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16 Nov Ripe Guide: Australia’s Best New Music (17/11/16)

Photo by Marcus Rimondini

This is our updated weekly playlist of the best new Australian music released within the past two months. This week we have new entries from King Gizzard & The Lizard Wizard, Fantastic Man, Twelve Point Buck, Pure Moods, LIF, Black Springs and this week’s best new track by Amateur Dance.

We have an Openwhyd player, where you can listen to all 60 songs in the playlist resourced from YouTube, Bandcamp, SoundCloud and Spotify. As always, we also have an updated SoundCloud playlist, a Spotify playlist, and our full guide below.

spotifysoundcloud

60. Black Springs – ‘Slinky Day’

Uploaded: October 15th | Open with SoundCloud

59. Body Type – ‘264’ | Uploaded: November 9th | Open with SoundCloud

58. POPPONGENE – ‘Belgravey’ | Uploaded: October 7th | Open with SoundCloud

57. Foreign/National – ‘Too Sentimental’ | Uploaded: October 17th | Open with SoundCloud

56. Lonelyspeck – ‘All My Skin on the Air’ | Uploaded: November 3rd | Open with SoundCloud

55. LIF – ‘Swing Right Back’

Uploaded: November 9th | Open with SoundCloud

54. DEN – ‘Inertia’ | Uploaded: October 25th | Open with YouTube

53. Lower Plenty – ‘All The Young Men’ | Uploaded: October 24th | Open with YouTube

52. Gabriella Cohen – ‘Downtown’ | Uploaded: October 30th | Open with YouTube

51. Hazel English – ‘Control’ | Uploaded: October 5th | Open with YouTube

50. Redspencer – ‘Rainbows’ | Uploaded: October 18th | Open with SoundCloud

49. Honest John – ‘Midweek Exotic’ | Uploaded: October 20th | Open with SoundCloud

48. I Know Leopard – ‘Rather Be Lonely’ | Uploaded: October 20th | Open with SoundCloud

47. Mio – ‘You’re Not That Nice Anyway’ | Uploaded: November 9th | Open with SoundCloud

46. Manu Crook$ ft. Miracle – ‘Blowin’ Up’ | Uploaded: October 13th | Open with YouTube

45. Flicker Vertigo – ‘Life In Bloom’ | Uploaded: October 19th | Open with SoundCloud

44. NИLL – ‘In Unity’ | Uploaded: September 30th | Open with YouTube

43. Broadway Sounds – ‘Ah Ring Ah Ting Ting’ | Uploaded: October 10th | Open with SoundCloud

42. Tornado Wallace – ‘Trance Encounters’ | Uploaded: September 30th | Open with YouTube

41. Gauci – ‘Hurry’ | Uploaded: October 18th | Open with SoundCloud

40. PVT – ‘Morning Mist, Rock Island Bend’ | Uploaded: November 3rd | Open with YouTube

39. Dan White – ‘Low Poly’ | Uploaded: November 6th | Open with SoundCloud

38. Pure Moods – ‘Dolphin Quest’

Uploaded: November 15th | Open with YouTube

37. Friendships – ‘0.0.0 (Eat Your Flesh)’ | Uploaded: September 29th | Open with YouTube

36. Heart Beach – ‘Brittle’ | Uploaded: September 19th | Open with SoundCloud

35. Seagram Murals – ‘Albion’ | Uploaded: October 19th | Open with SoundCloud

34. BV – ‘Up In The Flesh’ | Uploaded: October 29th | Open with SoundCloud

33. Kane Ikin – ‘Packet Loss’ | Uploaded: October 25th | Open with SoundCloud

32. Hazel English – ‘Make It Better’ | Uploaded: October 26th | Open with SoundCloud

31. Tyrøne – ‘Wait’ | Uploaded: November 2nd | Open with SoundCloud

30. Donny Benét – ‘Working Out’ | Uploaded: September 20th | Open with SoundCloud

29. Beyond Solutions – ‘Oxyacetylene’ | Uploaded: October 25th | Open with SoundCloud

28. Tkay Maidza – ‘Tennies’ | Uploaded: October 3rd | Open with SoundCloud

27. Tram Cops – ‘Bb Jesus’ | Uploaded: September 18th | Open with SoundCloud

26. Sampa The Great – ‘Mona Lisa’ | Uploaded: November 2nd | Open with SoundCloud

25. Curves – ‘The Wedding’ | Uploaded: November 9th | Open with SoundCloud

24. Twelve Point Buck – ‘Home’

Uploaded: November 14th | Open with SoundCloud

23. Planète – ‘Nightcrawler’ | Uploaded: September 28th | Open with YouTube

22. Good Boy – ‘S.O.G.K.’ | Uploaded: September 20th | Open with YouTube

21. Kwame – ‘I Get It’ | Uploaded: October 5th | Open with SoundCloud

20. West Suburban Shrine Club – ‘Motorbike Warrior’ | Uploaded: October 1st | Open with SoundCloud

19. Tim Coggins – ‘Empty Suits’ | Uploaded: October 19th | Open with SoundCloud

18. Tiny Little Houses – ‘Medicate Me’ | Uploaded: October 7th | Open with Spotify

17. D.D Dumbo – ‘Oyster’ | Uploaded: October 7th | Open with Spotify

16. Simona Castricum – ‘Nights Don’t Breathe’ | Uploaded: October 3rd | Open with YouTube

15. Arthur Miles – ‘Jessica’s Place’ | Uploaded: October 25th | Open with SoundCloud

14. Knight Ali – ‘God Complex’ | Uploaded: November 1st | Open with SoundCloud

13. Take Your Time – ‘Sleep In’ | Uploaded: October 28th | Open with SoundCloud

12. Christopher Port – ‘Sum 1 (‘His Eye Is On The Sparrow’ Edit)’ | Uploaded: November 9th | Open with SoundCloud

11. Good Morning – ‘Step Aside’ | Uploaded: November 1st | Open with SoundCloud

10. Fantastic Man – ‘Galactic Ecstacy’

Uploaded: November 12th | Open with SoundCloud

9. Curves – ‘Perfumery’ | Uploaded: October 23rd | Open with Vimeo

8. Rolling Blackouts Coastal Fever – ‘Julie’s Place’ | Uploaded: October 15th | Open with SoundCloud

7. King Gizzard & The Lizard Wizard – ‘Rattlesnake’

Uploaded: November 10th | Open with YouTube

6. MM & Roy G – ‘Grass Is A Fairweather Friend’ | Uploaded: October 28th | Open with SoundCloud

5. Jaala – ‘Junior Spirit’ | Uploaded: September 23rd | Open with YouTube

4. Harvey Sutherland – ‘Priestess’ | Uploaded: October 10th | Open with Bandcamp

3. Julia Jacklin – ‘Hay Plain’ | Uploaded: October 1st | Open with SoundCloud

2. Amateur Dance – ‘Dreamhack’

Uploaded: November 15th | Open with SoundCloud

1. Christopher Port – ‘My Love’ | Uploaded: November 8th | Open with SoundCloud

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15 Nov Overcoming Writer’s Block – An Interview with Planète


Words by Marcus Rimondini // Photos by Nikki Williams


Dion Tartaglione aka Planète has slowly emerged from the electronic scene in Melbourne over the past four years. Sitting somewhere between a live act and club DJ, he’s carved out his own dynamic, an intriguing and important niche in Australia. His lengthy periods between releases have served as a teaser for a lot people, considering he’s about as highly critically respected as they come in this country.

We recently sat down with him at The Gasometer Hotel in Collingwood, Melbourne, to find out why it takes so long for him to release music. We also dived into how he joined Good Manners, the direction shift between ‘Altair‘ and ‘Nightcrawler‘ and why he’s looking to make the move to Europe next year.

Marcus Rimondini: Where did you grow up?

Planète: As a child I grew up in Parkville, and then moved to Williamstown as an early teen, went to school in the Western suburbs, started learning guitar at 14, lessons and bands up until I was about 19 or 20 years old with a couple mates. Then I introduced myself to electronic music at that age. I was also playing in a band with Brooke Addamo, in Owl Eyes.

How did that come about?

Through mutual friends. She grew up where a lot of my mates went to school. We learnt that we were both in music, we went to a few gigs together, we hung out, and basically she was reforming a band and needed a bass player. So I stepped in and played bass for about two or three years. At the same time, I had sort’ve started Planète. Then she went off to do more gigs with Flight Facilities and I started with Good Manners. It was a seamless transition to where I am now.

 

Did you study music?

Just guitar lesson for a couple years, when I was about 16 I stopped. So I’ve got very basic theory, but I learnt more about music from producing and sort of mucking around, playing around. Also learning keyboard, I was never trained, I never did piano or anything. I feel lot more at ease on the keyboard than I do on the guitar now. Which is a bit funny.

Do you ever bring the bass guitar back in while recording Planète?

I did at one point, but I wasn’t into the tone. I felt like I was more into synthetic bass, sub bass, more analog tones. But definitely, learning to play bass has been a huge thing in my learning with like bass arrangement. Prior to ‘Altair‘, tracks like ‘Felix‘ and such are very bass driven – I think I was doing it subconsciously without evening noticing. The bass guitar is now just in my case at home still *laughs*.

How did the whole Good Manners thing happen?

I remember doing a gig at STEP with Rat & Co on that night at The Toff. From there I was introduced to Huw Nolan, and then he started following my stuff, I think about that time he booked me to play at LUCIANBLOMKAMP‘s Post Nature launch with Emerse as well. That’s how I met Emerse. That was just prior to Paradise Music Festival 2014, where Huw saw me play and after then he was like “hey mate, we really want to have you on board with Good Manners”. I was pretty stoked, because of the roster.

Had anyone else approached you at that point?

There were a few people that did, close to round that time as well, but for me I wasn’t sure if I was ready for it then, plus I really wanted to be with the Good Manners guys. I waited it out at that point, it’s always good to wait in some things, not all things, and it turned out I went on board with the Good Manners guys.

Was ‘Altair’ released to signal a slight change in sound?

Definitely. Coming out of the two track with ‘Helix‘ and ‘Två Fontäner‘, I really wanted to do something that was more club orientated, but really percussive driven. It really took me a while to fine tune ‘Altair’, because when I go back and look at it all, there’s so much tuning of like sampled Kalimba, Kalimba from my mate’s studio, and also like things in the kitchen on my iPhone as well *laughs*. And I just tuned it all, it took me ages to find something that kind of works. It was really complex at one stage, then I brought it down and it was too simple, then I sort of found a middle ground. I really wanted to explore that jangly thing going from there.

How were you playing the song live?

Because it was really percussive focused, I had a launch pad set up, and all 64 buttons were all one shot triggers of all the kitchen sounds, then 16 were tuned to Kalimba as well, and now I’ve completely taken that out. I’ve now got other bits of gear in there, there’s still a bit of jangly percussion feedback stuff happening, but it’s more focused on the bass, the arrangement and the dynamics.

 

You mentioned to Jason Moore on Triple R that you wanted to simplify your sound?

Coming into ‘Nightcrawler’ I wanted to simply the production so it sounds more placed than accidental. A lot of the stuff in ‘Altair’ was accidental. So I wanted to establish myself at being better, cleaner in some production, and not just rely on busyness and a huge bass *laughs*. I wanted you to hear like the synths and they carry. The drum beats are intricate, but they carry also. Just fine tuning the production techniques and skills I’ve gotten away with. Have more confidence in stuff that’s drier, and instead of having like four or five things going on, it’s just one.

Was ‘Nightcrawler’ intended to be part of an EP?

It’s just an individual track, it had the intention of an EP, and I have other tracks that I wanted to pair with it, but I feel like the model of putting out a one track is going to be better for me until I have an EP that I think will really pop. The EP won’t be all feature tracks, the whole EP should sound as one, but that’s really tricky and that’s what I want to nail with the production stuff – get it really tight and then be ready to do an EP.

I think in the meantime I want to get some things out of the system. in terms of types of tracks, like a heavy techno track or just a really kind of 12-minute background track, that’s just really repetitive. Then once I get those tracks out of my system or feel I can convey those tracks well, then focus on an EP that’s got a bit more depth, bit more instrumentation, actual piano, actual strings, and all of that. It’s going to take time to number one, arrange it, number two, record it and stuff. I want to put effort into a final EP.

Did the clubbing influence come from here or overseas?

It came from here. It came from going out and also starting to do DJ gigs as well. That got me more into club music, that’s not very like eccentric. It definitely gave me more of an appreciation for very simple tracks that someone’s made with just a drum machine, bass synth and that’s it. Very simple and everything you hear is what you get and there’s not much thought into it, it’s just a jam.

I like that simplicity. That’s what I want to do, more so. I think getting into the club music sort of realm, because I didn’t really get introduced to it. I sort of got introduced to it, but I didn’t like it, I had to really dive in and find the artists that I like, DJs that I like. Even then I won’t make a track [influenced] by a DJ that I aspire to. ‘Nightcrawler’ is on the edge [of that], if I went any closer to club then… I don’t want to be sort of pigeonholed to that’s all I do. I tend to teeter on the edge and then come back a bit.

Which artists did you find?

I definitely like a lot of Midland‘s production and mixes, I like Max Graef and all those guys, like Glenn Astro.

What else have you been doing this past year?

I moved to a new place in Footscray, and that’s changed my whole creative process. Who I’m sort of talking too, where I’m situated, and I guess just what I’m doing in a different home environment. I’m learning a lot more about gardening and water culture. That’s because that’s what my housemates do. They’re into that and I love it. It’s so interesting, I’ve learnt so much about different strands of Broccoli, like if you can’t learn anything, how are you supposed to output anything new. I’ve also just been doing normal work, just my day to day kind of thing, just to get by.

Also between the period of ‘Altair’ and ‘Nightcrawler’, that’s when all of this happened, that move. It took me a while to get my setup and environment to a point where it was nature, where I feel like I could sit down and do something. Then once I did that, I hit a writer’s block for about three months and was really stressed out. Really anxious, and I spoke to as many people and everyone about it. I spoke to producer friends, the Good Manners guys, mum and dad, close friends. From there, I think it was only a couple months ago, where I felt like I come out of that.

 

Do you know what was creating the writer’s block?

No, I’m not sure. I think it was less trying to do it like ‘Altair’ and more trying to do it like ‘Nightcrawler’. Going for that less is more approach, doing things that you’re not comfortable doing and sticking with it, learning new things to get out of old ways. Especially with just general learning and then with production as well. I’ve turned my whole setup upside down. Everything that I play with live, I use to record with. So in the past, I’d go to my laptop, I’d have some shitty recordings or some recordings on my phone, and I would just put them in and sample them, or sample from where ever. But now I use the little bits of gear that I have, and I’d have really simple sounds, simple processes, and just running with it. I think that is a key thing that I saw and read about with writer’s block, having limitations, because if you’re sitting at a computer, you could just go forever into the ether. You could be tuning something for ages and it doesn’t get you anywhere. But if you sort of go “hey, that’s the hi-hat sound done” bang, that’s it, don’t finesse for 15 minutes over it. That mindset going forward was how I got things done and got out of it.

As for what created the writer’s block? I don’t know, I guess it was just finishing tracks or making tracks that didn’t really hit the mark, that didn’t feel like a step up from ‘Altair’. Like I felt like I produced a really great track – if I listen to it now, I’m happy with it, with just how it flows and everything. But everything I was doing was just a bit slapdash, it didn’t really cut the mustard *laughs*. Then it just spiralled into a nothingness for ages.

Where else do you get your sounds from?

I’ve sampled sounds from like records, I guess, cassettes, like hip-hop stuff that I heard on the radio and crunched it in. Then play the synth parts, and then the piano and stuff I sampled from recordings as well. All at home, no external stuff, all sampling. Which is something I want to move away from a little bit or at least record stuff to re-sample. I want to be doing my own thing.

Did you think about bringing in guest musicians?

Prior to it, no, but moving forward, yes that’s what I’m going to do 100%. It’s almost like the best thing and the worst thing, sometimes it works and sometimes it doesn’t. I think with getting tracks out, it’s always good to get peer review, show people who are musicians, people who aren’t musicians, and with ‘Nightcrawler’ I did do that. I want to collaborate moving forward and have the credit split, just because moving creatively, I want to build on what I’m doing. And I think because I was in a bit of writer’s block, I didn’t want to go to a session with someone and be like “hey, I’ve done nothing for six months, lets write a track” *laughs*. It’s not really convincing. Now I feel like I’m on the brink of making something different all the time, let’s do a collaboration.

I used to show a lot more of my friends what I’ve been working on and I’ve cut that down. I only show, sometimes my housemates because they’re listening to it. I always show my mum, she’s a really good indication. Sometimes I really like her feedback, sometimes I think it’s crap, but it’s good.

It’s good, because you want their view that’s a little further back.

Exactly. She’s not in the scene (I hope *laughs*), she listens to whatever and she’s got a really good taste in music. That’s probably where I get my attention for different things, from her. If she likes something, I’ll be 50/50 on it, because maybe it’s really lame or maybe it’s really good. But if she hates something, well then I think, well I think it’s good. But I always take that into consideration.
She makes me refine things better. Then when I show her the next step, then it’s like “hey, I like this better, I think what we’ve spoke about works, good on yah”. *laughs* I don’t know if she likes it, but I like to show her.

When you play live, is it all tracks that are released? How do you construct your set?

I’ve got a couple tracks that are not released. They’re just tracks that I like to play, they sort of work in the set. One is a new track, that I’ve only just written and finished. Then there’s ‘Altair’ which I’ve changed a lot. I’ve simplified it a lot. ‘Helix’ as well, I’ve taken and snapped loops in there, and ‘Visions’ as well, I’ve sort of like snapped in to small loops, I’m not playing the whole song, just playing parts. So there’s a bit of a mix. It’s about half and half. About four songs that are out, and four songs that aren’t. In that, ‘Altair’ doesn’t even sound the same, well it sounds the same, but it’s de-tuned, so it’s really clunky sounding *laughs*. ‘Nightcrawler’ sounds the most like the actual recording. Usually making the set an hour long.

 

Do you just test run this all at home?

Yeah I do. I didn’t do it for this show, which I always do for every other show. For this one I was practicing just doing the show, because I [am using] bits of different gear. I’m almost liking that I haven’t practiced all the transitions, so there will be parts between songs where it might go for a bit longer. So it will be a bit more genuine, and it makes me stay on my toes.

The last gig that I did, I compiled the live set all on the day, I was like, I’ll just drag everything in and quickly chop it all up, make like a few simple drum tracks or whatever, and it was the most fun I’ve ever had. Having a live set that could completely fall to the ground, that could be crappy or chaos, has given me the most thrill. Because if I have tracks that I know are going to be sweet for eight minutes, then I’m just standing here, feels really boring, so it’s now a bit more on the edge. If people don’t like it, great. If people like it, great *laughs*. Because I’m just going to have fun.

Do you have travel plans for next year?

Yes, personally and yes for music. I really want to get my Italian citizenship, so I can move there and live there and be based in Europe, that would be amazing if it happens soon.

And make some Italo Disco?

*Laughs* Yeah probably that might happen, who knows, I might get there and be completely immersed in it. But I think the plan is to put out a whole bunch of tracks at the start of next year, that’ll give me a little bit of weight, for a European thing. who knows, it’s in the plan, I definitely want to do it, whether I just go overseas or do music at the same time, who knows. It’ll be based upon when I do go, and what I have ready by the start of next year. So I’m writing as much as I can by December 31st *laughs*, then the first day of January, here’s the plan, boom boom boom boom.

Anywhere in particular you want to travel to?

I’m sort of happy to go everywhere. I have mates living in the UK, which it would be great to play some shows there, hang out with them as well. Germany would be great also, but then I really want to get immersed in the scenes of like Italy or Denmark, or in Switzerland, or France or wherever, or Spain as well. I just want to have an open mind to everywhere, and not sort of be like “hey, I already know this is a cultural hotspot for electronic music”, you know maybe it’s in Belgium now for me, who knows, I don’t know. I obviously want to go to the big ones, definitely want to go to like Berlin and the UK.

If I go to Italy, I’ll go with the intention of writing music at the same time, if I can tee-up little things whilst I’m there, just to like keep it afloat, great. But it’s a bit too hard to say without being there, I just want to throw myself in the deep end. If that doesn’t happen, then I really want to make sure that what I’m doing in Australia and Melbourne is ticking all the right boxes, playing everything I want to play. I guess we will just see at the start of next year.

 


 

T O U R D A T E S
Nov 18th – The Wildlands, Strawberry Fields Festival Nov 19th – State Library of Victoria, MMW Closing Party x Good Manners
Nov 25-27th – Lake Mountain Alpine Resort, Paradise Music Festival

 


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10 Nov Ripe Guide: Australia’s Best New Music (10/11/16)

Photo by Marcus Rimondini

This is our updated weekly playlist of the best new Australian music released within the past two months. This week we have new entries from Harvey Sutherland, Rolling Blackouts Coastal Fever, Curves, Tyrøne, Dan White, PVT, Mio, Lonelyspeck, Body Type and this week’s best new track by Christopher Port.

We have an Openwhyd player, where you can listen to all 60 songs in the playlist resourced from YouTube, Bandcamp, SoundCloud and Spotify. As always, we also have an updated SoundCloud playlist, a Spotify playlist, and our full guide below.

spotifysoundcloud

60. Body Type – ‘264’

Uploaded: November 9th | Open with SoundCloud

59. POPPONGENE – ‘Belgravey’ | Uploaded: October 7th | Open with SoundCloud

58. Liahona – ‘Kiss Your Favourite Part Of Me’ | Uploaded: October 7th | Open with SoundCloud

57. Foreign/National – ‘Too Sentimental’ | Uploaded: October 17th | Open with SoundCloud

56. Lonelyspeck – ‘All My Skin on the Air’

Uploaded: November 3rd | Open with SoundCloud

55. DEN – ‘Inertia’ | Uploaded: October 25th | Open with YouTube

54. Lower Plenty – ‘All The Young Men’ | Uploaded: October 24th | Open with YouTube

53. Gabriella Cohen – ‘Downtown’ | Uploaded: October 30th | Open with YouTube

52. Hazel English – ‘Control’ | Uploaded: October 5th | Open with YouTube

51. Redspencer – ‘Rainbows’ | Uploaded: October 18th | Open with SoundCloud

50. Betty & Oswald – ‘Stuck In The City’ | Uploaded: October 26th | Open with SoundCloud

49. Honest John – ‘Midweek Exotic’ | Uploaded: October 20th | Open with SoundCloud

48. I Know Leopard – ‘Rather Be Lonely’ | Uploaded: October 20th | Open with SoundCloud

47. Mio – ‘You’re Not That Nice Anyway’

Uploaded: November 9th | Open with SoundCloud

46. Seekae – ‘Turbine Blue’ | Uploaded: September 16th | Open with SoundCloud

45. The Goon Sax – ‘Sweaty Hands’ | Uploaded: September 16th | Open with YouTube

44. Manu Crook$ ft. Miracle – ‘Blowin’ Up’ | Uploaded: October 13th | Open with YouTube

43. Flicker Vertigo – ‘Life In Bloom’ | Uploaded: October 19th | Open with SoundCloud

42. NИLL – ‘In Unity’ | Uploaded: September 30th | Open with YouTube

41. Broadway Sounds – ‘Ah Ring Ah Ting Ting’ | Uploaded: October 10th | Open with SoundCloud

40. Tornado Wallace – ‘Trance Encounters’ | Uploaded: September 30th | Open with YouTube

39. Gauci – ‘Hurry’ | Uploaded: October 18th | Open with SoundCloud

38. Gamirez – ‘India Love’ | Uploaded: September 12th | Open with SoundCloud

37. PVT – ‘Morning Mist, Rock Island Bend’

Uploaded: November 3rd | Open with YouTube

36. Broken Mountain – ‘Earthquake’ | Uploaded: September 12th | Open with SoundCloud

35. Dan White – ‘Low Poly’

Uploaded: November 6th | Open with SoundCloud

34. Friendships – ‘0.0.0 (Eat Your Flesh)’ | Uploaded: September 29th | Open with YouTube

33. Heart Beach – ‘Brittle’ | Uploaded: September 19th | Open with SoundCloud

32. Seagram Murals – ‘Albion’ | Uploaded: October 19th | Open with SoundCloud

31. BV – ‘Up In The Flesh’ | Uploaded: October 29th | Open with SoundCloud

30. Kane Ikin – ‘Packet Loss’ | Uploaded: October 25th | Open with SoundCloud

29. Hazel English – ‘Make It Better’ | Uploaded: October 26th | Open with SoundCloud

28. Tyrøne – ‘Wait’

Uploaded: November 2nd | Open with SoundCloud

27. Donny Benét – ‘Working Out’ | Uploaded: September 20th | Open with SoundCloud

26. Beyond Solutions – ‘Oxyacetylene’ | Uploaded: October 25th | Open with SoundCloud

25. Tkay Maidza – ‘Tennies’ | Uploaded: October 3rd | Open with SoundCloud

24. Tram Cops – ‘Bb Jesus’ | Uploaded: September 18th | Open with SoundCloud

23. Sampa The Great – ‘Mona Lisa’ | Uploaded: November 2nd | Open with SoundCloud

22. Curves – ‘The Wedding’

Uploaded: November 9th | Open with SoundCloud

21. Planète – ‘Nightcrawler’ | Uploaded: September 28th | Open with YouTube

20. Good Boy – ‘S.O.G.K.’ | Uploaded: September 20th | Open with YouTube

19. Kwame – ‘I Get It’ | Uploaded: October 5th | Open with SoundCloud

18. West Suburban Shrine Club – ‘Motorbike Warrior’ | Uploaded: October 1st | Open with SoundCloud

17. Tim Coggins – ‘Empty Suits’ | Uploaded: October 19th | Open with SoundCloud

16. Tiny Little Houses – ‘Medicate Me’ | Uploaded: October 7th | Open with Spotify

15. D.D Dumbo – ‘Oyster’ | Uploaded: October 7th | Open with Spotify

14. Simona Castricum – ‘Nights Don’t Breathe’ | Uploaded: October 3rd | Open with YouTube

13. Arthur Miles – ‘Jessica’s Place’ | Uploaded: October 25th | Open with SoundCloud

12. Knight Ali – ‘God Complex’ | Uploaded: November 1st | Open with SoundCloud

11. Take Your Time – ‘Sleep In’ | Uploaded: October 28th | Open with SoundCloud

10. Christopher Port – ‘Sum 1 (‘His Eye Is On The Sparrow’ Edit)’

Uploaded: November 9th | Open with SoundCloud

9. Good Morning – ‘Step Aside’ | Uploaded: November 1st | Open with SoundCloud

8. Curves – ‘Perfumery’ | Uploaded: October 23rd | Open with Vimeo

7. Rolling Blackouts Coastal Fever – ‘Julie’s Place’

Uploaded: October 15th | Open with SoundCloud

6. MM & Roy G – ‘Grass Is A Fairweather Friend’ | Uploaded: October 28th | Open with SoundCloud

5. Jaala – ‘Junior Spirit’ | Uploaded: September 23rd | Open with YouTube

4. Harvey Sutherland – ‘Bravado’

Uploaded: October 10th | Open with Spotify

3. Julia Jacklin – ‘Hay Plain’ | Uploaded: October 1st | Open with SoundCloud

2. A. Swayze and the Ghosts – ‘Reciprocation’ | Uploaded: September 14th | Open with SoundCloud

1. Christopher Port – ‘My Love’

Uploaded: November 8th | Open with SoundCloud

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06 Nov Trading Tunes with Pillow Pro


Photo by Dominique Elliott


Sophie and Christobel, who make up the dreamy alt-pop Melbourne duo Pillow Pro, are finally coming out of a recording hibernation to play a bunch of shows this month. Which is double good news, because that also means new material is on its way, after the first round of releases ‘Beyond The Rave,‘ ‘Juice Hoops‘ and ‘Deadbeat‘ all displayed signs of a sound they’re beginning to carve out for themselves. A sound that can be traced back to recent groups such as Puro Instinct, Nite Jewel or Blouse—but Pillow Pro already hold their own amongst those names.

To get a sense of their inspirations and perhaps the direction of the upcoming releases, Pillow Pro have sent us their choices for Trading Tunes:

“We chose to focus our five tracks on duo’s because, being a duo ourselves, we think they’re special.”

 

Holysix – Dance all Night ‘

The band Holysix, based in Berlin, is the result of the solo artists V (soon to release her second album entitled So Pure) and Meddicine, coming together to create a powerful sound of glammed-out synth pop. The depth and power of V’s voice creates a contrast with the lighter timbre of Meddicine’s vocals, and makes for a very dynamic dance track. Plus, the matching jumpsuits in this video are amazing.

Habits – ‘Reverend Mother’

Habits, of course! Their live shows are so engaging and invigorating and if you’ve never seen them, you’re missing out. We chose ‘Reverend Mother‘, because it’s somehow both completely soul destroying and danceable at the same time. Fat bass and screeching synth lines—it’s almost animalistic. The video is bursting with femme-strength and power, and features an abundance of talented Melbourne babes. The video was directed by the incredible Lara Kose, who also directed our latest video premiering later this month!

Madboots – ‘Thanx For Tha Tranx’

Madboots are a rapping sister duo who collaborate with DJ Returnagain and producer/hype guy Hayato (Madgif). They rap about Brizzy life, in particular Dutton Park (where they grew up), and QLD beaches. They make chill music and this track is one of their chillest – makes us feel like we’re listening to Bone Thugs n Harmony while on valium in a warm bath.

Tommy Genesis ft. Abra – ‘Hair Like Water Wavy Like The Sea’

Okay, the next two are not technically a duo (and kinda neither was the last) but we’re gonna do what we want, ’cause we can. Tommy Genesis and Abra—what a god damn dream team. This song is one of our favourites and the whole thing was produced by Tommy Genesis herself.

Klein – ‘Reflections’

This is our wildcard, London based solo artist Klein with ‘Reflections‘.
We wanted to include it, because of the collaboration between her and London film maker Eve Mahoney. Klein’s style is quite experimental and minimal. Repetitive pitch bends and spacious, poetic vocals create a feeling of uneasiness whilst being strangely comforting. Maybe it’s the pairing of Eve’s aesthetically intuitive visuals that does this. This is an older track of Klein’s and work of Eve’s, and we highly recommend checking them both out.

 


 

T O U R D A T E S
7th Nov – Monday night Mass @ Northcote Social Club, Melbourne w/ Jonny Telafone, Makeda & Saint Saunas 12th Nov – DJ Set at Unicorns Party @ Rubix Warehouse, Melbourne w/ Infinity Blade, Jlaw, Gay Cliche
17th Nov – Melbourne Music week, RRR live broadcast @ The State Library 19th Nov – Melbourne Music Week, Music in motion @ Hugs n Kisses, w/ En. V, Geryon & Slow Job
20th Nov – Grace Darling, Melbourne w/ Lucy Cliche (ambient set) and Still Works

 


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02 Nov Ripe Guide: Australia’s Best New Music (3/11/16)

Photo by Nikki Williams

This is our updated weekly playlist of the best new Australian music released within the past two months. This week we have new entries from Good Morning, Take Your Time, Knight Ali, Sampa The Great, Tkay Maidza, BV, Gabriella Cohen, Pure Moods, Nolan House, CDAD and this week’s best new track by MM & Roy G.

We have an Openwhyd player, where you can listen to all 60 songs in the playlist resourced from YouTube, Bandcamp, SoundCloud and Spotify. As always, we also have an updated SoundCloud playlist, a Spotify playlist, and our full guide below.

spotifysoundcloud

60. CDAD – ‘Cleaning The Elephant’

Uploaded: November 1st | Open with SoundCloud

59. Nolan House – ‘Full Being’

Uploaded: October 26th | Open with SoundCloud

58. Corin – ‘Void’ | Uploaded: October 5th | Open with SoundCloud

57. Pure Moods – ‘From My Pocket’

Uploaded: October 27th | Open with SoundCloud

56. POPPONGENE – ‘Belgravey’ | Uploaded: October 7th | Open with SoundCloud

55. Liahona – ‘Kiss Your Favourite Part Of Me’ | Uploaded: October 7th | Open with SoundCloud

54. Foreign/National – ‘Too Sentimental’ | Uploaded: October 17th | Open with SoundCloud

53. DEN – ‘Inertia’ | Uploaded: October 25th | Open with YouTube

52. Lower Plenty – ‘All The Young Men’ | Uploaded: October 24th | Open with YouTube

51. Gabriella Cohen – ‘Downtown’

Uploaded: October 30th | Open with YouTube

50. Hazel English – ‘Control’ | Uploaded: October 5th | Open with YouTube

49. Redspencer – ‘Rainbows’ | Uploaded: October 18th | Open with SoundCloud

48. Sam Weston – ‘Don’t Save Face (Extended Edit)’ | Uploaded: October 20th | Open with SoundCloud

47. Betty & Oswald – ‘Stuck In The City’ | Uploaded: October 26th | Open with SoundCloud

46. Honest John – ‘Midweek Exotic’ | Uploaded: October 20th | Open with SoundCloud

45. I Know Leopard – ‘Rather Be Lonely’ | Uploaded: October 20th | Open with SoundCloud

44. Seekae – ‘Turbine Blue’ | Uploaded: September 16th | Open with SoundCloud

43. Suiix – ‘Pacific Dreamer’ | Uploaded: September 2nd | Open with SoundCloud

42. The Goon Sax – ‘Sweaty Hands’ | Uploaded: September 16th | Open with YouTube

41. Manu Crook$ ft. Miracle – ‘Blowin’ Up’ | Uploaded: October 13th | Open with YouTube

40. Flicker Vertigo – ‘Life In Bloom’ | Uploaded: October 19th | Open with SoundCloud

39. Tree & Ray – ‘Beyond Body’ | Uploaded: September 8th | Open with SoundCloud

38. NИLL – ‘In Unity’ | Uploaded: September 30th | Open with YouTube

37. Broadway Sounds – ‘Ah Ring Ah Ting Ting’ | Uploaded: October 10th | Open with SoundCloud

36. Tornado Wallace – ‘Trance Encounters’ | Uploaded: September 30th | Open with YouTube

35. Gauci – ‘Hurry’ | Uploaded: October 18th | Open with SoundCloud

34. Gamirez – ‘India Love’ | Uploaded: September 12th | Open with SoundCloud

33. Broken Mountain – ‘Earthquake’ | Uploaded: September 12th | Open with SoundCloud

32. Friendships – ‘0.0.0 (Eat Your Flesh)’ | Uploaded: September 29th | Open with YouTube

31. Heart Beach – ‘Brittle’ | Uploaded: September 19th | Open with SoundCloud

30. Seagram Murals – ‘Albion’ | Uploaded: October 19th | Open with SoundCloud

29. BV – ‘Up In The Flesh’

Uploaded: October 29th | Open with SoundCloud

28. Kane Ikin – ‘Packet Loss’ | Uploaded: October 25th | Open with SoundCloud

27. Hazel English – ‘Make It Better’ | Uploaded: October 26th | Open with SoundCloud

26. Donny Benét – ‘Working Out’ | Uploaded: September 20th | Open with SoundCloud

25. Gold Class – ‘Kids On Fire’ | Uploaded: September 4th | Open with YouTube

24. Beyond Solutions – ‘Oxyacetylene’ | Uploaded: October 25th | Open with SoundCloud

23. Tkay Maidza – ‘Tennies’

Uploaded: October 3rd | Open with SoundCloud

22. Tram Cops – ‘Bb Jesus’ | Uploaded: September 18th | Open with SoundCloud

21. Sampa The Great – ‘Mona Lisa’

Uploaded: November 2nd | Open with SoundCloud

20. Planète – ‘Nightcrawler’ | Uploaded: September 28th | Open with YouTube

19. Good Boy – ‘S.O.G.K.’ | Uploaded: September 20th | Open with YouTube

18. Kwame – ‘I Get It’ | Uploaded: October 5th | Open with SoundCloud

17. West Suburban Shrine Club – ‘Motorbike Warrior’ | Uploaded: October 1st | Open with SoundCloud

16. Tim Coggins – ‘Empty Suits’ | Uploaded: October 19th | Open with SoundCloud

15. Tiny Little Houses – ‘Medicate Me’ | Uploaded: October 7th | Open with Spotify

14. D.D Dumbo – ‘Oyster’ | Uploaded: October 7th | Open with Spotify

13. Simona Castricum – ‘Nights Don’t Breathe’ | Uploaded: October 3rd | Open with YouTube

12. Arthur Miles – ‘Jessica’s Place’ | Uploaded: October 25th | Open with SoundCloud

11. Knight Ali – ‘God Complex’

Uploaded: November 1st | Open with SoundCloud

10. Take Your Time – ‘Sleep In’

Uploaded: October 28th | Open with SoundCloud

9. Good Morning – ‘Step Aside’

Uploaded: November 1st | Open with SoundCloud

8. Curves – ‘Perfumery’ | Uploaded: October 23rd | Open with Vimeo

7. MM & Roy G – ‘Grass Is A Fairweather Friend’

Uploaded: October 28th | Open with SoundCloud

6. Friendships – ‘The Roof’ | Uploaded: September 4th | Open with YouTube

5. Jaala – ‘Junior Spirit’ | Uploaded: September 23rd | Open with YouTube

4. Julia Jacklin – ‘Hay Plain’ | Uploaded: October 1st | Open with SoundCloud

3. A. Swayze and the Ghosts – ‘Reciprocation’ | Uploaded: September 14th | Open with SoundCloud

2. Nick Cave & The Bad Seeds – ‘Distant Sky’ | Uploaded: September 9th | Open with YouTube

1. Scott & Charlene’s Wedding – ‘Bush’ | Uploaded: September 8th | Open with YouTube

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28 Oct Trading Tunes with Alta


The Melbourne electronic alt-pop duo Alta have a new five track EP titled Sincere through the label Soothsayer. Alta consists of Hannah Lesser and Julius Dowson, and have become a key staple of the Melbourne live music scene with their energetic and moving sets.

If you’re a fan of acts such as FKA Twigs, Chairlift or Solange, then you’ll be intrigued by the Sincere EP. ALTA​ have a couple of shows on this weekend in Sydney and Melbourne. Julius has sent us some of his favourite Australian songs with a 145 BPM or higher.

“I love fast tunes. Feels like the world is at 128 BPM most of the time and I love changing it up with something fast. It’s super refreshing and I reckon many of the most inventive artists out there sit happy at 145 plus.”

Bad Ambulance – ‘SSFS’

Locking in at 150 BPM. When I was linked to this, I thought ‘Wow, this is so inventive — I haven’t heard this before, I wonder where they’re from. I’ll just click on their page over here, yep it’s loading, it says Melbourne, that’s not right. Must be my cookies, let me hit F5, yep it’s still Melbourne. OK, that’s weird, let me check Facebook, oh that says Melbourne too.’ That’s when I realised and almost choked on my A1 Zaatar — but Franco Cozzo gave me the Heimlich and I’m still here to tell the tale.

Cassius Select – ‘He Ain’t Worth’

OK, this is technically about 140, but it feels like 145, so who cares. This is some exciting stuff out of Sydney, which we both love. It feels ultra late night vibes. Like it’s 4am, plus daylight savings just switched over, so it feels like 5am… so it’s extra late.

Mark Pritchard – ‘Make A Livin’’

One of my favourite producers of all time happens to be residing in Australia. What are the chances, and on this track he’s clocking in a cheeky 160 BPM. We’ve got amen breaks, we’ve got Roland 505-esque sounds, we’ve got some relentless shakers, we’ve got a life lesson (everyone has got to make a living). It’s true and this song is just all round great.

Friendships – ‘Pedal To The Metal’

As the title suggest this song is pretty quick, ay. You know when you drive an old Kingswood down the highway at like 120 kph and it feels like you’re doing 200, because all the metal is flapping around, and you can feel the wind on your toes as you bounce, and the window seal doesn’t seal properly, and you’ve got this high pitched shhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh, and you’re holding on like AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAARRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRGGGGGGGGGGGGGGGGHHHHHHHHHHHHHHHHH.

Corin – ‘Void’

About 160, this stuff. I’m super excited about Corin. She’s the bloody best. I don’t know how to explain it — it’s kinda Venetian Snares IDM vibes, but more nice on the ears and kind of footwork. Totally unique. Please have a listen and let me know.

Asdasfr Bawd – ‘Underpass’

AS DAS FER BAWD is how I pronounce it. I hope that’s right, because I scream it from my bedroom window everyone morning. ‘OI DICKHEADS LISTEN TO AS DAS FAR BAWD!’. I always put this track on and then put it on again, because it’s just the shit and this guy, yeah, it’s up my alley.

Africa Hitech – ‘Out In The Streets’

This is a cheeky pick, because: One, it’s Mark Pritchard again — and two, it’s a duo across the seas — but screw you! It’s kinda like how people claim Russell Crowe is Australian, but he’s from NZ. I am claiming Africa Hitech and you can’t say nothing about it *nanananananana.


 

T O U R D A T E S
28th Oct – Red Bull Sound Select @ Civic Underground, Sydney 31st Oct – The Toff In Town, Melbourne
21st Jan – Sugar Mountain @ VCA, Melbourne

 


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26 Oct Ripe Guide: Australia’s Best New Music (27/10/16)

Photo by Marcus Rimondini

This is our updated weekly playlist of the best new Australian music released within the past two months. This week we have new entries from Arthur Miles, Simona Castricum, Beyond Solutions, Hazel English, Kane Ikin, Flicker Vertigo, I Know Leopard, Honest John, Betty & Oswald, Sam Weston, Lower Plenty, DEN, Rhath, Fortunes, No Local, HTMLflowers, Apricot Rail, Water Bear and this week’s best new track by Curves.

We have an Openwhyd player, where you can listen to all 50 songs in the playlist resourced from YouTube, Bandcamp, SoundCloud and Spotify. As always, we also have an updated SoundCloud playlist, a Spotify playlist, and our full guide below.

spotifysoundcloud

60. Water Bear – ‘Interstellar Confusion’

Uploaded: October 1st | Open with SoundCloud

59. Apricot Rail – ‘Scarecrow’

Uploaded: October 18th | Open with YouTube

58. Ewah – ‘Walk The Night’ | Uploaded: October 13th | Open with YouTube

57. Hollow Everdaze – ‘Still Ticking’ | Uploaded: September 12th | Open with SoundCloud

56. Gabriella Cohen – ‘I’m Miserable Baby (demo)’ | Uploaded: October 18th | Open with SoundCloud

55. Shouse – ‘Support Structure (Jamal Amir Remix)’ | Uploaded: October 14th | Open with YouTube

54. HTMLflowers – ‘Fast Cars (Mom, Don’t Listen 2 This)’

Uploaded: October 22nd | Open with SoundCloud

53. No Local – ‘Somebody Else’

Uploaded: October 26th | Open with SoundCloud

52. Corin – ‘Void’ | Uploaded: October 5th | Open with SoundCloud

51. Fortunes. – ‘501’s’

Uploaded: October 21st | Open with SoundCloud

50. Rhath – ‘Familiar Threshold’

Uploaded: October 21st | Open with SoundCloud

49. POPPONGENE – ‘Belgravey’ | Uploaded: October 7th | Open with SoundCloud

48. Liahona – ‘Kiss Your Favourite Part Of Me’ | Uploaded: October 7th | Open with SoundCloud

47. Foreign/National – ‘Too Sentimental’ | Uploaded: October 17th | Open with SoundCloud

46. DEN – ‘Inertia’

Uploaded: October 25th | Open with YouTube

45. Lower Plenty – ‘All The Young Men’

Uploaded: October 24th | Open with YouTube

44. Hazel English – ‘Control’ | Uploaded: October 5th | Open with YouTube

43. Redspencer – ‘Rainbows’ | Uploaded: October 18th | Open with SoundCloud

42. Sam Weston – ‘Don’t Save Face (Extended Edit)’

Uploaded: October 20th | Open with SoundCloud

41. Betty & Oswald – ‘Stuck In The City’

Uploaded: October 26th | Open with SoundCloud

40. Honest John – ‘Midweek Exotic’

Uploaded: October 20th | Open with SoundCloud

39. I Know Leopard – ‘Rather Be Lonely’

Uploaded: October 20th | Open with SoundCloud

38. Seekae – ‘Turbine Blue’ | Uploaded: September 16th | Open with SoundCloud

37. DEN – ‘Poltergeist’ | Uploaded: August 31st | Open with SoundCloud

36. Suiix – ‘Pacific Dreamer’ | Uploaded: September 2nd | Open with SoundCloud

35. The Goon Sax – ‘Sweaty Hands’ | Uploaded: September 16th | Open with YouTube

34. Manu Crook$ ft. Miracle – ‘Blowin’ Up’ | Uploaded: October 13th | Open with YouTube

33. Flicker Vertigo – ‘Life In Bloom’

Uploaded: October 19th | Open with SoundCloud

32. Tree & Ray – ‘Beyond Body’ | Uploaded: September 8th | Open with SoundCloud

31. NИLL – ‘In Unity’ | Uploaded: September 30th | Open with YouTube

30. Broadway Sounds – ‘Ah Ring Ah Ting Ting’ | Uploaded: October 10th | Open with SoundCloud

29. Tornado Wallace – ‘Trance Encounters’ | Uploaded: September 30th | Open with YouTube

28. Gauci – ‘Hurry’ | Uploaded: October 18th | Open with SoundCloud

27. Gamirez – ‘India Love’ | Uploaded: September 12th | Open with SoundCloud

26. Broken Mountain – ‘Earthquake’ | Uploaded: September 12th | Open with SoundCloud

25. Friendships – ‘0.0.0 (Eat Your Flesh)’ | Uploaded: September 29th | Open with YouTube

24. Heart Beach – ‘Brittle’ | Uploaded: September 19th | Open with SoundCloud

23. Seagram Murals – ‘Albion’ | Uploaded: October 19th | Open with SoundCloud

22. Kane Ikin – ‘Packet Loss’

Uploaded: October 25th | Open with SoundCloud

21. Hazel English – ‘Make It Better’

Uploaded: October 26th | Open with SoundCloud

20. Donny Benét – ‘Working Out’ | Uploaded: September 20th | Open with SoundCloud

19. Gold Class – ‘Kids On Fire’ | Uploaded: September 4th | Open with YouTube

18. Beyond Solutions – ‘Oxyacetylene’

Uploaded: October 25th | Open with SoundCloud

17. Tram Cops – ‘Bb Jesus’ | Uploaded: September 18th | Open with SoundCloud

16. Planète – ‘Nightcrawler’ | Uploaded: September 28th | Open with SoundCloud

15. Good Boy – ‘S.O.G.K.’ | Uploaded: September 20th | Open with YouTube

14. Kwame – ‘I Get It’ | Uploaded: October 5th | Open with SoundCloud

13. West Suburban Shrine Club – ‘Motorbike Warrior’ | Uploaded: October 1st | Open with SoundCloud

12. Tim Coggins – ‘Empty Suits’ | Uploaded: October 19th | Open with SoundCloud

11. Tiny Little Houses – ‘Medicate Me’ | Uploaded: October 7th | Open with Spotify

10. D.D Dumbo – ‘Oyster’ | Uploaded: October 7th | Open with Spotify

9. Simona Castricum – ‘Nights Don’t Breathe’

Uploaded: October 3rd | Open with YouTube

8. Arthur Miles – ‘Jessica’s Place’

Uploaded: October 25th | Open with SoundCloud

7. Curves – ‘Perfumery’

Uploaded: October 23rd | Open with Vimeo

6. Friendships – ‘The Roof’ | Uploaded: September 4th | Open with YouTube

5. Jaala – ‘Junior Spirit’ | Uploaded: September 23rd | Open with YouTube

4. Julia Jacklin – ‘Hay Plain’ | Uploaded: October 1st | Open with SoundCloud

3. A. Swayze and the Ghosts – ‘Reciprocation’ | Uploaded: September 14th | Open with SoundCloud

2. Nick Cave & The Bad Seeds – ‘Distant Sky’ | Uploaded: September 9th | Open with YouTube

1. Scott & Charlene’s Wedding – ‘Bush’ | Uploaded: September 8th | Open with YouTube

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26 Oct Trading Tunes with DEN



Before I flew up to BIGSOUND in September, I had only heard one song – ‘Poltergeist‘ – by the Sydney band DEN. But its similarities to Total Control were enough to intrigue me and make sure I caught a set of theirs, and what I witnessed was the most exhilarating, unpredictable, yet extremely tight set of the week. Most importantly they defined themselves as more than just another post-punk band, with the live performance containing elements of Gothic, post-rock and even experimental music.

I chose to use a screen grab (above) from their latest video ‘Inertia‘ where a hand is reaching up to twistedly play the keys, because that’s actually something that happened during the set I saw. One of the band members was sitting on what looked like a milk crate, he was barely off the floor as he reached slightly up to play multiple keyboards around him, like a mad scientist who doesn’t have time for something so pedestrian as a chair. DEN themselves feel and sound like a someone going mad and it’s fascinating to witness.

Before the band embark on their tour next month, they kindly agreed to be part of Trading Tunes, and sent us some of their favourite late ’70s tracks.

Wire – ‘Single KO’

From the seminal ‘154‘. Cold and atmospheric. Wire effortlessly create an environment impossible to emulate in a three note riff. “I’ve found something, No one else was looking for”.

Magazine – ‘Light Pours Out Of Me’

Magazine was formed when Howard Devoto left the Buzzcocks with the intent of making a more progressive band. The very definition of Post-Punk. There’s a real sense of ambition on their first record Real Life. Massively influential.

Units – ‘I Night’

No guitars- Just synths. One of the most unique bands. When I heard them for the first time it was like hearing this piece of the puzzle you never knew you were missing.

Crime – ‘Hot Wire My Heart’

‘San Francisco’s first ‘punk band’. I always thought this was a Sonic Youth song (they covered it on ‘Sister‘). Off Crime‘s first 7″, this song has one of the most vicious guitar sounds I’ve ever heard. Do yourself a favour and get the Murder by Guitar LP compilation.

Richard Hell and the Voidoids – ‘Love comes in Spurts’

Proper ’70s punk. Richard Hell puts Television to shame in this song, especially that solo. Some of my favourite guitar playing on this track.

 



T O U R D A T E S
17th Nov – Grace Darling Basement, Melbourne 24th Nov – Wooly Mammoth, Brisbane
10th Dec – Black Sydney



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25 Oct SXSW & Signed – An Interview with Julia Jacklin


Words by Marcus Rimondini // Photos by Nikki Williams


It’s been a brilliant breakout year for Julia Jacklin, one that has made her a must-have inclusion for festival line-ups this summer. Her band Phantastic Furniture caught our attention at the end of last year with the song ‘Gap Year‘. Though it was obvious that Julia had serious talent as the lead vocalist, few would’ve guessed that she would record what is, in my opinion, the best Australian debut album of 2016.

In between international tours and an upcoming Australian tour, we caught up with her in Melbourne to ask her where exactly she came from, how she got signed internationally before being signed in Australia, an update on Phantastic Furniture and why she’s so eager to start on the second album already.

Marcus Rimondini: You left the Blue Mountains after High School?

Julia Jacklin: Yeah that’s when I moved to the city, but for my last two years of high school I was in the city everyday, because I went to school in Sydney. So I traveled like 2 hours back and forth every day. It was a performing arts high school. Then I moved to the city when I was 18.

When did you finish University?

I finished University in 2014. I had a gap year after school and went to South America for a while and then I came back and was at University for 4.5 years, flipping around between degrees.

Where are you based now in Sydney?

I live in a share-house in Glebe. I’ve lived in the share-house for 4.5 years. I live in like the garage out the back and it’s really good because the rent is super cheap for Sydney. I’m not willing to give [it] up, even though I’m always away.

Can you practice in this garage?

Yeah. It’s two levels and it’s nice to have a bit of a home base when I’m away so much. It’s nice to sleep in the same bed.

Who are the housemates?

Thomas Stephens and Eddie Boyd, my guitarist and my drummer both live in the house as well.

You don’t get on each others nerves?

It’s pretty interesting. I just spent the last month touring with Tom my drummer. Where we were sharing a room, sharing a tour van, and we play in two bands together, he plays bass in Phantastic Furniture. So yeah, we’re very close now *laughs*.

 

What’s the latest with Phantastic Furniture?

We finished an EP, we are just waiting, just because I’ve been away for a lot. It’s hard with Phantastic, because everyone in the band has their own solo project and everyone’s super dedicated to their solo project. I think that’s what makes us a great band, because we all bring our own songwriting elements to it. It’s a great band to be in. You wish you had time for everything in your life, but then you realise, especially with the nature of being a musician these days, where you have to tour relentlessly in order to get your music out there. It makes it hard to manage a couple bands. So yeah, I’ll finish this album cycle and tour that, and then early next year release the first single off our EP and tour that in my time off.

When exactly did you record your album?

It was recorded July, August last year.

At what point were you approached about waiting to release this album?

So I recorded thinking that I would just release it independently in a couple months, but then I went to a gig in Sydney and I ran into this guy Alastair Burns, who is my manager now. He manages Marlon Williams and I had toured with Marlon the year before. He was like “oh, just send me the record and let’s just see, blah, blah, blah”. Then he was like “yeah okay, let’s just hold on to it and see what happens”. But then it was kind of SXSW, [at] which I got the record deals and figured out when I was going to release it.

Who did you sign with?

My label in the US is Polyvinyl Records, based in Illinois and they’re great. Transgressive in the UK and they were the first label to come on board, they came to like every show at SXSW, and they’re just like super young, excited and work super hard.

Did you pick up both of these at SXSW?

Just Transgressive, then Polyvinyl was after and Liberation here was the last one.

It’s rare to land international label deals before domestic deals.

I think it’s worked out for me. I think in Australia people can get tall poppy syndrome a bit. I feel like getting success overseas first, meant that people took me more seriously here. I think that happened with Courtney Barnett as well, she got big in the US and everyone was like “sick, we’ll listen to her music now”. I’m glad I did it this way, it feels right to me.

 

At this point you must be really keen on the second album. Have you written down songs or ideas?

I’ve been writing a lot on tour. I found that environment was very productive for me in a weird way. for a while I struggling to figured out what I wanted to say for the second album. I was like “I’ve covered love and loss, what else is there to sing about?” *laughs*. You just feel a little bit like, I don’t want to make endless records about me singing about my issues. On this tour I’ve been away for two months, and I started writing more and thinking about more themes. It’s just a case of trying to figure out where the hell I’m going to slot it in time wise. I don’t to leave it too long, because I feel like the second record is like this horrible weight on people’s shoulders the longer you leave it.

Will you look to write about more external themes?

I’m not sure. I’m still writing about myself, but the themes aren’t necessarily about self doubt. It’s more about growing into a woman, and the difficulties that arise from that.

Do you think that allows the second album to be a little more varied?

Yeah. I think for your first record, I wasn’t going into [it] thinking “I want it to sound like this”, with this great idea conceptually of what it needed to be. It was more that I had these songs, I wanted to record them and do them justice. Whereas I feel for the second record, I feel more established and secure as an artist, and now I can think more about what I want the record to sound like as a whole, what kind of statement I want to make.

Do you have some songs penned down, that you’re keen on in particular?

Yes. I have three solid, solid ones. That I’m very excited to record.

You said in another interview that you weren’t entirely satisfied with the debut album, what aspect were you referring too?

I think it’s just the nature of this whole industry. You create something at a point in your life, and then you have go through a year of hype. To get to the point where people are actually going to listen to that record. And in this last year, I’ve done more to do with music than I ever have in my life, between like touring and learning. I feel so different to how I felt back then. Now I have to promote this record and talk about it like I just made it, but I made it before I had any contact with the industry or had any idea how this worked. I didn’t entirely know who I was as an artist or what kind of record I wanted to make. I’m happy with the way it is, because I made it at a time of life and it’s a good snapshot of that time, but it is hard to present it now and be like “this is me right now”.

So it wasn’t so much the actual recording itself?

Yeah. I mean I’ve heard artists talk about regretting their first album, but I don’t want to disrespect my 24 year old self. Who went to all the effort to make that record and record it the way she wanted to at the time. I don’t regret it, I’m just a different person now, I feel like I’ve grown and I’ll pull all of that in to the next record. *laughs* And I’ll probably have the same thoughts when releasing that, but I think I’ll release the second album quicker, it won’t take a year of trying to build up hype, because people will already know who I am, I guess.

 

The debut LP was recorded in New Zealand. What’s your ideal location for the second album?

I guess it would come down to who I am working with, because I don’t really know who I’m going to work with on the second one, but I did really like going away. I know not everybody can do that, but for me, just living in a small town, where it’s just me and my producer pretty much for three weeks. There’s something really, really nice about. Especially (now I’m going to sound like a grandpa) in this day and age, when you feel this constant need to check your phone all the time. Check in with the rest of the world. I feel like if I was at home in Sydney and I was just going about my day to day life and looking at my phone every two seconds. It would hard to immerse myself in the recording process, so I’d love to be able to just switch off and focus on that. Even now I’m getting the first reviews I’ve ever gotten of my music and it can really mess you up, even if it’s a good review, you’re reading this thing that some stranger thinks about you and you start questioning your own creative output.

I have a lot more empathy towards other musicians now. I remember you’d read a review in your local thing and it would give something like three stars and you’d just immediately go “Oh well, I won’t bother listening to that” or something. You forget that, that person has probably poured two years of their life, all their savings and all their emotional energy into that record. To then only have like one person listen to it, once over and it give three stars.

What are the touring plans for next year?

Most of my next year is booked up with tours. I haven’t really looked at it, just people keep telling me that, that’s my schedule and I’m trying not to think about it. Lots of UK and Europe touring.

Before all of that, do you know much about Paradise Music Festival?

Not entirely, I’ve just heard that it’s really great and beautiful.

It’s a shame that you’re playing another gig the next day and can’t hang around.

That’s just the way it is, isn’t it, like I used to think “I hope one day I become a musician, because I don’t want to keep going to music festivals and not playing them”, because I just get really itchy feet. But now that I’m playing festivals, I realise that you can’t actually enjoy the festivals. *laughs* You just breeze in, play your set and then you have to go. I think Laneway Festival will be really good for hanging around, because it’s the same crew and musicians going to every city, and you’ve just got your one set.

 


 

T O U R D A T E S
October 24th @ Maze, Berlin October 25th @ Blue Shell, Cologne
October 26th @ Unter Deck, Munich October 27th @ Palace, St Gallen
October 29th @ Maze, Berlin October 30th @ Blue Shell, Cologne
October 31st @ Rotown, Rotterdam November 2nd @ Le Pop-Up du Label, Paris
November 3rd @ The Haunt, Brighton November 4th @ Bodega, Nottingham
November 5th @ CCA, Glasgow November 6th @ The Cluny, Newcastle
November 8th @ Manchester Gorilla, Manchester November 9th @ Thekla, Bristol
November 10th @ Koko, London November 11th @ Grand Social, Dublin
November 17th @ The Foundry, Brisbane November 18th & 19th @ Mullumbimby Music Festival, NSW
November 23rd @ Jive Bar, Adelaide November 24th @ Howler, Melbourne
November 25th @ Paradise Music Festival, VIC November 26th & 27th @ Queenscliff Music Festival, VIC
December 1st @ Transit Bar, Canberra December 2nd @ The Small Ballroom, Newscastle
December 2nd & 3rd @ Fairsground Festival, NSW December 9th @ Oxford Art Factory, Sydney
December 10th @ FourFiveNine, Perth December 16th @ The Carrington Hotel, Katoomba

 


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Sarah Chav' - facebook.com/sarahchavphotos

21 Oct How We Write Music – An Interview with Tiny Little Houses


Words by Marcus Rimondini // Photos by Sarah Chavdaroska


Recently Sarah and I caught up with Tiny Little Houses at Tomboy Cafe in Collingwood, Melbourne. We dived into a discussion about how they originally found their feet in Melbourne, the difference between the new Snow Globe EP and next year’s debut LP, why the filming of ‘Milo Tin’ was so funny and who their favourite artists were at BIGSOUND this year.

Marcus: Where is everyone in the band from?

Caleb Karvountzis: I’m from South Australia, in the country.

Clancy Bond: I’m from Victoria, two hours south, down in Inverloch.

Caleb: Sean is from Rowville. Al’s from Newcastle.

Do you find you work harder, because you’re not from inner Melbourne and can’t just rely on knowing people?

Caleb: Yeah, we did find it hard, I guess. We’ve been playing for a long time. Before I met Clancy and before Al came on.

Clancy: Yeah, we didn’t know many people.

Caleb: I didn’t know anyone when I moved to Melbourne. The move to Melbourne was super isolating for the first two years. I moved straight after high school, so I just had nobody in Melbourne. But we’ve since made some good friends. Just from playing, being at gigs.

 

Do you find the community supportive?

Caleb: There’s a certain part of the music scene that’s harder, but obviously they’re all mates. That’s expected — it doesn’t bother me. But there are other people like Ferg and Anna from Major Leagues.

Probably helps that they’re from Brisbane.

Caleb: Yeah, it’s easier with those guys.

Clancy: Yeah, there’s no clique.

Caleb: Maybe we will develop that one day [laughs].

Yeah you’ll be those guys. ‘Bloody Tiny Little Houses and their clique’.

Clancy: [laughs] We will need a secret hand shake.

How about community radio?

Caleb: Community radio has been really supportive.

Clancy: It has been great.

Caleb: The first time we put a single out ‘Easy’ two years ago. Community radio was so helpful. I think it was the most played song for a couple weeks. It helped us out a lot.

Clancy: They were right on it, it was awesome.

How was BIGSOUND this year?

Caleb: Well, it was different from last year. I feel like it was bigger, well it was bigger for us anyway. We had a bigger stage to play on, which was super cool. I felt like it was less packed everywhere. Like it was bigger, but maybe there were less people at every event, because there were more bands playing. It was spread out.

Clancy: It felt like almost too many bands.

Caleb: It was pretty wild, but I did get to see a lot of good bands.

 

If you’re getting really good turnouts with more competition, then you know you’re doing really well.

Clancy: Or Caleb’s really good on social media and is friends with a bunch of bands. [laughs]

Caleb: It was really fun, especially the last show on the Oh Hello stage.

Clancy: Yeah, that one was awesome. Great vibe.

Did you see any bands stand out that you hadn’t seen before?

Caleb: Yes! Jarrow. I had been walking around all day, at little parties and stuff. Then I went and saw Jarrow, and I was just blown away with the lyrics. I’m a big lyrics guy.

Clancy: I’m a lyrics guy, too.

Caleb: I was like, this guy’s speaking my language.

Clancy: I think heard them like last week on the radio, and I was like ‘This is pretty cool,’ and then afterwards they were like ‘This is Jarrow,’ and I was like “Argh right on!”.

Caleb: They have a good album coming out, too. Then we saw Fazerdaze, who are our mates. They were really good. We saw them three times. We went to every show. I also saw Major Leagues, who are always great. Oh and this band called Felix Lush, he was really good. I just stumbled across that.

So you like to get out there and check out everyone?

Caleb: Yeah! We walked around a fair bit, we were just following Ash, our manager, really.

So BIGSOUND is a big tick, then! Would  you recommend it for others?

Caleb: Oh definitely, you have to do it as a band. It’s a great experience in Australia, it’s rare you get to have that concentration of artists.

Clancy: It’s a pretty unique experience, it’s definitely worth doing.

Caleb: The first time we did it, which was last year, it was unexpectedly good. This time we kind of knew what to expect. I think it’s good practice to get on stage and get off stage real quick. Which is what you learn very quickly. It’s great if you want to eventually go play The Great Escape or SXSW.

 

When did you wrap up recording the new Snow Globe EP?

Caleb: Finished it around June/July. We recorded four of the songs in January, and that was out of ten songs. Six of them were going to be on the album possibly, four of them didn’t fit the album, and then we recorded two more.

In the recording process, which song came first and which song came last?

Caleb: Well ‘Lonely People’ is our oldest song, it was like the first one I wrote, and first song I put on the internet. It was the first time I put something out there and people commented on it. It was cool, it was on SoundCloud when SoundCloud was good. When SoundCloud had a community, before it got destroyed. I don’t want to go too much into this, but I feel really strongly about it, because when I started off I didn’t have any friends in the music industry, and all the people that I got in touch with were from this little scene on the internet, and it was really cool. There was another similar scene called Cllct, not sure if you remember that. That was kind of similar, it was like Bandcamp, but mostly for Indie, Folk and Rock. It seems like there’s nowhere to do that now, which is such a shame.

Clancy: I guess it gets filled up with junk pretty quick.

How was the process different this time to the You Tore Out My Heart EP?

Clancy: That was a bit more pieced together, we did the first song ‘Every Man Knows His Plague; And You Are Mine’ completely individually from the other three. Months, months difference. Another one was an older song, but the other two we developed in a couple weeks before we got in the studio. So two old songs, and two new songs stuck together. They were just the four songs we liked. Then with this EP we went in to record an album, and like Caleb said, four songs didn’t quite fit, or more that they stood on their own a little bit more.

Caleb: I would say it’s more like a bridging between what we are writing for this album, and the last EP. It just feels like it’s got the elements. I think the album’s going to be a lot bigger sounding, and these songs are still a little bit more intimate.

Clancy: Slightly different tone. While this current EP is kind of putting to rest some other ideas and things that have been floating around without a home. Because of that, they got their own little EP. And now this thing actually sounds really unified, because of that. There were definitely a few songs that we recorded earlier this year, that we wont put on an EP.

Caleb: Contained is pretty correct, I’d say that this EP is contained.

And what was the last song recorded for the EP?

Caleb: ‘Song Despite Apathy’ was the last one recorded, but that was an old song.

Clancy: Yeah the single was the last one we recorded.

Which happens a lot.

Clancy: Yeah, it’s because you listen to them so much in the studio, and you’re like ‘I’m sick of these damn songs!’ [laughs]. Then there’s that one you’ve listen to so much less, and you’re like ‘That one’s pretty good!’.

Where does the band write and practice?

Caleb: We practice between Soundpark Studio and Three Phase Rehearsal Studios. We like to go in to the studio and do it.

Clancy: We don’t really have a set formula for how we make anything. When we get in there, we like to play them together. Sometimes Caleb will send us something and be like ‘How about this?’, and we mess with it or think about it.

Caleb: A lot of it is just sending each other messages with ideas and stuff. We try to do demoing where we have half or little bits, and then kind of rearrange it. I don’t think it works as well as just getting together in a room. It only complicates stuff.

How often would these catch ups be?

Caleb: Once every couple weeks.

Clancy: It’s always ongoing.

 

What were the influences this time, were they different to the first EP? Was there anything you were trying to change or include?

Caleb: Maybe like, slightly less poppy.

Clancy: Slightly more dramatic I guess?

Caleb: I really like how ‘Easy’ and stuff turned out, but that’s definitely put us into more poppy territory.

Clancy: It’s a bit sweeter than this EP. This EP isn’t sounding super bright everywhere.

Caleb: Yeah, the first EP sounded softer.

The dynamics, or yourself from a vocal standpoint?

Caleb: A bit of both really.

Clancy: I guess this one’s slightly darker.

Did you feel bolder coming into it, because you’d now had feedback on what you had previously done?

Caleb: Absolutely bolder. I think the first time you put anything out through a label, you’re like ‘Wow, this actually represents me now,’ and someone can look back at this and it can’t be erased off the internet.

So it’s like a small tattoo, you can kind of hide it, but it’s always there.

Caleb: [laughs] Yeah. On this EP we had stuff like ‘Lonely People’ and ‘I Hate That You’re Happy’ that are not exactly daring, but ‘I Hate That You’re Happy’ is super messy. I tried to do that song 100 different times, and it never sounded as emotional as that first time I did it.

Clancy: We were more willing to commit to what a song needed as opposed to what might sound…

Caleb: Right to get played on radio.

You weren’t trying to compromise as much.

Clancy: Yeah. We are not trying to put our foot in the door anymore. We know we’ve got a range, so we’re kind of like just exploring certain ideas of it.

You feel like the audience will come to you, instead of you coming to them.

Caleb: Yeah. Like we know when we wrote ‘Milo Tin’ that it would get played on radio, but I don’t think I need to do that anymore. I don’t need to write music to get played..

Clancy: I don’t think we ever went ‘Let’s write radio friendly songs,’ but we’ve definitely not been afraid to write radio friendly music. If that makes sense.

How did the ‘Milo Tin’ video clip come about, and how fun was that?

Clancy: [laughs] Yeah, that was produced by Daniel Dunn. He and some of the other boys were working on the idea and they sent it through to us. And I was like ‘It’s a cool idea — let us add some ideas!’. I knew Dan from Inverloch, actually. So I guess that was my music clique [laughs].

Caleb: You’ve got a bit of a film clique [laughs].

Clancy: It was really good fun. I got a bunch of my mates in to act in it. They were funny. Lots of laughs.

Caleb: It was weird. We shot in St.Kilda.

Clancy: Well they wouldn’t close the store for us, so like while our clerk was doing his job, there was an actual clerk just like sitting next to him. Like off screen the whole time [laughs]. Just waiting and then people would just walk in front of the shots.

Caleb: Like old people in robes and stuff.

Were you tempted to include them in?

Caleb: [laughs] We should’ve, we should’ve just got one random guy in. They were pretty funny.

Back on the EP, who helped produced it?

Clancy: Steven Schram. Who also did the last one, and ‘Milo Tin’, and has been working with us on the album. He’s our best mate, him and George (his dog).

Caleb: Andrei Eremin mastered it.

Clancy: Which goes back to what you said earlier about going in more confident, because we were going back to work with Steven again. It was like ‘Alright, we know who you are, we get each other a bit more now.’ Makes it that much easier and really comfortable when going in to try and make some new music.

Caleb: He’s very easy to work with. We did ten songs in ten days. Which is pretty good.

Clancy: It’s insane.

Does he generally go with what you’re doing, or give constructive feedback?

Caleb: He’s constructive, but he just let’s us do whatever we want.

Clancy: He’s not afraid to tell us what sucked. So that’s good.

 

Caleb: He would never do something that was against what we wanted to do — push his vision on it. But I think that’s because our vision is pretty in line, on the same page. And I think before we go in to the studio, because we don’t want to waste money, and because we do waste such a lot of time in the process getting up to that point, we nail down the songs, so we know exactly what we want. It’s not like we go in there with like half fleshed out ideas and sit around the studio for two days trying to work it out. We will just play it, play it, and play it and he just records until we get a good take.

Clancy: I think that comes from our four personalties not wanting to waste time.

Caleb: When it comes to money. We waste time on other things [laughs].

So how far are you into the recording of the LP?

Caleb: There’s like six songs that we’ve done, but we are going to go back in the studio and do another eight or so. Then we’ll probably choose ten or twelve.

Clancy: Depending on how many we can’t say no to.

Caleb: But we have like four new singles, four songs that we really love. Then we are going to see how the other songs fit around those ones. They’re going to be the foundation of that album.

This is for release early, mid next year?

Caleb: Yeah. I’d like to have it early next year.

Clancy: That’s the plan, we will see how we go for time.

Would this coincide with a potential tour overseas next year?

Caleb: Yeah we did want to go to CMJ this year, but it got canceled. Hopefully it comes back next, we would love to do it. We would be up for playing SXSW, if we get accepted.

Would SXSW push forward the release of the album?

Caleb: Maybe, not sure.

Clancy: I feel like we are all a bit too obsessive to rush the album for any tour. If we’re not happy with it, we will sit on it.

Until then, what are the summer plans here?

Caleb: Tour starts in November, then I’m going away for a little bit over January, I haven’t had a holiday for a while. We have a couple of parties and stuff that we’re getting organised.

Clancy: And hopefully getting back in the studio.

Caleb: I think that’s going to be our main priority at the end of January.

 


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