and live music returning, UON’s Drive-In Band Comp Grand Final was a great first taste at what we have to look forward to seeing in the coming months.
Fortunately, the whole show was livestreamed to UON’s Facebook, so check it out below:
Psychedelic Porn Crumpets are back with their hot new release release of Tally-Ho and announcement of their brand new album ‘SHYGA! The Sunlight Mound’ (Releasing February 2021). We caught up with frontman Jack McEwan to get some music recommendations; here’s his Top 5 Bands Coming Out of Perth right now!
Grievous Bodily Calm
Jack: One of the best live bands I’ve seen home or internationally. They played recently at Wave Rock Weekender having a criminally early slot, the crowd was all sat down chilling in the sun for the first song and by the time they finished they had a full packed audience on their feet dancing away, was lordian to witness. Brilliant band.
Jack: One of Perth’s best up and comers. Their recorded material is already brilliantly produced, has such a mature sound to it even though they do it themselves. A mix of Mild High Club and Mac Demarco. Great transporting music to get lost within.
People Taking Pictures
Jack: This is Rish’s project from PPC but I have no part to play in it so I’m allowed to big it up. They played their first show a few weeks back and it was complex, well though out, gliding with ease through genres and explores more musical formalities in one set than most bands do in a lifetime. I’ve heard Rish’s new work and it’s a brilliant leap into new contemporary grounds, allowing Nelson (POW! Negro) to find his own, open up and combine hip-hop styles with psych elements that are drenched with mesmerically inspiring textures. 5 thumbs up.
Jack: Another act that is pushing boundaries; The term ‘experimental’ which was for years termed with heavy rock and metal is now being passed on to jazz and hip-hop. It’s really refreshing seeing new music that feels honestly created rather than an attempt to manipulate someone else’s sound. Watched them live a few weeks back and they had the crowd transfixed, a great rhythm section accompanied with a landscape of vibrant synth tones make for a great listen. Really excited to hear their recorded work.
Jack: We played our first headline show of 2020 with Dulcie and given the differences between our two genres, it actually went down a treat. The crowd was packed before they played and the set to follow was pure class. Great musicianship, great stage persona and exceptional three-part harmonies that even ELO would be proud of writing.
Matahara is back almost two months after her debut single “What a Waste” and she is thriving in her new track “Missify”. Matahara is the name for Melbourne via Jakarta musician and singer-songwriter, Marissa Yudinar. Just like ‘What a Waste’, ‘Missify’ was written when Matahara was 16 and recorded in producer – Michael Vince-Moin’s bedroom in March of this year. She has once again come through strong with this new track, showing her extensive musical talent and idiosyncratic sound.
Her melodic, dreamy track instantly captivated me with its relaxed, easy going and enchanting aura. I am so impressed with Matahara’s ability to combine her soft, ethereal voice with the amazing sounds that make her music so unique. I loved the audio clips of people mixed in the background the track, as well as the electric guitar, so beautifully complimenting. I admire Matahara’s bubbly, exciting, summer sunset energy that she seems to engage in her songs no matter the context.
Ultimately, we are seeing a more vulnerable and mellow side to Matahara while still maintaining her eccentric sound. I want to play this track loud out my windows on a summer roadtrip to the beach. It is so much fun and still bursting with life!
There is such an avid and special uniqueness to Matahara. She is absolutely an artist to keep a watchful eye on, I know I will be!