Tag: Laneway Festival

New Video: Acclaimed Aussie Artist Peter Bibby Releases a Fiery Examination of Rural Australian Life

Peter Bibby is a rising and critically applauded Fremantle, Australia-based singer/songwriter and guitarist, whose career started in earnest when he turned 19: he quit the unfulfilling job he was working at the time to busk, eventually landing a few paying gigs. Sometime later, Bibby landed a high paying job that he wound he losing because he would show up hungover from the gigs he’d play the night before. So, he wound up playing even more gigs with a series of different backing bands including Frozen Ocean, Fucking Teeth and Bottles of Confidence while developing a unique, rough and tumble sound and approach — one that many have described as being like Shane McGowan screaming at bleeding laudanum and typhoid hallucinations while his guitar playing has been described as being like a dog drunk on rum.

With the release of his first two albums 2014’s Butcher/Hairstylist/Beautician and 2018’s Grand Champion, Bibby has been championed for being an inherently working class and wholeheartedly independent artist, further documented in greater detail in the 2018 film Chasing Palm Springs, which followed Bibby on a cross-country trip from Perth to Melbourne in a  temperamental van. Since then, the Fremantle-based artist has begun to build a growing profile and reputation as a must see act, as a result of a rowdy and raucous live set —  and through headlining shows and international festival circuit stops at Laneway, Falls and SXSW.

Earlier this year, Bibby released “Oceans,”  the first bit of new material since the release of Grand Champion. Featuring his latest backing band Dog Act — “Strawberry Pete” Gower (bass) and “Dirty Dave” Taylor (drums) — “Oceans” is disorderly, boozy and wobbly take on garage roc that’s full of spittle, fury and howled inventive, fuzzy and lurching power chords, thunderous drumming and drunken, shout worthy choruses that reminded me a bit of Johnny Thunders‘ “Born to Lose,”and John Cale‘s “Pablo Picasso”  — but much more unhinged. 

“Oceans” will be included on Bibby’s  forthcoming third album, Marge. Slated for a September 18, 2020 through Spinning Top Records, the album features Dog Act as his backing band. Reportedly, Marge, which derives its name from Dave Taylor’s grandmother Marge, and is an album of splintered, volatile Australiana written as a sort of soundtrack to a surf movie from hell — the sort where there’s blood in water; a dirt road leading to a dirt end; and everything is covered in diesel fumes and dust. “The Dog Act and I recorded this album in a week off in Perth between two Australian tours. We were match fit and full of beans,” Bibby says of the album. “It features a selection of songs, some fun, some completely bloody miserable. It was made better by the involvement of the fourth Dog, Mitch McDonald, who engineered the record and offered endless energy and ideas. I love this record.” 

The titular Marge is prominently featured on the album’s cover art,  smoking a cigarette on a beach in Darwin, Australia, seemingly watching her corner of the world go by.  “I felt there was no better image than a smoking nanna to be the face of this album,” Bibby says. 

“Whyalla,” Marge’s second single derives its name from name of a South Australian steel town that had been in decline for years. Centered around churning  power chords, thunderous drumming and an unhinged spittle and invective delivered vocal and a classic grunge rock song structure, the track is simultaneously a love letter and a fiery condemnation of rural Australia, pointing out the hopelessness, small-minded thinking and boredom of rural life in a way that feels full of the sort of lived-in hate, despair and abiding love you’d feel for a dysfunctional and fucked-up family member. The song’s spoken word bridge features Bibby telling some tall tales about some of Whyalla’s notable legends — but drenched with irony. 

“I wrote this song a few years back after my mate Racoo asked me to write a song for a road trip compilation she was putting together. I don’t think it saw the light of day. I had a lot of help from Wikipedia,” says Bibby of the track. 

Directed by Brendan Hutchens, the video is sort of a hitchhiker’s guide to nowhere in particular; the sort of nowhere in particular that somehow feels, well — American. We see Bibby getting up from camp, walking alongside a deserted road, hitchhiking until two guys — the members of his band — pick him up, They pull over to the side of the road to play and pay homage to Whyalla’s legends. Much like the video for “Oceans,” the accompanying video for “Whyalla” feels like a slow-burning fever dream. 

“We shot this thing out in Glen Eagle’s Rest, due to COVID 19 we couldn’t shoot it in Whyalla,” Bibby says in press notes. “It came together nicely with the help of great friends, a great crew and a weird toilet cleaner who hung around telling us strange and creepy facts about the location. He said he was disappointed that we weren’t shooting a porno.”

New Video: Peter Bibby Releases a Feverish and Watery Visual for Rowdy and Explosive “Oceans”

Peter Bibby is a rising and critically applauded Fremantle, Australia-based singer/songwriter and guitarist, who started his career when he turned 19, quitting the job he had at the time to busk, eventually landing a few paying gigs. Sometime later, Bibby landed a high paying job that he eventually lost because he would show up hungover from the gigs he’d play the night before. So, he wound up playing even more gigs with a series of different backing bands including Frozen Ocean, Fucking Teeth and Bottles of Confidence while developing a unique, rough and tumble sound and approach — one that many have described as being like Shane McGowan screaming at bleeding laudanum and typhoid hallucinations while his guitar playing with his guitar playing like a dog drunk on rum. 

With the release of his first two album’s 2014’s Butcher/Hairstylist/Beautician and 2018’s Grand Champion, Bibby has also been championed as an inherently working-class and wholeheartedly independent artist, commemorated in the 2018 documentary Chasing Palm Springs, which followed Bibby on a cross-country trip from Perth to Melbourne in a  temperamental van. Along with that, the Fremantle-based artist has begun building up a growing profile as a must-see act as a result of rowdy and raucous live set through headlining shows and stops across the international festival circuit — particularly with stops at Laneway, Falls and SXSW. 

Interestingly, today marks the release of Bibby’s first bit of new material since Grand Champion, his latest single “Oceans,” features his latest backing band, the rowdy and disorderly Dog Act, “Strawberry Pete” Gower (bass) and “Dirty Dave” Taylor (drums) — and the track is a wobbly, boozy and disorderly take on garage rock that’s full of spittle, fury and howled invective, fuzzy and lurching power chords, thunderous drumming and drunken shout worthy choruses that to my ears reminds me a little bit of Johnny Thunders’ “Born to Lose,” John Cale’s “Pablo Picasso” and others — but much more unhinged. 

“‘Oceans’ started out as a little sea shanty-esque poem scrawled on a piece of paper about going mad in the middle of the ocean. With the help of the Dog Act it soon morphed into a fairly raucous tune,” Bibby explains. “I used vibrato on the guitars to give it a wobbly seasick kind of sound, and we had some mates join us in the studio to sing along and clink beers together in the final chorus to give it the vibe of a pack of people getting drunk on a boat. As far as I recall, it is the only song I have written about losing one’s mind out at sea.”

Directed and shot by Duncan Wright, Luna Laure and Rhys Jones, the recently released video was shot around Fremantle and features Duncan as a shabbily dressed merman, a fisherman, a loutish, local drunkard and a drowning man — and each of those characters in one way or another is slowly going mad. It’s a dizzying and lysergic fever dream seemingly inspired by way copious amounts of booze, despair, loneliness and seasickness.  “The video was shot around Fremantle over a weekend by Duncan Wright , Luna Laure and Rhys Jones who came up with the whole idea in no time flat after COVID-19 put holes in our original plan,” Bibby says of the video. “I got to pretend I was a poorly dressed mermaid, a wharfy, a fisherman and a drowning guy as well as have a pretty damn good time doing it. I got a lot of seawater in my mouth for this video, but as we say in the game you have to suffer for the art. This is my second video featuring work overalls.”

New Video: Rising Aussie Singer-Songwriter Carla Geneve Releases an Intimate Visual for “Don’t Wanna Be Your Lover”

With the release of last year’s self-tiled debut EP, the Perth, Australia-based singer/songwriter and guitarist Carla Geneve quickly established herself as one of Australia’s rapidly rising artists — thanks in part to material centered around a unique brand of brutally honest songwriting and a captivating live show. Building upon a growing profile, Geneve has played sold out shows and festivals including Laneway Festival and Falls Festival, and she’s toured with Cat Power, Kurt Vile, Belle & Sebastian, Fred Armisen and a lengthy list of others. 

2020 looks to be a big year for the Aussie singer/songwriter and guitarist: her self-titled debut has been given a second repress on white vinyl, and the new pressing is actually a new edition that features two new singles — her first two singles, “Greg’s Discount Chemist” and “Listening.”  The expanded white vinyl EP is slated for a March 13, 2020 release through Dot Dash Recordings in Australia, RevolverUSA in North America and across the UK and European Union through Proper Music Group. Geneve and her backing band are currently opening for fellow Aussie singer/songwriter Julia Jacklin on her national tour, which includes stops in Sydney, Adelaide, and her hometown. Along with that, she’s playing at A Festival Called Panama before heading to Austin to play at this year’s SXSW. (You can check out those tour dates below.)

Geneve’s highly-anticipated full-length album is slated for release later this year. And her latest single, the anthemic and grunge rock-like “Don’t Wanna Be Your Lover” is the album’s first official single. Centered around fuzzy power chords, a rousing and enormous hook and Geneve’s pop star belter vocals, the song is an earnest exploration of the grey areas between platonic and romantic relationships — particularly about “how two people might want different things but knowing that that doesn’t undermine the connection you have,” Geneve says in press notes. Of course, the song feels and sounds as though it were written from personal experience — and as a result, it has the ache of confusion and uncertainty over where a relationship stands and what it should be. 

Directed by Duncan Wright, the recently released video plays with gender roles and norms, while exploring the intersection between masculinity and femininity — while at one point showing Geneve being pulled, pushed and shoved about in a variety of ways. “‘Don’t Wanna Be Your Lover’ introduces Carla Geneve visually to the world for the first time,” Duncan Wright says about the video. “The video aims to promote Carla’s bold and unique outlook through a wide range of emotions, vulnerabilities, tension and braveness.”

New Video: Teeth & Tongue’s Jess Cornelius Releases Haunting Visuals for “Jealousy” Off Her Forthcoming Solo Debut

Over the past year, I had written a bit about the critically acclaimed, Melbourne, Australia-based indie rock/indie pop act Teeth & Tongue. Comprised of New Zealand-born, Melbourne, Australia-based singer/songwriter and guitarist Jess Cornelius, guitarist Marc Regueiro-McKelvie, bassist Damian Sullivan and drummer James Harvey, the quartet initially began as a solo recording project of its founding member Jess Cornelius, and over the course of the four albums, the band developed a reputation for restless experimentation with their sound morphing from an ambient and textured sound to a wiry, dance floor-friendly post-punk inspired by Yeah Yeah Yeahs‘ It’s Blitz!, as you would hear on Give Up on Your Health, an album that received attention both nationally and internationally — it was nominated for a J Award and the Australian Music Prize, named Album of the Week on 3RRR and Featured Album on Double J, as well as features in Rolling Stone, The Fader and Lena Dunham’s Lenny Letter.

Adding to a growing profile, Cornelius has played at some of the her adopted homeland’s and the world’s major music festivals including Laneway Festival, Meredith Music Festival, Falls Festival, Boogie Woogie Festival, SXSW, CMJ, Perth International Arts Festival and Darwin Festival, toured with acclaimed singer/songwriter Courtney Barnett and Vance Joy, opened for J. Mascis, Sons & Daughters, EMA, Juana Molina, The Dodos, The Mountain Goats, The Drones and Laura Marling, as well performed as a musical guest on several episodes of SBS‘ Rockwiz.
 
After several years as a frontperson, Cornelius decided it was time to focus on creating music under her own name, and as a result, Cornelius relocated to Los Angeles to write, and record new material, which included “Jealousy,” the first single off her forthcoming debut EP Nothing Is Lost. And from the single, the New Zealand-born singer/songwriter’s solo work is a marked departure from her work with Teeth & Tongue, as  the material is stripped down to a sparse arrangement of Cornelius’ dynamic, PJ Harvey-like vocals, accompanied by her strummed guitar, dramatic drumming and backing vocals. With a strip down approach of songwriter, vocals, guitar and drums, the listener must not only pay attention to the songwriter’s vocals but to the lyrics as well — and in this case, “Jealousy,” a song based on one of the most hideous yet common human emotions may arguably be some of the more direct, empathetic writing of her career.  You can practically feel the bile and resentment of the song’s narrator, who focuses on what she lacks and what others have; however, the song should serve both as a reminder and warning — after all, you don’t know what someone else had to sacrifice to be in the situation they’re in now, and if you did, you might not have done so.
 
 
Directed by Thomas Hyland at Clones and Clones, the recently released video for “Jealousy” employs a relatively simple yet haunting concept: we follow Cornelius as rides a bike through a suburban development at night. And in some way, the treatment emphasizes the bitter loneliness and spite of its narrator, whose jealousy and resentments seem to fuel her through something that’s both endless and pointless.
 

 

Born in Zambia, raised in Botswana and currently based in Sydney, Australia, the 23 year old poet, visual artist, emcee, singer/songwriter and pop artist Sampa the Great, who publicly has cited Mos Def, Nina Simone, Lauryn Hill, Nneka, and others, as influences. And since the release of The Great Mixtape and collaborations with fellow Australians, pop artist Wallace on the skittering and jazzy single “Beauty” and internationally acclaimed Australian emcee Remi on the neo-soul and conscious hip-hop influenced “For Good,” the Sydney, Australia-based artist has quickly built up a growing internationally recognized profile as she’s opened for the likes of Kendrick Lamar, Thundercat, Hiatus Kaiyote, Ibeyi, Little Simz and Fat Freddy’s Drop, as well as played sets at Golden Plains, Sugar Mountain, Laneway, WOMAD and Vivid LIVE. However, 2017 may arguably be the Sampa the Great’s breakout year as her Rakhi-produced HERoes Act 2 was released yesterday through Red Bull Sound Select, and features the Sydney, Australia-based artist collaborating with Estelle. And while further cementing her reputation for a ridiculously dexterous flow that draws from spoken word performances, old school, hip-hop lyricism, with complex inner rhyme and multisyllabic rhyme schemes, old school soul and the blues and jazz, her latest single “The Plug” features Estelle and Sampa doing their thing with a swaggering, self-assuredness over a Timbaland-like production featuring futuristic bleeps and bloops, industrial clang and clatter, glitchy and shuffling beats and swirling electronics.

HERoes Act 2 is the second part of a two part narrative series of songs and genre-defying collaborative projects with Act being a spoken-world video, 2 track exploration into self-discovery and inner strength within a world that’s gone mad with uncertainty, racism and fear. “The Plug,” like the two other songs on the EP continue in a similar vein while continuing her reputation for crafting material based around her own personal experiences as an outsider, her desire and need to create, and the recognition that as individuals and as a society, that we need to value the strength and abilities of the individual; but in terms of this particular song, the song leans towards recognizing and championing the god-given talents of the individual, while brushing away haters and nay-sayers, with your desire to make a name for yourself at what you can do.