Tag: Sydney Australia

New Audio: Black Summer’s Subtle Yet Moody Remix of Australian-born Viral Sensation Xavier Dunn

Xavier Dunn is an up-and-coming, Sydney, Australia-born and-based singer/songwriter, producer and electronic artist, who first came to international prominence with a series of acoustic covers that included 3 Hype Machine #1s, a Spotify Global Viral Charts #2, a Spotify US Viral Charts #1, a Spotify Australia Viral Chart #1 and over 22 million Spotify streams to date. Last month, Dunn released the critically applauded “Isic Tutor,” an ethereal bit of neo soul that features Dunn’s tender and aching falsetto paired with a ambient production consisting of thumping, tweeter and woofer rocking beats and gently swirling synths and electronics within a song that immediately brought to mind Beacon’s For Now EP and The Ways We Separate — but centered around the ebbs and flows of a rather tumultuous relationship and in part the strange wisdom of Isic, an AI character from the video game Battleborn.

Recently, one of Australia’s most exciting up-and-coming producers — and perhaps one of their youngest to reach national attention, Black Summer, a 14 year old EDM producer, who was first discovered by Triple J when he was 11, remixed Dunn’s ambient “Isic Tutor,” and while retaining the aching and tender falsetto vocals of the original and some of the ethereal and ambient electronics of the original, adds skittering drum programming and a live drum sample, which manages to gently speed up the tempo while remaining unhurried and moody. 

Now, if you’ve been frequenting this site over the course of the past month or so, you’ve likely come across a couple of posts featuring  Sydney, Australia-born, Los Angeles-based duo VOWWS. And with the release of 2015’s debut effort, The Great Sun, the Sydney-born, Los Angeles-based duo received attention for a sound that drew from a diverse array of influences including classic Western, electronica, surf rock, metal, post-punk and industrial rock. The duo’s highly-anticipated sophomore effort Under the World continues their ongoing collaboration with longtime friend, mentor, the renowned engineer and producer Kevin S. McMahon — and the album reportedly find the duo eschewing much of the familiar post-punk tropes of their previously released material, and focusing on razor sharp hooks, direct vocals and richer, more nuanced textures.

Forget Your Finery” was an 80s New Wave-inspired track that featured a deliberate attention to melodicism and to infectious, arena rock friendly hooks while “ESSSEFF” was an industrial-like track that nodded at Depeche Mode‘s “Policy of Truth” and U2′s “Mysterious Ways” — and much like its immediate predecessor, it found the duo continuing with a deliberate attention to razor sharp and rousingly anthemic hooks. “Structure of Love,” Under the World‘s latest single is a a decidedly gothic-leaning track with an industrial thump, angular bass chords and the continued emphasis on arena rock friendly hooks. Interestingly, the new track also manages to be among their cinematic and soundtrack worthy track off the forthcoming album.

VOWWS’ sophomore effort is slated for a March 2, 2018 release through the band’s own Anti-Language Records, and throughout the mid-March and early April, the Sydney, Australia-born, Los Angeles, CA-based duo will be embarking on a North American tour that will include a March 22, 2018 stop at Saint Vitus. Check out the tour dates below.

Tour Dates 

3.19 – 529 – Atlanta, GA
3.20 – Strange Matter – Richmond, VA
3.22 – Saint Vitus – Brooklyn, NY
3.23 – Meatlocker – Montclair, NJ
3.24 – Geno’s – Portland, ME
3.25 – Kung Fu Necktie – Philadelphia, PA
3.26 – Cafe Nine – New Haven, CT
3.27 – O’Brien’s – Boston, MA
3.28 – Casa Del Popolo – Montreal
3.29 – Coalition – Toronto
3.30 – Now That’s Class – Cleveland, OH *
3.31 – Deluxx Fluxx – Detroit, MI *
4.1 – Empty Bottle – Chicago, IL *
4.3 – Reverb Lounge – Omaha, NE *
4.4 – Hi Dive – Denver, CO *
4.5 – Metro Music Hall – Salt Lake City, UT *
4.6 – Neurolux – Boise, ID *
4.7 – Barboza – Seattle, WA *
4.8 – Tonic Lounge – Portland, OR *
4.10 – Old Nick’s – Eugene, OR *

* w/ Soft Kill and Choir Boy

With the release of 2015’s debut effort, The Great Sun, the post-punk duo VOWWS, comprised of Sydney, Australia-born, Los Angeles-based duo of Rizz and Matt quickly received attention for a sound that drew upon a diverse array of influences including classic Western, electronica, surf rock, metal, film soundtracks, post-punk and industrial rock. Now, if you’ve been frequenting this site, you may recall that earlier that the duo’s highly-anticipated sophomore effort, Under the World continues their ongoing collaboration with longtime friend, mentor and renowned Kevin S. McMahon, and finds the Australian-born, Los Angeles, CA-based duo reportedly eschewing much of the familiar post-punk and industrial tropes of their previously recorded material to focus on a razor sharp hooks, direct vocals and richer, more nuanced textures.

Forget Your Finery” found the duo pairing angular guitar and bass chop Yrds played through layers of fuzz and other distortion pedals, thumping and propulsive drumming and while still sounding to me as though it were influenced by 80s New Wave, there’s a deliberate attention to melodicism and to infectious, arena rock friendly hooks. “ESSSEFF” their sophomore effort’s latest single sonically will remind some listeners of Depeche Mode‘s “Policy of Truth” and U2′s “Mysterious Ways” as it finds the duo pairing layers of buzzing industrial-like synths, stomping and propulsive drum machine, bluesy guitar chords  — but just like it’s predecessor the duo continue with a deliberate attention to melodic, razor sharp and rousingly anthemic hooks.

VOWWS’ sophomore effort is slated for a March 2, 2018 release through the band’s own Anti-Language Records, and throughout the mid-March and early April, the Sydney, Australia-born, Los Angeles, CA-based duo will be embarking on a North American tour that will include a March 22, 2018 stop at Saint Vitus. Check out the tour dates below.

Tour Dates 

3.19 – 529 – Atlanta, GA
3.20 – Strange Matter – Richmond, VA
3.22 – Saint Vitus – Brooklyn, NY
3.23 – Meatlocker – Montclair, NJ
3.24 – Geno’s – Portland, ME
3.25 – Kung Fu Necktie – Philadelphia, PA
3.26 – Cafe Nine – New Haven, CT
3.27 – O’Brien’s – Boston, MA
3.28 – Casa Del Popolo – Montreal
3.29 – Coalition – Toronto
3.30 – Now That’s Class – Cleveland, OH *
3.31 – Deluxx Fluxx – Detroit, MI *
4.1 – Empty Bottle – Chicago, IL *
4.3 – Reverb Lounge – Omaha, NE *
4.4 – Hi Dive – Denver, CO *
4.5 – Metro Music Hall – Salt Lake City, UT *
4.6 – Neurolux – Boise, ID *
4.7 – Barboza – Seattle, WA *
4.8 – Tonic Lounge – Portland, OR *
4.10 – Old Nick’s – Eugene, OR *

* w/ Soft Kill and Choir Boy

New Audio: Los Angeles’ VOWWS Releases an Anthemic Hook-Laden Single

With the release of 2015’s debut effort, The Great Sun, which was recorded with longtime friend, mentor and renowned engineer Kevin S. McMahon, the post-punk duo VOWWS, comprised of Sydney, Australia-born, Los Angeles-based duo of Rizz and Matt quickly received attention for a sound that drew upon a diverse array of influences including classic Western, electronica, surf rock, metal, film soundtracks, post-punk and industrial rock; however, the duo’s highly-anticipated sophomore effort, Under the World, which continues their ongoing collaboration with Kevin S. McMahon, finds the duo reportedly eschewing the familiar post-punk and industrial tropes to allow much more hook for razor sharp hooks, direct vocals and richer, nuanced textures.

And with Under the World’s latest single “Forget Your Finery,” the duo pair angular guitar and bass chords played through layers of fuzz and other distortion pedals with thumping and propulsive drumming — but throughout the song there’s a deliberate attention to melodicism and crafting an infectious, arena rock friendly hook in what may be one of the more anthemic songs I’ve come across so far this year.

Comprised of Jordan Wilson and Benjmain Riley, the acclaimed, Sydney, Australia-based duo Georgia Fair can trace their origins to when the duo met in high school. They began playing and writing music together and would continue to do so in a number of bands until settling on their current project together Georgia Fair, which reportedly derives its name from a venue mistakenly billing the duo then known as Jordan and Ben as Georgia Fair due to a bad phone connection.

Their 2011 debut effort All Through Winter was recorded with Band of HorsesBill Reynolds in studios in Asheville, NC; Austin, TX; and Atlanta, GA, and the album peaked in the Top 100 of the ARIA Albums Chart and reached #1 on the ARIA Hitseekers Albums Chart. The duo’s 2013 sophomore effort, Trapped Flame was recorded in Los Angeles with Ted Hutt and featured musicians, who were part of the backing bands of Ryan Adams and PJ Harvey — and much like its predecessor, it was a commercial success as it reached the ARIA Top 100 Chart.

After the release of their sophomore effort, the duo relocated to London where they spent time exploring their roots while trying to incorporate new sounds. As Georgia Fair’s Jordan Wilson explains in press notes, “That trip and the intensity of living in London helped us get out of our own way.” And the result is the duo’s third full-length effort The World’s Awake, which reportedly finds the duo capturing their live essence and sound.  In fact, the album’s first single “Slave to Nothing” finds the duo at what may arguably be their most sparse and restrained while nodding at an arena rock blues sound reminiscent of The Black Keys and others; however, at its core is a slow-burning heartache rooted in betrayal, confusion and lingering regret.

 

New Audio: Aussie Sibling Quartet Stonefield End 2017 with a Prog Rock-like New Single

Over the past few months, I’ve written about the Darraweit Guim, Australia-based sibling psych rock quartet Stonefield, comprised of Amy (drums, lead vocals), Hannah (guitar), Sarah (keys) and Holly Findlay (bass). And as you may recall, the siblings began playing together when they were all at a rather young age — with the youngest being seven and the oldest being 15. The band’s eldest member Amy recorded their first song “Foreign Lover” for a school project, and then reportedly she entered the song into Triple J’s national, unsigned band competition for youngsters Unearthed High as an afterthought; however, much to her and her sisters’ surprise, Stonefield wound up winning the contest. Within an incredibly short period of time, the Findlay sisters had two singles receiving regular airplay on Australian radio and an invitation to play at the Glastonbury Festival.

Since then, the members of the sibling quartet have released two EPs, their self-titled full-length debut and their sophomore effort As Above So Below, which was released earlier this year through Rebel Union Recordings/Mushroom Records. And adding to a growing profile, the Aussie, sibling quartet have opened for a variety of internationally renowned touring acts including Fleetwood Mac, Meat Puppets and a Stateside tour with countrymen and JOVM mainstays King Gizzard and the Lizard Wizard earlier this year. Interestingly, the Findlay sisters end 2017 by signing to Flightless Records, the label home of the aforementioned King Gizzard and the Lizard Wizard and The Babe Rainbow, and to celebrate that announcement, the band’s first release on their new label is “Delusion,” the follow-up to their sophomore effort. 
“Delusion” finds the Findlay sisters moving away from the heavy psych rock and psych pop of their earlier releases towards a dirge-like, 70s prog rock and metal sound as the song finds features some down-tuned power chords, dramatic, twisting and turning synths, tubular bells, some sinister mellotron and an enormous, arena rock-friendly hook within a sprawling and hypnotic song structure that features changes in key and mood. As the band explains in press notes, the song is inspired by the “overwhelming feeling of knowing you are a speck in the universe, getting lost in your mind.” 

New Video: The Presets Return with an Anthemic Festival Banger Paired with Wild, Psychedelic Imagery

Comprised of Julian Hamilton and Kim Moyes, the Sydney, Australia-based electronic music production and artist duo The Presets can trace their origins to when the duo met while studying at the Sydney Conservatorium of Music. Hamilton and Moyes quickly became recognized for crating a sound that electronic dance music with an arena rock energy and vibe — and as a result, the duo signed with renowned Australian dance music label Modular Recordings, who released their first two EPs and their 2005 debut, Beams.

2008 saw the release of the duo’s critically and commercially applauded sophomore effort Apocalypso, an effort that went Triple Platinum in their native Australia and featured four smash hits, including “My People,” one of their biggest songs. And adding to a breakthrough year, Hamilton and Moyes won 5 ARIA Awards — including Album of the Year, 2 ARIA Artisan Awards, the J Award, the FBI SMAC Award for Album of the Year, and they shared the Songwriter of the Year at 2009’s APRA Awards. 

The duo’s third, full-length effort, 2012’s award-nominated Pacifica featured Rolling Stone Australia’s Song of the Year, “Ghosts,” and was nominated for an ARIA Award, shortlisted for the AMP Award, the J Award and was named the Herald Sun’s Album of the Year, the Daily Telegraph’s Album of the Year and the Sydney Morning Herald’s Electronic Album of the Year. And although, it’s been some time since I’ve personally written about the acclaimed, Aussie electro pop duo, the duo have been busy collaborating with a variety of artists —Hamilton cowrote Flume’s “Say It” and contributed tracks to albums by Flight Facilities, Steve Angello and Meek Mill, while Moyes produced the DMA’s latest album, remixed tracks by The Drones and The Jezabels and started an underground techno label Here To Hell.

“Do What You Want” is the first single from the duo in over four years, and it’s also the first single off the duo’s highly-anticipated fourth, full-length album slated for release sometime in 2018  — and unsurprisingly, the new single will further cement the duo’s reputation for crafting festival bangers with enormous, crowd rousing hooks and thumping beats; but interestingly enough, the new single features a looped, glitchy sample reminiscent of Boys Noize’s “ICH R U,” while also nodding at Tweekend-era The Crystal Method and Come With Us-era The Chemical Brothers. 

Directed by Kris Moyes, the recently released video is a wild, psychedelic homage to doing whatever the fuck you want, as long as it floats your boat, doesn’t harm anyone and is relentless and ridiculous fun. 

Although, it’s been some time since I’ve personally written about them, if you had been frequenting this site throughout the course of 2014-2015, you would’ve likely come across a handful of posts featuring the JOVM mainstays and electro pop duo  Du Tonc. And as you may recall, the duo comprised of for his work as the bassist, guitarist and founding member of the Sydney, Australia-based band Van She, and renowned, London UK-based producer, remixer, DJ and electronic music artist Mighty Mouse have released a number of attention grabbing singles since the release of their debut single “Darkness” back in 2013.

The duo recently announced that they recently finished writing their long-awaited and highly-anticipated full-length debut, and on the heels of that announcement, the duo released their latest single “High,” a single which features Van Schie’s ethereal vocals floating over a icy yet cosmic production featuring shimmering and arpeggiated synths and a soaring hook — but additionally, the song features some additional vocals from I Know Leopard‘s Jenny McCullagh. And while nodding at psych pop and dream pop, the single retains the dance floor friendly vibe of their previously released work, complete with an effortless yet hyper modern production sheen.