music journalism

Aussie Single Reviews: September 20th, 2017

Homegrown gems that should be on your radar.

Tempus Sun – Gold

Sounds like: A beautiful warm piece of Indie pop, that offers a danceable chorus and heartwarming lyrics.

Don’t miss: The old-school family-video-style music vid.

For fans of: Boy and Bear, Missy Higgins, Mumford & Sons

Tinpan Orange – Wanderers

Sounds like: Classic dreamy ballad from the hypnotic alternative troubadours.

Standout moment: The subtle vocal slide in Emily’s delivery of the song title. *shivers*

For fans of: Laura Marling, Angus & Julia Stone, The Jezabels

Ball Park Music – Exactly How You Are

Sounds like: The poppy, feel-good alt-rock we have come to know and love from BPM.

Best lyric: “I see phoneys and their room for improvement.”

For fans of: Beck, Cloud Control, Stornoway

Emma Russak – Body Goals

Sounds like: Deadpan damnation of modern aesthetic values.

Listen when: Social media has shot your self-esteem to pieces.

For fans of: Ali Barter, Kate Miller-Heidke

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Living In 2017: A millennial commentary on Skyhooks

When Twenty One Pilots released Stressed Out, it was as though the millennial population found an outlet it hadn’t even realised it needed. Its words reached out and touched the tender bruise of anxiety in so many of us, acknowledging our weary battles on the frontlines of adulthood, so frequently glossed over by radio hits.

But like much millennial commentary on modern life, Stressed Out is permeated with a desolation that provides little comfort beyond empathy. After all, Twenty One Pilots are of our generation: they’re as lost and world-weary as the rest of us, and Stressed Out is as much a quest for answers as it is a comment on the lack thereof.

I listened to a lot of FM radio over 2016, so this New Year’s Day I did what I do every time modern music gets me down: raid my parents’ musical archives.

In the case of my mother, this features both Sherbet and Skyhooks rather heavily – and while Howzat will always be an irreplaceable piece of Australian music gold, I found Skyhooks to be the anxious millennial’s best friend. Yes, I am talking about a 1970’s band, no, I am not a Baby Boomer, and once I was as resistant to this idea as you probably are now.

Skyhooks first proved their millennial relevance innocently enough – my parents made me listen to All My Friends Are Getting Married after 18-year-old me had complained once too often about the number of engagements announced in my Facebook feed. Oh, I initially rolled my eyes at the dated groove and crazy costumes, but the not-so-subtle scepticism of marital life soon had me feeling as free as a bird.

As I embark on 2017 – due for the proverbial quarter-life-crisis in about 7 months – it is Living In The 70’s (the album, as well as the title track) that I find myself holding close. The track itself has a restless, wide-eyed bewilderment that is all too familiar for those of us growing up in this fast-paced digital age. It acknowledges the feelings of alienation that modern progress brings (“I feel a little crazy, I feel a little strange”); the can’t-quite-put-your-finger-on-it trepidation about the ever-increasing lack of humanity (“eating fake food under plastic trees”); and most of all, the rising panic of having to deal with it all (“I need another pill to calm me down”).

Where Twenty One Pilots soar into helpless falsetto, Shirley Strachan lowers his voice to a feisty snarl: Skyhooks may have felt bamboozled by the plastic age, but there’s a fierce survivalist pride to their delivery that feels bloody good to imbibe by proxy.

They keep up the fight for the rest of the album, too, if you’re interested – and again, it’s strangely relevant. Horror Movie makes us feel better for hating the news, while Whatever Happened To The Revolution sounds eerily applicable to a world full of “clicktivism”, where Trump is president and marriage equality still battles to come into existence:

Everybody thought we could win with a vote
So the band went home without playing a note
…When you’re sick of your parties and sick of your sweets
Get off your arses I’ll see you out in the streets

skyhooks

You’ll crack a smile though – it’s not all doom, gloom and politics. Anyone who’s ever had a dodgy Tinder date will have a hearty giggle at You Just Like Me ‘Cos I’m Good In Bed and Balwyn Calling (“Oh she might have looked like a princess/ Why’d you have to give her your address?!”). Any self-respecting millennial has also surely had to put up with being asked Hey What’s The Matter With You? (“You can’t have your dope and smoke it too”) by Bernard Salt et. al., so why not clap along as you return the question with a healthy dose of sarcasm and electric guitars?

More than anything, Living In The 70’s provides ample distraction from the anxieties of today. Revel in the unbridled sexiness of Motorcycle Bitch and cringe at the pre-internet inconvenience of wanking in Smut (be warned also: it will ruin Twisties for you). Use this album as a time machine, or let it apply to now: the choice is yours, and the result is medicinal either way.

This music may be more than four decades old (indeed, nearly two decades older than most millennials), but in being older, Skyhooks can offer reassurance where our contemporary acts can not. We might feel a little crazy, we might feel a little strange, but we’re not the first to have done so – and we’re unlikely to be the last.

 

In defence of an unabashed love for Mariah Carey’s ‘Merry Christmas’

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There are two types of people in the world…those who hate this album, and those who love it.

Gather ’round children, and let me tell you a story of the 90’s.

Once upon a time, before Michael Buble was a household name, before his Christmas album was a twinkle in a producer’s eye, there was Mariah Carey and Merry Christmas. The year was 1994, and this reviewer was a wee tot of 2, but she was destined to cross paths with Carey’s holiday album in just a few years…and the year after that…and the year after that…and all the years after those.

I’m not entirely sure when Merry Christmas first came on my radar – I was probably 5 or 6 – but I do know that after that first encounter, nothing has sounded more like Christmas to me since. Two decades later, all I require to get into the holiday spirit is to hear the first rippling piano chords of ‘Silent Night’ and I’m good to go.

Whacking great dose of nostalgia aside, it is my humble opinion that Merry Christmas also delivers a musical treat the likes of which Michael Buble has yet to top. This was my first encounter with a gospel choir, a Hammond organ, and a voice of superhuman capabilities, and my childhood imagination was entirely captivated by this ridiculously groovy take on the season.

The prime time for listening to Christmas music when I was a kid was in the car with Mum and younger bro, on our way to our grandparents’ for various festive visits (tree-decorating, setting up the inflatable pool, delivering presents…). This was a 40 minute trip – just enough to blast out the 38 minutes of MC – during which all three of us would pump ourselves up on holiday spirit, ready to decorate the Christmas tree with gusto upon arrival at our familial destination.

“She has such an incredible voice,” my mother would say, shaking her head in wonder at Carey’s vocal acrobatics. It was the only time I really heard Mum admire a musician, so I listened to the mind-boggling melisma with rapt attention. Carey’s voice sounded like some wondrous alien instrument, flying up and down octaves of notes with fearless abandon.

And then there was the gospel choir.

I had no concept of gospel music at age 7 or even 8, but listening to the joyful cloud of harmonies sounded to me like there was a crazy good party going on inside that tape cassette. It was also the first time I heard a Hammond organ…there were so many things to listen to! For me, Merry Christmas was a festive patchwork of musical magic with no comparison.

By age 9 I’d been playing classical piano for three years, and the prominent piano solos and accompaniments across the album (but perhaps especially in ‘All I Want For Christmas Is You’, ‘Santa Claus Is Comin’ To Town’ and ‘Jesus Oh What A Wonderful Child’) did much to reassure me that piano could be a ‘cool’ instrument, used for other purposes than Mozart. I promised myself I would learn such groovy riffs when I was older and had mastered Bach and Beethoven.

There were things I didn’t appreciate until I was older, too. As a child I couldn’t understand why there seemed to be so many things that made Carey sad at Christmas (‘Christmas: Baby Please Come Home, ‘Miss You Most At Christmas Time’)…surely this season was the best distraction from a lame boyfriend who’d dumped her unceremoniously? I didn’t understand the magnifying effect of Christmas until much later, although I’ve always tried to remember my childhood approach to heartache.

Perhaps the best thing about Merry Christmas however, was the way it drew my mother into as childish a state of Christmas excitement as our own. As the chorus of ‘Santa Claus Is Comin’ To Town’ hit, Mum’s usually strict observation of driving safety would melt slightly, allowing her to take one hand off the steering wheel to punch the air with the ‘hey!’. We always knew it would be a good day if Mum was fist-pumping to MC.

I can’t be sure, because this is not the kind of thing grown-up people discuss, but I refuse to believe I am alone in this once-a-year obsession with a 90’s Christmas album (whoever DJs for Westfields clearly shares my love, for one). But as the years slip by and the baby-faced pop stars of today release their own takes on seasonal tunes (looking at you JB and Ariana Grande), the haters are so quick to trash my beloved MC.

Well, save your “bah humbug”s – the only crime Merry Christmas has committed here is to be so damn good it gets mercilessly overplayed. And may it be so for many years to come!

TV Review: The Right Note

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The panellists of The Right Note, including: (L-R) Rod Yates, Lindsay McDougall, Danielle McGrane and Bernard Zuel. (image source)

This show so delightfully fits its title, there is really no need to say anything more.

But The Right Note, a new original TV series focused entirely on album reviews, live performances and interviews with up-and-coming musicians, is my new favourite way to spend screen time – so hear me out.

Our panellists are the best in the business: The Sydney Morning Herald‘s senior music writer, Bernard Zuel; editor of Rolling Stone Magazine Australia, Rod Yates; and entertainment journalist for Australian Associated Press, Danielle McGrane. Aussie rocker and long-time Triple J presenter Lindsay “The Doctor” McDougall hosts and contributes to the conversation, guiding us through the show with easy warmth.

Each episode includes commentary on the latest music news, three album reviews from the experts, and a live performance and interview with fresh, usually off-beat acts. At 35 minutes a pop, The Right Note is a quick injection of new music, presented by people with opinions worth listening to.

It’s a show for people with broad musical taste, too. Everyone from Pete Doherty to the Rolling Stones gets a look in, and as they wrap up each session the panellists drop recommendations for ‘albums you may have missed’…so whether you happily paddle down the mainstream, or proudly discover tunes ‘before they were cool’, chances are you’ll find something to your liking.

With the authority and perceptiveness of Stratton & Pomeranz’s At The Movies (ABC), and the easy lounge room discussion style of The Book Club (also ABC), The Right Note would surely be welcome on, well, our national telly channel. Surely that deserves 5 stars.

You can watch every episode of The Right Note, or just bite-size vids of the interviews and performances on Skipi TV, HERE.

Single review: Laura Marling’s ‘Soothing’

Four and a half stars

Slinky, seductive, and perhaps just a little coy, Laura Marling’s first single from upcoming album Semper Femina is as bewitching a herald of things to come as we could have hoped for.

Gone is the broody darkness, replaced by sensuality and tenderness. Gone are the earthy acoustic tones, replaced by sparse percussion and bluesy electric guitar. Somehow, we’ve ended up in experimental jazz territory, the likes of which are usually inhabited by Norah Jones. But Marling makes this strange new land her own.

Wafting delicately amongst the rhythmic gyrations and harmonic instability, Marling’s vocal has all the hushed intimacy of pillow talk, and all the confident authority of a narrator. It’s a combination of contexts that is as bewildering as it is bewitching, but when a cloud of strings lifts us into the dreamy surrender of the chorus (sounding a little as though it’s taken a leaf from Kate Bush’s book), all is deliciously clear.

The abundance of latex in the music video may spell it out, but the low purr of sexuality makes itself known through the songwriting alone. The tension of the verse melts into a gentle sigh of pleasure; Marling sings “I need soothing”, but the request sounds so fulfilled it seems to be uttered after the fact.

Soothing showcases a self-composed Marling, ready and willing to tackle her introspective themes with a softness she may not have known how to use before. It’s promising, it’s exciting and it’s bloody beautiful.

March 2017 can’t come fast enough.

Semper Femina is out March 10th, 2017 on Marling’s label More Alarming.

SAFIA @ Enmore Theatre 18.11.16

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Seats? What seats? Everyone became a dancer at SAFIA’s Enmore Theatre gig last Friday.

4/5

Some gigs are led by the performers, leaving audiences in the wake of their brilliance. Some (not-so-great) gigs are led by the audience, dutifully egging on an artist who over-promised and under-delivered. And still other (definitely great) gigs are a manifestation of glorious performer/audience teamwork; a cycle that is the antithesis of vicious, amplifying vibe upon enthusiastic vibe to create an outpouring of abandoned self-expression for both parties.

SAFIA and their wonderful fans succeeded in delivering something like the latter at the Enmore Theatre on Friday night.

Sydney duo Set Mo had amply warmed the crowd with their persuasive disco tunes, but the roar that greeted SAFIA’s appearance on stage was worthy of a band with twice their (already impressive) success. An eclectic, casual and irrepressibly cheerful bunch, it was clear this audience had been with SAFIA for a while. Singing their hearts out from the get-go and dancing in their seats, they were rewarded with multiple confetti cannons, funky visuals and a hella lot of energy.

Pumping through a set list filled with tracks from their debut album Internal, as well as old favourites such as Make Them Wheels Roll , Counting Sheep and Embracing Me, SAFIA hurled themselves tirelessly at an audience who lovingly returned the energy tenfold. Each song was greeted like a hit single; every lyric was hollered by the devoted; and even those of us who usually treat seats as sacred carriers of personal space, abandoned them to better allow our bodies to move instinctively with the beats. Within 20 minutes the entire theatre was on its feet, grooving as one big party.

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(Source)

If only someone had put a Fitbit on frontman Ben Woolner, he would surely have racked up his 10,000 steps within the hour, running from end to end like a crackling ball of electricity. While bandmates Michael Bell and Harry Sayers stayed put till the end, their contribution was just as intense – and the throngs of outstretched arms when they finally approached the stage edge proved their equal popularity.

SAFIA is certainly a band that comes to life on the stage. Already catchy and heartfelt, their electronic pop explodes with new immediacy when heard in the flesh; the grooves have an all-encompassing presence, and there was a sense of communal catharsis as the fans bellowed the chorus of My Love Is Gone.

In a city where live music venues are dying left, right and centre, a gig like this goes a long way to instil confidence and hope in the Sydney music scene. And in a day and age where millennials are decried for their anti-social behaviour, it was nice to revel in a crowd of young people encouraging others to dance, singing with abandon and happily enjoying the full-body effects of bloody good dance music.

Things I think while listening to the radio: part II

25. Drake – One Dance

WHY THE HELL IS THIS STILL ON THE RADIO.

24. Andy Grammar – Fresh Eyes

This actually does sound fresh, given it hasn’t reached grotesquely overplayed status yet. It’s average in the extreme, though.

23. Zara Larsson – Ain’t My Fault

That I am switching radio stations right now? Yes Zara, it is.

22. Illy ft. Anne-Marie – Catch 22

I like my rap with a catchy chorus to break up the monotony, so I am SOLD. Plus, there’s a sense of camaraderie about this track that means it’s unlikely to go stale anytime soon. Winning.

21. FRENSHIP – Capsize

Peaceful filler material. Good driving music. Mindless ease. And yes, those are all backhanded compliments.

20. Mike Perry and Shy Martin – The Ocean

I guess I can groove to this. For the millionth time.

19. Jonas Blue – Perfect Strangers

I guess I can groove to this. For the millionth time.

18. Starley – Call On Me

I guess I can groove to this. For the millionth time.

17. Shawn Mendes – Mercy

NONONONONONONONONONONONONONO. No more. Mercy. Please. #ironyintheextreme

16. Nevada et. al. – The Mack

I guess I can-…but really, can we just inject some new tunes already?!

15. Little Mix – Shout Out To My Ex

If you do not hear the fun in this, you are surely a rock in human form.

14. Martin Garrix and Bebe Rexha – In The Name Of Love

Time to headbang in slow motion/sing with much angst. I have no shame.

13. Bruno Mars – 24K Magic

New Bruno Mars?! OMG yay!! Wait…it’s a lukewarm Uptown Funk. Dammit.

12. Drake – Fake Love

Oh Drake…I don’t know how you do it, but your voice annoys the absolute bejeezus out of me. This song is no exception.

11. Sia – The Greatest

Oh God, how am I going to convince my vocal students not to try and sing like that? Sounds simultaneously painful and kickass. Thanks Sia. Technique aside, I shall happily endorse this song.

10. Calvin Harris – My Way

How am I not yet sick of this song? That riff, dammit. So catchy, so danceable.

9. Ariana Grande and Nicki Minaj – Side To Side

I may have to wash my ears out afterwards, but I am going to listen to this song anyway. Coz hot damn, that beat.

8. Hailee Steinfeld – Starving

I didn’t know that I was starving until you reminded me Hailee. And now I’m hungry and grumpy, because all three major radio stations are playing your song at the same time. For the fifth time this half hour.

7. DJ Snake ft. Justin Bieber – Let Me Love You

Good lyrics, good groove…I am going to holler that chorus like my life depends on it.

6. Major Lazer ft. Justin Bieber and MO – Cold Water

More Bieber?! What luck! A little less catchy, but still seamless. Good times.

5. Maroon 5 and Kendrick Lamar – Don’t Wanna Know

Meh. *nods head absentmindedly*

4. The Chainsmokers ft. Phoebe Ryan – All We Know

All you know, Chainsmokers, is how to make songs that sound like Closer.

3. James Arthur – Say You Won’t Let Go

Ladies and gentlemen, successfully filling the void that Jamie Lawson left when we finally got over I Wasn’t Expecting That, please welcome Mr James Arthur! Can we all move on from the cutesy acoustic ballads now?

2. The Chainsmokers ft. Halsey – Closer

Why is that riff not more annoying? Is it annoying? Do I like it? Oh yay Halsey’s singing.

1. The Weeknd ft. Daft Punk – Starboy

Must there be a counter-intuitive emphasis on the end of each phrase? It messes with my classical brain. Also there’s only so many times I can tolerate ‘ah’ and its rhyming colleagues. Not feeling this one Weeknd, soz dude.

Things I think while listening to the radio: part I

It’s been a long week. And a long week – for me – involves long drives. Or at least, multiple longish ones.

This week I was also unhappily disorganised – read, left key items from my beloved CD collection at home. So, FM radio it was. Oh woe was I.

Don’t get me wrong, mainstream radio offers me guilty pleasures on a regular basis (I am a newly converted Belieber, after all). But one week solid of JUST. RADIO. was more than any person should have to resort to.

While it may feel like I listened to the same five songs all week, apparently there were at least 50 in rotation…HEAVY rotation.

Strange things happen to songs when they are overplayed…here’s an insight into the mental anguish* that occurs:

*strong use of melodrama intentional

50. Adele – Send My Love To Your New Lover

Thank God 25 hasn’t passed its radio date yet. *cue heartfelt singalong*

49. Justin Timberlake – CAN’T STOP THE FEELING!

WHY IS THIS TITLE ALWAYS IN CAPITALS? WHY DOES IT ALWAYS SOUND LIKE IT’S BEING SUNG IN CAPITALS? I USED TO LOVE THIS AND NOW IT’S A MONSTER.

48. Calvin Harris ft. Rhianna – This Is What You Came For

Taylor Swift should be singing this, Rhianna sounds bored.

47. gnash ft. Olivia O’Brien – i hate u, i love u

Nononononononononononononononono. *changes station*

46. Drake and Rhianna – Too Good

A venomous song, without the venom. Bring back Carly Simon please.

45. Joel Adams – Please Don’t Go

Emotive moaning. Next.

44. Lil Wayne et. al. – Sucker For Pain

Not sure if this is an ode to S&M, or a misguided commentary on mental dysfunction. Feel safer betting on the former.

43. Terror Jr – Come First

Thought this was a lacklustre version of Can’t Keep My Hands To Myself for a second…then realised it was just lacklustre.

42. The Chainsmokers ft. Daya – Don’t Let Me Down

Okay. Yes. This is cool. Overplayed, but cool.

41. Twenty One Pilots – Heathens

What is this edgy piece of intelligence doing on the FM airwaves? Transcending the drivel, that’s what.

40. Cheat Codes and Dante Klein – Let Me Hold You (Turn Me On)

Next.

39. NEIKED ft. Dyo – Sexual

Hell yes, this is a nice little piece of songwriting. Grammatically dubious chorus lyrics, but I’m singing along anyway.

38. Niall Horan – This Town

Niall, Niall, Niall. You aimed valiantly for ‘poignant’, missed by a mile and landed squarely in ‘yawn-worthy’. Also ‘whingy’ and ‘cliche-riddled’.

37. MO – Final Song

*adds to list of songs to learn all lyrics to because it’s such a damn cool singalong*

36. Coldplay ft. Seeb – Hymn For The Weekend

A Coldplay song I almost care about! For two minutes. Pity it’s 3’32”.

35. Cashmere Cat et. al. – Trust Nobody

Sexy talk, autotune and celeb cameos. Ahh, the tried and tested formula…packaged into something as charismatic as plastic. Next.

34. Marc E Bassy and G-Eazy – You & Me

Oooh, there’s a reggae thing happening. I like.

33. Shawn Mendes – Treat You Better

Ahhhh, it was only a matter of time before you showed up, Mendes. This is a decent tune, I’m sure I can listen to it for the bazillionth ti-…nope. Nope. I’m done.

32. Peking Duck and Elliphant – Stranger

*zones out and focuses on traffic/what to cook for dinner*

31. Alessia Cara – Scars To Your Beautiful

I am okay with listening to empowering cliches. Bored, but okay.

30. Calum Scott – Dancing On My Own

There is a reason she’s not dancing with you, Calum. Go and tell Shawn Mendes about it, he’ll understand. Could even be a collab in it.

29. Flume ft. Tove Lo – Say It

Yessssssssssssssssss, there is something so inherently bad-ass about this track. So much tension, so much release. Crank. That. Volume.

28. Anne-Marie – Alarm

Yeahhhh boi, another solid TUNE…well, for the first chorus anyway. Then it has the same monotonous effect as a real alarm. Wahh why does all this music lack staying power?!

27. Illy ft. Vera Blue – Papercuts

Yeah. Mm. Maybe. Kinda. Sorta. Next.

26. Tove Lo – Cool Girl

*zoning out again*

On repeat lately (#3)

St Lucia – Do You Remember

So. Much. 1980’s. Goodness. Do you need another reason? Okay then, explosive indie-pop choruses and exuberant waves of synth. This one is just bursting out of its skin with joy. And so will you.

Sally Seltmann – Heart That’s Pounding

It would be remiss of me to do an On Repeat Lately post without mentioning Ms Seltmann’s Heart That’s Pounding album. Every few months it makes a reappearance and goes on heavy rotation during my daily commute – and every few months it sounds as sweet and fresh as the first time I heard it.

The Heavy – Since You’ve Been Gone

I was lucky enough to be given a pre-release version of the entire album for review, but I highly suggest you groove along to this funky-as-hell single until April 1 brings the full track-listing.

Lontalius – A Feeling So Sweet

New Zealand teen Eddie Johnston (aka. Lontalius) puts insomnia, insecurity and self-examination to music in a way so delicate it might just blow away on the breeze. It feels wrong to only list one song from a collection that is so beautifully cohesive it should be listened to as a whole.

City of the Sun – Brothers

(Listen to Brothers on iTunes here)

Earthy instrumentals that sound like the quieter sibling of Bears With Guns. Reverb-laden guitar hooks echo into the spaces between soft tambourine accents and free-spirited strumming rhythms. Good lord, this stuff is dreamy.

Follow Favourites

 

Twitter is perhaps my very favourite way to discover new music. Sorry PR people, I read your press releases too – but it’s such a satisfying surprise to discover a new favourite jam in-between catching up on the day’s news.

There’s also the added advantage of those emerging artists who follow me as soon as they see the words “music critic” in my profile. I appreciate that the music industry is a tough ol’ place, so I thought I’d spend an afternoon listening to the work of the artists in my “Followers” list. Because, #lazyweekend.

Happily, I discovered a few great tunes that had previously slipped under my radar – and possibly snuck past you as well. Enjoy.

Tori Forsyth – Black Bird EP

I don’t know about you, but I never get tired of good and moody folk tunes. Tinge them with a haunting country twang and things get even better. That’s exactly what Hunter Valley NSW local Tori Forsyth has done in her debut EP, and it’s a quiet-spoken gem you really shouldn’t miss. ‘Nuff said, just go listen.

Mabel – Rachel EP

Sydney band Mabel are, according to their Twitter profile, “The world’s single greatest band ever”. Curious? I was too. But then, they only have 250 followers, so we can safely assume they’re just a fun-loving bunch who don’t take themselves too seriously.

Mabel’s sound is crunchy, energetic garage rock meets boppy, feel-good pop. Hard enough to headbang to, groovy enough to dance to; not wildly original, but a hella lot of fun. Start your weekend off right with Spaceman:

Into Orbit – Dark Matter

It’s difficult to believe this New Zealand duo is just that – a duo. For lovers of post/prog rock, the mindblowing volume and depth of one drummer and one guitarist (and, okay, obviously a helping hand from technology) will be an adrenaline rush of satisfyingly epic proportions. Reminiscent of sleepmakeswaves and Porcupine Tree, Dark Matter delivers an experimental explosion that is all-encompassing, yet coherent.

They’re giving this one away for free too, so head on over to their Bandcamp to download.

Episodes – Hunny Please

There really isn’t another way to put it: this track has swag. Although the Brighton four-piece might call their work “electro indie pop”, there’s a heavier, bluesy vibe to Hunny. You can feel it in the smokin’ bass lines, and hear it in vocalist Alana Westall’s sensual, effortless melisma. These kids could be ones to watch.

 

Over The Trees – Garbage Crown

Restless cello, ethereal harmonies, additive meters and eccentric lyrics – this driving tune is a breezy, yet thoughtful, addition to the indie rock genre. The melody is difficult to grasp and will vanish almost as quickly as it arrived, but you’ll likely find your foot tapping long after its 3’22” has passed you by.

Are you an emerging artist? Want your work featured? Follow me on Twitter @jessie_adora so I can check out your tunes – always keen for new sounds to feature!