Tag: Sydney Australia

Last month, I wrote about the Sydney, Australia-based electro pop trio RUFUS DU SOL, and as you may recall, with the release of their first two albums — 2013’s ATLAS, which landed at number 1 on the Australian charts and earned platinum status and 2016’s critically and commercially successful follow up, Bloom, which featured smash hits “You Were Right” and “Innerbloom,” the trio comprised of Tyrone Lindqvist, Jon George and James Hunt quickly became sensations both at home and internationally. And over the course of a lengthy two-year long international tour, the Australian electro pop trio developed a reputation for combining the DIY live aesthetics of indie rock and punk rock with the euphoria of club culture.

After completing the tours to support their first two albums, the Australian trio spent the past year or so in Venice, CA writing and recording their highly-anticipated third full-length album SOLACE, which is slated for release this fall, and as the trio note, the album is largely influenced by the dichotomy of the stark desert landscapes and coastlines of California — but while being a much fuller exploration of their evolving sound, and a deeper, more intimate glimpse into both melancholy and transcendence. It feels like a new RÜFÜS,”the trio says. “We are inspired by our new home out here, by the people we’ve met and the music we’ve heard along the way. We’ve got a refreshed sense of ambition and cannot wait to share our creation with the world.”

Underwater,” SOLACE‘s second single further cemented the trio’s growing reputation for forward-thinking, boundary-pushing production as the track was centered around arpeggiated and propulsive Giorgio Moroder-like synths, a soaring choral hook and verses that express an aching longing. Ultimately, the track reveals an act that has managed to carefully walk a tightrope between arena and club rocking bombast with an earnest and intimate emotionality. “Lost In My Mind” the album’s third and latest single continues with forward thinking, electronic production centered around twinkling and arpeggiated synths, a chopped up choral-based hook paired with soulful vocals, and while sonically  making a subtle nod to Snap!‘s “Rhythm is a Dancer,” the song manages to evoke both the anxious desperation of someone hopelessly trapped within his own mind, and the push and pull of new love.

The internationally renowned electro pop trio will be on a month long North American tour during the fall and it includes three New York City area dates — November 23, November 24 and November 25 at Terminal 5. Check out the tour dates below.

 

SOLACE North American Fall Tour Dates (with more dates to be announced):
Oct 24th – Charlotte, NC – The Fillmore
Oct 25th – Atlanta, GA – Coca Cola Roxy
Oct 26th – New Orleans, LA – Voodoo Music & Arts Experience
Oct 27th – Houston, TX – House of Blues (Houston)
Oct 28th – Austin, TX – Emo’s
Oct 30th – Phoenix, AZ – The Van Buren
Oct 31st – San Diego, CA – Valley View Casino Center
Nov 1st – Los Angeles, CA – Shrine Expo Hall
Nov 2nd – Los Angeles, CA – Shrine Expo Hall
Nov 3rd – Los Angeles, CA – Shrine Expo Hall
Nov 6th – San Francisco, CA – Bill Graham Civic Auditorium
Nov 9th – Salt Lake City, UT – The Complex
Nov 10th – Denver, CO – The Fillmore Auditorium
Nov 11th – Denver, CO – The Fillmore Auditorium
Nov 13th – Minneapolis, MN – First Avenue
Nov 14th – Chicago, IL – Aragon Ballroom
Nov 15th – Detroit, MI – Royal Oak Music Hall
Nov 16th – Toronto, ON – The Danforth Music Hall
Nov 18th – Montreal, QC – MTELUS
Nov 20th – Boston, MA – House of Blues (Boston)
Nov 21st – Boston, MA – House of Blues (Boston)
Nov 23rd – New York, NY – Terminal 5
Nov 24th – New York, NY – Terminal 5
Nov 25th – New York, NY – Terminal 5
Advertisements

Comprised of Kyle Fisher, Merrick Powell, Jonny Dolan and Michael Sacco, the Sydney, Australia-based indie rock quartet STUMPS formed last year and  the band quickly exploded into the national scene, “Piggyback,” “This Home is Mine” and “We’ll Do It Anyway,” off the band’s debut EP Another Stay at Home Son all received airplay on Triple J’s Unearthed.  Already, the band has gone on national tours with Dear Seattle and Maddy Jane, and building upon a growing profile, they played a sold out Sydney headlining show, as well as packed shows in Brisbane and Melbourne — and the band will be on another national tour with Trophy Eyes, Maddy Jane and Dear Seattle in October.

Not wasting time or momentum, the members of STUMPS wrote, recorded and released their latest single, the angular post-punk influenced “Conversation Conversation,” which is centered around four-on-the-floor drumming, angular guitar chords, a propulsive rhythm section and Fisher’s sonorous baritone punchily delivering the song’s lyrics, which are derived from painfully awkward and overheard conversations and interactions of first and second dates, text messages and dating apps – and while being an  ironic view of dating in our short attention span age, it also is an an incisive stab at masculinity and the pointless (and desperate) attempts people make at impressing others.  Sure, the hook-driven song is danceable and arena rock friendly in a way that recalls Franz Ferdinand, but it points a deeply universal and uncomfortable experience that we’ve all had at some point or another.

 

With the release of their first two albums — 2013’s ATLAS, which landed at number 1 on the Australian charts and earned platinum status and 2016’s critically and commercially successful follow up, Bloom, which featured smash hits “You Were Right” and “Innerbloom,” the Sydney, Australia-based electro pop trio RUFUS DU SOL, comprised of Tyrone Lindqvist, Jon George and James Hunt quickly became international sensations — and over the course of a two year long international tour, developed a reputation for combining the DIY live aesthetics of indie rock with the euphoria of classic club culture.
The Australian trio spent the past year in Venice, CA writing and recording their highly-anticipated third full-length album SOLACE, and as the trio notes, the album is largely influenced by the dichotomy of the stark desert landscapes and coastlines of California while being a much fuller exploration of their evolving sound, and a deeper, more intimate glimpse into both melancholy and transcendence. It feels like a new RÜFÜS,”the trio says. “We are inspired by our new home out here, by the people we’ve met and the music we’ve heard along the way. We’ve got a refreshed sense of ambition and cannot wait to share our creation with the world.”

 

SOLACE’s second and latest single “Underwater” will further cement the Australian trio’s growing reputation for forward-thinking, boundary pushing production as the track is centered around arpeggiated and propulsive Giorgio Moroder-like synths, a soaring choral hook and verses that express an aching longing. And from the latest single, it shouldn’t be surprising that the act manages to walk a tightrope between arena and club rocking bombast with an earnest and intimate emotionality, as though the song is confession between the listener and the song’s narrator.

The internationally renowned electro pop trio will be on a month long North American tour during the fall and it includes three New York City area dates — November 23, November 24 and November 25 at Terminal 5. Check out the tour dates below.

 

SOLACE North American Fall Tour Dates (with more dates to be announced):
Oct 24th – Charlotte, NC – The Fillmore
Oct 25th – Atlanta, GA – Coca Cola Roxy
Oct 26th – New Orleans, LA – Voodoo Music & Arts Experience
Oct 27th – Houston, TX – House of Blues (Houston)
Oct 28th – Austin, TX – Emo’s
Oct 30th – Phoenix, AZ – The Van Buren
Oct 31st – San Diego, CA – Valley View Casino Center
Nov 1st – Los Angeles, CA – Shrine Expo Hall
Nov 2nd – Los Angeles, CA – Shrine Expo Hall
Nov 3rd – Los Angeles, CA – Shrine Expo Hall
Nov 6th – San Francisco, CA – Bill Graham Civic Auditorium
Nov 9th – Salt Lake City, UT – The Complex
Nov 10th – Denver, CO – The Fillmore Auditorium
Nov 11th – Denver, CO – The Fillmore Auditorium
Nov 13th – Minneapolis, MN – First Avenue
Nov 14th – Chicago, IL – Aragon Ballroom
Nov 15th – Detroit, MI – Royal Oak Music Hall
Nov 16th – Toronto, ON – The Danforth Music Hall
Nov 18th – Montreal, QC – MTELUS
Nov 20th – Boston, MA – House of Blues (Boston)
Nov 21st – Boston, MA – House of Blues (Boston)
Nov 23rd – New York, NY – Terminal 5
Nov 24th – New York, NY – Terminal 5
Nov 25th – New York, NY – Terminal 5

 

 

New Video: JOVM Mainstays The Presets Return with a Trippy Live Concert-Based Video for “Martini”

Throughout this site’s eight year history, I’ve written quite a bit about the Sydney, Australia-based electronic music production and artist act The Presets, and as you may recall, the Australian act, which is comprised of Julian Hamilton and Kim Moyes can trace their origins back to when they met while studying at the Sydney Conservatorium of Music. Hamilton and Moyes quickly became recognized for crafting electronic dance music with a swaggering, arena rock energy and vibe, and unsurprisingly, the duo caught the attention of renowned Australian electro pop and 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. Adding to a massive and 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. The members of the duo spent the next few years collaborating with a variety of contemporary artists — Hamilton cowrote Flume’s “Say It” and contributed tracks to albums by Flight Facilities, Steve Angello and Meek Mill, while Moyes produced an album by DMA’s  remixed tracks by The Drones and The Jezabels and started an underground techno label Here To Hell.

Late last year, I wrote about “Do What You Want,” the first single off Hi Viz, an album that was released earlier this year, and unsurprisingly, “Do What You Want” further cemented the duo’s reputation for festival bangers with enormous, crowd pleasing hooks and thumping beats — but with a looped glitchy sample that recalled Boys Noize’s “ICH R U,” Tweekend-era The Crystal Method and Come With Us-era The Chemical Brothers. The latest single off the album, “Martini” is swaggering, house music-based club and festival banger, centered around layers of arpeggiated synths and thumping, tweeter and woofr rocking beats; but underneath that swagger is a bit of desperate longing for someone, who’s out of the song narrator’s league — and in a way the song subtly nods at Phil Collins’ “Sussudio.” 

Interestingly, as Julian Hamilton enthusiastically explains in press notes, “Martini was a dancer I used to know. She was everything I wasn’t — cool, clear, strong and with a razor sharp edge I found impossible to resist. In the end, she left me completely undone; a crumbled wreck of a man. ‘But was it worth it?’ I hear you ask . . . Every second.

Each time we perform this song I think of her, so it made sense that Martini’s accompanying video is a film of us playing the song live, directed by our new favourite director and…. well hell I’ll just come out and say it… our new favourite person in the entire world SPOD.” And of course, it should give the viewer the sense of what a Presets live show is like. 

New Video: Phantastic Ferniture Release Whimsical Visuals for “Dark Corner Dance Floor”

Over the past couple of months, I’ve written a bit about the Sydney, Australia-based band Phantasmic Ferniture, the garage rock/guitar pop side project (of sorts) of acclaimed singer/songwriter Julia Jacklin and two of her closest and dearest friends, Elizabeth Hughes and Ryan K. Brennan. And as the story goes, the band can trace their origins to a birthday gathering at a Sydney bar to celebrate Jacklin’s 24th birthday. At some point, a group hug had manifested itself with all ten of the group’s participants drunkenly promising to start a band together. “Only four of us remembered,” Hughes recalls. The band’s core and founding members bonded over a mutual love and appreciation for fern-related puns and leisurewear, and they would meet up whenever their individual schedules would allow, writing songs and playing smatterings of live dates to an increasingly devoted audience.

Eventually, Jacklin, Hughes and Brennan decided that Phantastic Ferniture wasn’t a side project, and they should focus on writing and recording an album together, centered around the fact that the band would be a lot more spontaneous and less technical than their individual pursuits. “That was the fun part,” Jacklin says in press notes. “Ryan never played drums in bands, Liz had never been a lead guitarist, Tom didn’t play bass and I’d never just sung before.” Hughes adds “We wanted a low level of expertise, because a lot of good music comes from people whose passion exceeds their skill.”

Now, as you may recall, the band’s self-titled full-length debut was released last month through Transgressive Records, and the album finds the band adopting their mantra of not overthinking and focusing on the urgency of the moment as the basis of the writing and recording sessions that produced it — but underpinned with a sense of whimsy. The album’s second single “Gap Year” was a 90s alt rock-inspired track that recalled  PJ Harvey while the album’s third single “Bad Timing” was a bit of rollocking indie rock with a cinematic sweep. The fourth and latest single off the Australian indie rock act’s debut “Dark Corner Dance Floor” is centered around a shuffling disco-like bass line, shimmering guitar chords and soaring, anthemic hooks making it one of the more danceable songs on the album although its underpinned by love, awe and disappointment. 
Co-directed by Nick Mckk and Phantasmic Ferniture, the recently released video for “Dark Corner Dance Floor” continues the band’s ongoing collaboration with Mckk while featuring the band’s Jacklin and Hughes dressed up and wandering the streets of Sydney in a way that nods at David Bowie and Mick Jagger’s “Dancing in the Street” — but with a charming goofiness. As Jaclkin and Hughes explain in press notes, ” When you’re a kid from out of the city you think Darling Harbour is the essence of Sydney. The aquarium, the Ferris wheel, the IMAX theatre. You imagine when you finally make it to the big smoke you’ll spend your weekends falling in love under the lights of the high rises. Turns out if you move to Sydney you’ll probably never go there. We wanted to capture that feeling we had when we were two starry eyed teens imagining a fake city life.”

New Video: Introducing the Anthemic Guitar Pop of Castlecomer

Featuring Bede (pronounced BEEd) (vocals), Tommy (guitar), Neely (keys), Joe (bass) and Patch (drums), the Sydney, Australia-born, Stateside-based members of up-and-coming indie rock quintet Castlecomer are composed of four cousins and a close childhood friend, who began playing live shows when they were teens. And as the story goes, they derived their band name from a plaque mounted outside their grandfather’s house, which they later found out also referenced the Irish village that their grandfather’s family had emigrated from.  Interestingly, the quintet quickly exploded into the national and international scene with the release of their smash hit single “Fire Alarm,” an anthemic single that amassed over six million streams while drawing comparisons to The Strokes and Daft Punk and receiving praise from Rolling Stone Australia. With a rapidly growing profile, that included highly praised SXSW appearance last year, Concord Records signed the band — and taking a massive leap of faith, the Australian-born members of the band relocated to the States to make a name for themselves. 

The band’s forthcoming Adrian Breakspear and Jean-Paul Fung co-produced, self-titled, full-length debut is slated for an October 5, 2018 release and the album reportedly finds the band pairing old school rock ‘n’ roll abandon with meticulous pop craftsmanship; in fact, the album’s upbeat lead single “All of the Noise” is centered around enormous and rousingly anthemic hooks, shimmering guitar chords and earnest, larger than life emotionality — and in some way, the single recalls The Smiths, The Strokes and others. 

The recently released, cinematically shot video features the members of Castlecomer performing the song in a sunlit, abandoned, graffiti covered church, and as they’re performing, two adorable little black kids, who have a sibling-like closeness run around, roughhouse and just have a genuine childlike joy play outside the church, and discover the band playing the song. 

New Video: Phantastic Ferniture Returns with Mischievous Visuals for Soaring Album Single “Bad Timing”

Although I’ve suffered a number of frustrating technological setbacks, you may recall that last month, I wrote about Phantasmic Furniture, the  garage rock/guitar pop side project (of sorts) of acclaimed singer/songwriter Julia Jacklin and a collection of some of her closest and dearest friends, Elizabeth Hughes and Ryan K. Brennan. And as the story goes, the band can trace their origins to a birthday gathering in a Sydney, Australia-based bar to celebrate Jacklin’s 24th birthday. At some point, a group hug had manifested itself with all ten of the group’s hug participants, drunkenly promising to start a band together. “Only four of us remembered,” Hughes recalls. The band’s core and founding members bonded over a mutual love and appreciation for fern-related puns and leisurewear, and they would meet up whenever their individual schedules would allow, writing songs and playing smatterings of live dates to an increasingly devoted audience.

Eventually, Jacklin, Hughes and Brennan decided that Phantastic Ferniture wasn’t a side project, and they should focus on writing and recording an album together, centered around the fact that the band would be a lot more spontaneous and less technical than their individual pursuits. “That was the fun part,” Jacklin says in press notes. “Ryan never played drums in bands, Liz had never been a lead guitarist, Tom didn’t play bass and I’d never just sung before.” Hughes adds “We wanted a low level of expertise, because a lot of good music comes from people whose passion exceeds their skill.”

Slated for a July 27, 2018 release through Transgressive Records, Phantastic Ferniture’s self-titled debut finds the band adopting a mantra of not overthinking — of focusing on the urgency of the moment, while being whimsical. “Gap Year,” the second single off the band’s full-length debut is a 90s alt rock-like track that struck me as owning and spiritual debut to PJ Harvey. “Bad Timing,” the third and latest single of the single continues on a somewhat similar vein as its immediate predecessor — rollicking indie rock with a cinematic sweep centered around a propulsive rhythm section, psych rock-like guitar pyrotechnics and a soaring hook. 

The recently released video for “Bad Timing” continues the band’s ongoing collaboration with director Nick Mckk and the video finds the band mischievously employing the use of fern imagery — with some friends holding potted ferns in front of the band members. At one point, you even see them put a fern-related puzzle together — because, of course! As the band’s Jacklin says in press notes, “We have to really thank all of our friends who came and made this clip with us. It turned out to be quite a painful process but probably good for our dwindling musician specific fitness levels. I think all our arms were aching for about a week after. I think anyone who is already on the fence in regards to our use of fern imagery is going to really hate us after watching this. We had also just got back our puzzle that features on the cover of our record and were putting it together while we waited for each shot to be set up.”

New Video: Up-and-Coming Australian Producer and Electronic Music Artist MUTO Releases Cinematic Yet Surreal Visuals for “Tessellating” feat. Oliver Dibley

MUTO is a 20-something, Sydney, Australia-born and-based electronic music producer, who quickly emerged into the national scene with the release of two attention grabbing, incredibly unique yet soulful, chart topping singles “Wildfire,” and “Say Nothing.” The up-and-coming Australian electronic music producer’s first single of this year “Tessellating” will further cement his reputation for crafting slick, soulful and crowd pleasing electro pop — but while pushing his sound in a new, experimental direction as it’s centered around a production consisting of layers of glitchy electronics, arpeggiated synths, tweeter and woofer rocking beats, weird, asymmetrical textures which Oliver Dibley croons in a sultry and plaintive fashion about the interchanging and confusing nature of a relationship. In this sense, relationships can change and bend dependent on the lens and perspective you’re looking through, much like light refracting through a mirror.

Directed by  Visitor Studio’s Melbourne, Australia-based, award winning duo Lukas Shrank and George Thompson, the recently released video while cinematically shot possesses a surreal and dream-like logic that suggest that love — whether romantic or platonic — can frequently feel like being free fall, and landing in some random place without explanation or reason. 

Perhaps best known as a founding member, primary songwriter and frontwoman of renowned indie rock act Howling Bells, along with Glenn Moule (drums), her brother Joel (lead guitar) and Gary Daines (bass guitar), the Sydney, Australia-born, London-based singer/songwriter and guitarist Juanita Stein has developed a reputation as a solo artist of note with the release of last year’s solo debut America, an album that thematically focused on the iconography and cultural landscapes of a country that had always fascinated her from afar.

Slated for an August 31, 2018 release through Nude Records, Stein’s sophomore album, Until The Lights Fade will further cement her long-held reputation for crafting twangy and old-timey country-tinged indie rock — but this time, the album thematically speaking is concerned with thoughts, feelings, stories and characters rooted far closer to home. “I feel like the two albums are different sides of the same coin,” Stein explain. “If America was the starting point of a journey — the musical equivalent of me spreading my wings, but also treading carefully, trying to figure myself out having come from such an intense period of camaraderie in the band; then this record is me starting to gain a bit more traction, feeling more confident in where I’m coming from and what is I’m doing.” When the opportunity arose last year to spend a week in Austin, TX with Stuart Sikes, who has worked with Cat Power, The White Stripes, Loretta Lynn, Stein grabbed it. “When you reach a certain point in life and moments like that appear, you have to go with it. Up ’til now, everything I’ve done has been planned and laboured over, but this album was very impromptu, very spur of the moment — a couple of the musicians I was working with, I had only met for the first time that week. It was like nothing I’d ever done before.” Naturally, that impromptu nature of the recording sessions wound up influencing the material’s overall sound — and with album single “Easy Street,” there’s a ramshackle and free-flowing vibe that underlies the material’s deliberate attention to craft that brings to mind 70s AM radio rock, thanks in part to the song’s anthemic hooks, twangy power chords. As Stein says of the song, “‘Easy Street’ was written very immediately. Everything about it felt intuitive and direct. Touring the songs off America for the last couple of years has given me some unique insight into people and their situations. You’re clocking up some good miles across various cities and countries, you see people getting by, doing what they can, being inventive with their realities. Hope/desperation isn’t limited to geography, everyone’s looking for an easy way out essentially. This song is about someone running from their reality and trying to find a better life for themselves.”

Adding to a growing profile as a solo artist, Stein had a recent run of dates opening for The Killers that included a SXSW stop — and since then she’s toured with renowned Roxy Music frontman Bryan Ferry, made some stops across the international touring circuit that included Latitude Festival, Green Man Festival, and Black Deer Festival. Building up buzz for her sophomore effort, Stein will be playing a number of dates across the UK. Check out the tour dates below.

Tour Dates 
24th     June     Black Deer Festival, Tunbridge Wells
8th       July      TRNSMT Festival, Glasgow
14th     July      Latitude Festival, Southwold
20th     July      Spain, Benicassim Festival
24th     July      Finland, Helsinki Arena (with The Killers)
26th     July      Luxembourg, Esch-sur-Alzette, Rockhal (with The Killers)
18th     August Green Man Festival, Crickhowell