Gorilla Orchestra release new single ‘I Think It’s the Way She Moves’ [Interview]
Released earlier today, Melbourne indie-rockers Gorilla Orchestra have just put their impressive third single “I Think It’s The Way She Moves” into the world. The single perfectly blends guitar and synth to create a truly anthemic indie rock sound, perhaps with some pop punk influences under the hood.
The band were generous enough to give us some of their time and answer a few questions for you! Have a read while listening to the cracker of a song, and then give them a follow on Facebook and Instagram!
How did you all meet? What area of Melbourne are you from? I’d love to hear a bit about the Gorilla Orchestra origin story.
It was such luck that we all came together to form Gorilla Orchestra. Our lead singer James and our bassist Brent originally met over a music group on Facebook in 2018. We got to know each other and realised they shared the same passion for indie rock. Over the next year, Brent scouted and found the rest of the crew through various groups and pages and somehow once we were all in the same room, it all just clicked. 3 singles later and here we are!
We are all from different areas of Victoria & Melbourne. Our guitarist Darcy is originally from a small town Numerka, just outside of Shepperton. The rest of us are from the Northern, East & South Eastern areas of Melbourne.
Where did the name Gorilla Orchestra come from?
Honestly, we get this question so much! We would love to say it has a deep & meaningful representation of us, but it was purely random. After 4 weeks of sleepless nights trying to come up with a name, this was the only one out of 250 names that wasn't either already taken and didn't sound that terrible. It even got to the point where we had the Bible and Jamie Olivers cook cookbook for inspiration. I guess we are just 5 animals playing our instruments together!
Your new single has a really interesting progression and sound, we’re there any particular influences you kept in mind in the studio/when you were writing the song?
One session James brought this song idea to us and we were all vibing the rhythm guitar part. We all seemed to have the same vision for the song, throwing as much colour into the Instrumentals as we could and pulling it right back onto a clean canvas for the chorus’s. This song was all about layering different colours and constantly evolving. For us, the Keys were the final coat on this song, giving it such a warm and dreamy feel to it. The outro is so different from the rest of the song as the drum and bass groove becomes such a strong foundation, allowing for us to throw heaps of that nice, warm, fluffy stuff on top.
What’s the story behind I Think It’s The Way She Moves? Tell us about both the composition and the lyrics, which came first? What’s the song about?
The instrumentation and lyrics started through James, which was the simple guitar melody and a few verses to begin with. We had actually sat on the concept for around 6 months, until we agreed it had the potential to be a single.
The song basically is about a feeling. It is when you are meeting someone new, and all you want to do is spend every minute of the day with them. The feeling of energy and not knowing why it’s there. We just wanted to bring a song that was relatable, catchy and can get stuck in your head within a few listens.
Previously you’ve mentioned that this song stemmed from the current social distancing restrictions, what are some ways that Covid influenced the creation of this song? How has our current situation has impacted you as a band/individually as artists?
It has certainly been a really unique process, in the way that Covid-19 had forced us to do a lot of the work individually from home and bringing all the elements together. Nick would do his drums from home, then Brent would add his Bass guitar on top. The process went from member to member until a song brewed together.
We were really lucky to get an incredibly talented Melbourne audio engineer, Phil Threlfall, who jumped on the project late and really helped it grow and blossom into the best song possible. Everything we did was over Zoom and it really gave us the support we needed.
We certainly miss the shows and being able to even practice together on a weekly basis.
If you could join any band (past or present) on an Aussie tour, who would you pick, and why?
An international band we would love to play alongside would have to be Arctic Monkeys, as they are the mecca of great British indie rock. As far as more realistic local bands we would love to join on a tour, we would kill to play shows with Holy Holy & The Vanns. These guys inspire us to keep pushing the dream and keep making music.
What would be one artist/band/song people would be surprised to know you listened to?
A lot of people don't know that two of the boys in the band are big metal heads. They love the Australian metal scene, and are always blasting bands like Thornhill & Northlane in the car.
Do you have any plans for getting back on stage post lockdown?
Bloody oath. As soon as Dan the man gives Victoria the all clear, we will be taking any show that is presented to us. We are hungrier than ever before to play live music and we really miss it.
Where’s the best place for people to keep up to date on you guys?
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New Order announce second Melbourne show to close Australian tour
Responding to huge demand that saw immediate sell outs for their Sydney and Melbourne shows announced last year, New Order have today revealed plans to perform a one-off theatre show at Melbourne’s Forum on Sunday 15 March.
After wowing more than 11,000 fans at Melbourne’s Sidney Myer Music Bowl on Saturday 14 March, the British masters that changed pop music forever will now perform an unforgettable final show, providing a rare opportunity to see the iconic band in a more intimate setting. Tickets for this unmissable new show go on sale at midday tomorrow.
As part of their visit, New Order will also perform in Sydney to a sold out Hordern Pavilion on Wednesday 11 March. Very special guests Cut Copy and Confidence Man join the tour on select dates.
Over a career spanning four decades, New Order cemented themselves as one of the world’s most vital bands. Combining guitar-heavy post-punk with masterful use of synths, their seminal music has held them amongst the “most successful and innovative dance acts of all time” (Pitchfork).
Formed by members of Joy Division after the death of singer Ian Curtis in 1980, New Order crafted a distinct, cutting-edge electronic sound. Their expansive repertoire of acclaimed albums and adored hits include the quintessential tracks ‘Bizarre Love Triangle’, ‘Regret’, ‘Crystal, ‘Plastic’, ‘True Faith’, and ‘Blue Monday’, the latter a thumping dance anthem that became the best-selling 12-inch of all time and currently exceeds 150 million streams on Spotify.
Last in Australia in 2016 performing with the Australian Chamber Orchestra, their four sold out Sydney Opera House performances reached “euphoric heights” according to The Guardian.
“… as a summary of everything magical, frustrating, brilliant, human, and completely unique about New Order, this performance was a perfect representation.” - ★★★★ The Guardian
New Order’s acclaimed live show features jaw-dropping lighting displays and immersive visuals. Nostalgic but never sentimental, their set combines new material with reimagined old favourites, and features a tribute to the enduring legacy of Joy Division, with a set list that often includes ‘Love Will Tear Us Apart’ in its encore.
With their just-announced theatre show, New Order present an unforgettable journey through dance and pop’s most seminal tracks. Tickets will not last for this rare opportunity.
NEW ORDER will play the Sidney Myer Music Bowl on Saturday March 14th [SOLD OUT], before playing the Forum Melbourne on Sunday March 15th [TICKETS HERE]
The Melbourne Tone @ Laneway Festival [Festival Review]
“Laneway Festival 2020 was a truly special experience which we will all remember for many years to come!”
Review and photos by Ryley Clarke
Laneway Festival’s characteristic lineup and monumental legacy continues after a sweltering summery day of live music and weather. With Laneway returning home to its birthplace of Melbourne for its 14th year, 2020 sees the festival in an expanded configuration, having grown very quickly from its boutique Melbournian franchise, to a multi-stage Australia-touring festival. This year’s lineup features many Australian favorites, two international headliners, and the boutique/niche acts the festival is known for showcasing.
Kicking off the day with Pist Idiots, Omar Apollo, and KUCKA, who all got the festival punters warmed up with their charisma, an unparalleled way of starting a great day of live music. As Oliver Tree, BENEE, and Spacey Jane continued the enthusiasm, the heat started to kick, but it didn’t stop the crowd from enjoying themselves. BENEE’s set was truly magnificent, with the young artist pulling faces and screaming into the microphone, drawing quite an immense crowd. Performing her hits, Glitter and Soaked, her performance proved to be a vibe amongst the crowd, with every song she sang fans danced and chanted the words back to her.
Tones and I, Hockey Dad, DMA’S, and Ruel continued to draw-in people from every corner of the festival and all performed in their own heart-felt styles, while The Chats and Psychedelic Porn Crumpets kicked up dust and sent hair flying, shredding through their fast-paced sets. Bringing in the evening Ocean Alley nailed another perfect set, proving why they claimed the #triplejhottest100 top spot last year. After playing some new favorites including Stained Glass and Infinity, Ocean Alley closed out their set with the psych-rocking single Tombstone, returning back to a similar sound derived from their first album, Lost Tropics.
CHARLI XCX took the River Stage to perform a refreshing set to mark the end of the evening. Barely stopping during her performance, CHARLI kept the energy elevated, performing hits from her recent album Charli including 1999, Boom Clap, and Blame It on Your Love. CHARLI was nothing but fun and confident while performing her heart out, all to one of the biggest crowds of the day.
The 1975, were the hardest rocking band I’ve ever seen, kicking off their set with singer Matt Healy, screaming their recent singles People, and Me and You Together Song. The band also showcased an unreleased excerpt from their upcoming album, which featured a sample from Greta Thunberg urging for consideration for the environment’s health. Their set transformed over time, bringing the audience into a quieter space to close the night, playing their pop-hit favorites, Chocolate, TOOTIMETOOTIMETOOTIME and Somebody Else.
Ending another massive year of Laneway Festival, The announced that they’ll be back very soon, hopefully with a new album to perform, and new, vibrant songs to dance too.
Laneway Festival 2020 was a truly special experience which we will all remember for many years to come. See you next year!
Marking its 14th return to its hometown of Melbourne, Laneway Festival 2020 presented its most versatile line up yet, composed of Australia’s most loved bands and some of the world’s most renown international artists; not to mention the many unique and niche acts which Laneway festival has had a rep for showcasing since day 1. The day was full of so many amazing moments and sound-satisfying performances from every artist, but there were some performances which truly stood out. So, let’s recap some of the best performances of Laneway’s biggest and boldest year yet.
1. The 1975
After a somewhat frightening situation for frontman Matt Healy of The 1975, who was not able to perform at Brisbane’s Laneway Festival (due to last minute illness), many wondered if The 1975 would be able to perform the rest of their Laneways shows. Somehow, Healy somehow managed to super-humanly heal himself, and return to the lineup in no time.
Barely wasting a second, The 1975 jumped on stage, bringing with them a deafening sound of anticipation. I turned around and saw a whole new level of enthusiasm from the crowd, their cries of excitement surrounding the festival. Launching a brand-new set (full of their trademark energetic and captivating pop hits), they started the with a bang, Healy screaming their loud punk-pop rocking melodies into microphone.
Having never properly listened to The 1975 before, I was amazed by how much more louder, punchier, and vibrant their live-shows are compared to their recordings (which feel slightly quiet, but still full of passion). The charismatic energy from the crowd continued to fuel The 1975, as they played the hits that defined their name, ‘Love It If We Made It’, ‘It’s Not Living (If It’s Not With You)’ and ‘Chocolate’.
My favourite part of their show was when Matt calmed things down and played a pre-recorded piece from their upcoming album, a sample starring Greta Thunberg, talking about the earth’s current state and what the future may hold for us. The 1975 proved that political bands and moments like this still hold a big part in what makes Laneway’s Festival. What matters most is holding attention to the worlds current problems, we can sing and dance and party all we like, but at the end of the day climate change is a reality Australia has faced this summer, and this moment was a perfect reminder of why we have to continue to fight climate change.
2. Charli XCX
Returning to Australia for her very first festival headlining slot, Charli didn’t stop for one moment, keeping the energy and the enthusiasm going throughout the entirety of her set.
Charli was nothing but fun and confident, performing her heart out to one of the biggest crowds of the day. I never knew that Charli XCX co-wrote ‘I Love It’ in collaboration with Icona Pop and was definitely the surprise of the day for me. Hands went flying in the air with screams of joy, for all of her hit songs, including ‘I Got It’, ‘Boys’, and ‘1999’.
Her heart-warming performance ended what felt too soon, with Charli XCX performing her final song and exiting the stage, leaving the crowd in the midst of the final hours of the evening, and in eager anticipation for The 1975…
3. Hockey Dad
Kicking off with a new track (’In This State’), Hockey Dad showed off their catchy pop lyrics, while still staying true to the pulsing and spirit driven surf sound the rock legends are known for. Hockey Dad smashed out a brilliant hard-rocking set, comprised of all of their greatest achievements from Boronia, Dreamin’, and their latest album, Blend Inn.
Seeing Hockey Dad shred their newest hit ‘I Missed Out’, which took out the 60th spot in the Hottest 100 (should’ve been higher, like seriously Triple J, what the hell), was bloody awesome, absolutely nailing the epic, surfy solo.
Joining their new live roster was bassist Steven from Step Panther, who was asked to fill in the backline so Zac could shred a few more solo’s here and there. I have to say, this was a bloody good choice, it worked really well. Adding a bassist to their lineup further improved their sound, not to say that their live setup hasn’t always interested fans (including myself), but it provided a much needed punchier and harder sound.
Finishing their set with ‘Seaweed’, Hockey Dad have seriously began to make an impression, I’ve always thought they were headliner worthy, and I think if they are given the chance I think they will absolutely own it.
4. Ocean Alley
I don’t think I’ve ever seen Sydney legends Ocean Alley perform a bad set. They kicked off the evening with a surf psychedelic rhythm that was contagious, perfect, and nicely placed to chill out and enjoy the evening breeze that began to cool down the festival punters.
The rhythmic six-piece band captured the attention of every punter, snagging one of the biggest audiences of the day, with everyone wanting to get a piece of Ocean Alley. Punters were on each other’s shoulders, as the band grooved through a perfectly flowing set. Kicking off with ‘Knees’, ‘The Comedown’, and ‘Yellow Mellow’, Ocean Alley also played some newly released tracks, marking their live debut. ‘Stained Glass’ and ‘Tombstone’ had the crowd freshly tuned and focused in anticipation for their new album, which will hopefully be released sometime this year.
Ocean Alley’s transitions between songs are always exceptional, so much so that it’s always my favourite component of their set. The build up between Lemonworld and into Confidence had people crowdsurfing in absolute excitement, they knew exactly what was coming, singing and dancing, it’s always a special moment to see in person.
5. King Gizzard and the Lizard Wizard
Known to be Australia’s favourite multi-faceted musicians, King Gizzard and the Lizard Wizard comfortably rocked their way through a bloody awesome and diverse set. The shred-lords went through some of their most hard hitting and thrashing songs to their most versatile, soft, indie rocking sounds. You would think these dynamics wouldn’t fit within their setlist, but being the magician wizards they are, King Gizzard somehow pulled it off with ease.
The moshpit kicked dust into the sky as some of the band’s punchier rock songs got the crowd going. As their set progressed and changed altitudes, the crowds vibe changed with them, nonetheless, the crowd enjoyed every song they performed.
6. BENEE
New Zealand’s brightest star, BENEE, truly shined like glitter, charming the crowds hearts and minds, and without a doubt winning the future of contemporary pop music.
She kicked off her performance with ‘Tough Guy’, setting the pace and mood for her set, picking things up with ‘Supalonely’ and ‘Find an Island’. Continuing to humorously charm the crowd as she pulled faces and laughed along to her melodic pop, getting everyone dancing and singing no matter how popular the song.
7. Spacey Jane
I was super excited to see Spacey Jane live for the first time, and they didn’t disappoint one bit. Fast paced, hair flying everywhere, nothing better than a crowd jumping up and down, in-awe is the best way to describe their set. Spacey Jane have played numerous gigs in the past couple of years, and their hard work and determination is finally paying off.
Gaining popularity by the minute, the garage-indie rockers had an electrifying sound to their set, their spirited fuzzy guitar and their strong, bold bass and drum-beat characteristically brought the best out of their uncommon but deeply loved songs. They shredded their way through some of my favourites, ‘Feeding the Family’, ‘Neoprene’, ‘HeadCold’, ‘Thrills’, as well as their #triplejhottest100 hit ‘Good for You’ marking its place, as fans patiently await their debut album coming out sometime towards the end of the year.
The Melbourne Tone @ Beyond The Valley [Festival Review]
“...showering the 20,000 strong crowd with confetti and filling the already high energy night with dance, 2020 was off to an explosive start.”
Review and photos by Ryley Clarke
The end of the 2019, not only closes out an amazing decade of Australian music, but it marks a return for one of Victoria’s most cherished festivals, Beyond the Valley, making its sixth consecutive year. Presenting another eccentric and diversified lineup, there was something for everyone, composed of sweet and juicy electronic acts, managing to also squeeze in some major headliners, presenting another truly year of great live-music for festival fans and punters alike.
Beyond the Valley kicked off its first three days with a lingering heatwave, but it didn’t stop punters from enjoying the final days of 2019. Everywhere I went, people were out in the cool shade, dancing in the sun and making the most of the opportunities, as they could.
Day One on the main stage, kicked off with Owl Eyes, Confidence Man and Meg Mac, all bringing their very best to the crowd, kicking off what felt like a never-ending groove-party. Despite the heat, Confidence Man flaunted their charismatic dance moves, idiosyncratic outfits, opening their set with their latest single ‘Does It Make You Feel Good?’ which had everyone in awe of their confidence and ability to always put on a mind-blowing performance, full of exhilarating spirit.
Meg Mac continued the hype, after ending a massive year following the release of a new album Hope. Although her set was much more subtle, it was the kind of music people needed to hear in order to relax and enjoy the first day of the festival, without going too crazy.
Methyl Ethel and Skepta closed out the first night of the main stage, which felt like an odd choice at first, but was nonetheless an engaging way of ending day one. Methyl Ethel outperformed and shined brilliantly in what was an amazingly confident and warm-loving performance from Jake Webb. It was simply a wonderful set, feeling very poetic and comfortable.
Winding up day one at the main stage was none-other than British rapper Skepta, returning to Beyond the Valley for his second time. Skepta, was quick to get the crowd moving and hyped as he magically narrated through his set, with an indescribable enthusiasm. Skepta closed his set, with the crowd-hit ‘Shutdown’, which instantly got everyone on each other’s shoulders.
Lastlings, Matt Corby, Mallrat, and Cub Sport continued the spirited vibe throughout day three. The third day of Beyond the Valley faced tougher weather conditions, but the cool change came through earlier than expected. Matt Corby, performing for his second time at Beyond the Valley, charmed his way through a very rhythmical and homely set, gathering a big audience from the dance tent, with many rushing over to be serenaded. Beginning his performance beautifully and quite softly, Corby played a unique set, full of his trademark multifarious sound. His performance felt perfectly timed and satisfying, especially as the cool change began to sweep out the lingering heat. Mallrat and Cub Sport performed their very best, playing old and new hits, but as the clock reached closer to midnight, excitement around the festival brewed eagerly for Tyler, The Creator.
Tyler lifted everyone’s spirits and performed what was by far the best live set of the entire festival. Opening his set in-character, as Igor, Tyler stood still, not moving an inch, and stared into the sea of his audience, all to ‘Igor’s Theme’, the opening track of his new album, IGOR. The crowd turned wild, hungry in desperation, wanting Tyler to move or do something. Then, out of nowhere, he began to run up and down the stage in his charismatic Igor dance style, grooving, with hands flying everywhere, getting the crowd excited to see what will happen next. Performing most of IGOR, Tyler channelled his inner Igor, dancing around stage as the character and performing his hits, including ‘Earthquake’, ‘New Magic Wand’, and ‘Running out of Time’. What was one of the most anticipated performances of the whole festival quickly finished and left everyone with full hearts.
Getting the crowd ready for the final night of 2019, Big Words and Lion Babe each brought their signature vibes to wash away everyone’s hangovers. Hobo Johnson brought his amazingly-gifted poetic rap skills to the stage, which had everyone singing, smiling and laughing, in what was undoubtedly the funniest set of day.
What was looking to be the most comic set, soon turned into one of the most anticipated performances of Beyond the Valley 2019. The Veronicas took the stage, returning to Melbourne after an amazing run of shows with Good Things Festival earlier in December, performing for only half an hour. There set felt too short, but managed to pack in all the fan favourites, ‘Untouched’, ‘4ever’, and ‘Everything I’m Not’. The twins instantly had everyone crowd-surfing and dancing their way closer to 2020.
Following The Veronicas, 16BL kicked off the electronic finish to the year, exciting the festivals electronic/dance enthusiast crowd. Following 16BL’s vibrant set, Australian DJ Hayden James electrified the crowd with his perfectly composed and dynamic performance, packed with special guests. The hype of the crowd grew uncontrollable, with just over an hour left of 2019, the final act of the year was preparing to play their countdown set.
Follow the release of their third album, it was only fitting for Sydney electronic trio Rüfüs Du Sol to return to Beyond The Valley, taking the coveted decade crossing slot. Rüfüs played an amazing set, creating the perfect blend of brand new songs and earlier tracks, which formed them into the powerhouse act they are today. The trio brought in the new decade with immaculate timing, ending 2019 on the most explosive part of their number one hit, ‘Underwater’, showering the 20,000 strong crowd with confetti, filling the already high energy night with dance, plenty of hugs and many kisses. 2020 was off to an explosive start.
Dom Dolla and Denis Sulta marked the end of the festival’s sixth installation, leaving plenty of punters smiling and energetic for the new year. Despite the heat and the fierce weather conditions, Beyond the Valley ended the year with an engaging all-rounder off a lineup, and brought in 2020 with nothing but best vibes.
The world has changed a lot in the last ten years, but luckily for us, music still exists. Without further ado, here’s the 10 best albums that were the soundtrack to our decade:
2010 - THIS IS HAPPENING, LCD SOUNDSYSTEM
This Is Happening is the third and “final” album by New York dance band LCD Soundsystem, released before their 2011 split (ending with the legendary 4-hour Madison Square Garden farewell show).
Following up their sophomore LP, Sound Of Silver, was always going to be a huge task, and This Is Happening holds up well, while also having an insanely ink-able title. It isn’t the group’s best album, it’s sure as hell a good way to start off the decade.
Highlights include the albums opener Dance Yrself Clean, I Can Change, and All I Want (which might sound strangely familiar to fans of David Bowie, who was a friend of LCD’s frontman James Murphy).
Notable mentions: Tourist History - Two Door Cinema Club, The Suburbs - Arcade Fire
2011 - THE ENGLISH RIVIERA, METRONOMY
The English Riviera is the third album from English indie pop band Metronomy. This is their most commercially successful album to date, including notable singles The Bay, and The Look. Most of this album was made solo by founder and producer Joseph Mount, with occasional assistance from the band members who have joined him along the way.
The album strongly rewards repeat listens, with tracks that might seem bizarre at first becoming certified bops after enough plays. The whole album is filled with some outrageous sounds from an extensive library of hardware synths. On the track Some Written, Mount brings out profound kazoo talent, as well as some impressive clarinet use in the following track, Love Underlined.
2011 was a huge year of development for the indie pop genre, with more bands embracing an electronic sound. It would seem that all the stars aligned for this release, and put them on the map. Metronomy is a band who have built a reputation for pushing limits, while managing to stay approachable enough for a wide appeal. They’ve got some pretty weird tracks if you’re willing to test the waters, but The English Riviera is without a doubt the best place to start.
Notable mentions: Torches - Foster The People, This Modern Glitch - The Wombats
2012 - BLOOM, BEACH HOUSE
Bloom is the fourth album from Baltimore dream pop band Beach House, and is their highest charting album to date. The album is packed with luscious synth and melancholy soaked guitar, reverberating in every direction far and wide.
The track list is impressively solid, and while a lot of tracks may appear quite “same-y” at first listen, they are nuanced enough to allow for some great repeat listening. You always know what to expect when you’re listening to Beach House, and they never fail to please.
Bloom is filled with some incredibly memorable tracks, and some highlights include: lead single Myth, with its incredibly powerful guitar build and grounding synth line, Lazuli, with its catchy vocal stacking and driving synth arpeggio, and New Years, with it’s ear worm of vocal melody that will stay in your mind for all of eternity.
Beach House have established their own brand of melancholy, and Bloom is probably their best showcase of that. Along with many of the other great releases from 2012, this one is for those whose hearts play in a minor key.
After the wild success of The National’s 2010 album High Violet, I’m sure many fans wondered what the band would do next. Trouble Will Find Me features wall-to-wall lyrical and instrumentational masterpieces. This is a *seriously* solid album.
The album has a great mix of ‘great-the-first-time’rs, and plenty of ‘this-will-hit-hard-on-listen-twenty’s too. Believe me when I say, every listen of this album will leave you with a different ‘favourite song’.
Standout tracks include: I Need My Girl, a love song written by Berninger about missing his wife and daughter who stayed at home while he was on the road, and Don’t Swallow The Cap, a medium tempo alt-rock doomer anthem with the same understated power of LCD’s All My Friends.
Trouble Will Find Me also serves as a perfect warm up for the bands latest (2019) release I Am Easy To Find, if you’re that kind of fan. But I mean come on... even the titles match!
Notable mentions: The Bones Of What You Believe - CHVRCHES, Overgrown - James Blake
2014 - ABOUT FACE, #1 DADS
About Face is a special kind of album. Melbournite and all round musical genius Tom Iansek (also of Big Scary and No Mono) never fails to release pure magic into this world. His work truly is the hidden gem of Melbourne’s music scene - and those who have found it could not cherish it more.
Behind it’s quiet front, About Face holds the emotional force of a B-52 fighter jet. The production and gentle instrumentation will move you with force, there isn’t a single unremarkable track.
It should also be noted how impressive the lineup of collaborators on this album is; Tom Snowden, Ainslie Wills, Airling, AND that incredible saxophonist on Camberwell (you know what I’m talking about 😉).
It’s should come as no surprise that this album was nominated for an Australian Music Prize. While it did lose to REMI’s Raw X Infinity, at least we can have some comfort in knowing that Tom did win the prize the year before, for the wonderful Big Scary album, Not Art.
Notable mentions: There There - Washington, The Dew Lasts An Hour - Ballet School
2015 - CARRIE & LOWELL, SUFJAN STEVENS
“I don’t know where to begin...” where do you even start with an album like Carrie & Lowell!? How do you follow up an album that ended with one of the most powerful 25+ minute epics ever made? (I’m talking about Impossible Soul, if you haven’t heard it in full, drop everything and listen now - and if you have heard it, enjoy this shorter Car Seat Headrest cover)
Upon it’s release, Carrie & Lowell was hugely successful with critics, and was often cited as Sufjan’s best work yet. This album is quiet, I can’t count the number of times I've fallen asleep to this album on the train home from the city.
Despite it’s soft production, this album hits hard with it’s lyrics, something Sufjan now has now had over 20 years experience perfecting. Standouts include Should Have Known Better, Blue Bucket of Gold, and Fourth of July (see Sufjan leading a festival chant of ‘we’re all gonna die’ with the power of 10,000 suns here).
This album holds a warm place in many listeners hearts, and is well deserving of 2015′s top spot.
Notable mentions: Pretend You’re Mine - Pearls, The Things We Do To Find People Who Feel Like Us - Beach Slang
2016 - 22, A MILLION, BON IVER
Notable mentions: Not To Disappear - Daughter, Light Upon The Lake - Whitney
2017 - GO FARTHER IN LIGTHNESS, GANG OF YOUTHS
Standouts include slow burner Do Not Let Your Spirit Wane, anthemic Atlas Drowned, past punching What Can I Do If the Fire Goes Out?, and once in a lifetime worship anthem to Nietzschean affirmation Say Yes to Life.
Read our review of the album here.
Notable mentions: Zone - Cloud Control, Visions Of A Life - Wolf Alice
New Order announce Melbourne and Sydney shows for March 2020
New Order, the icons that changed pop music forever, have announced rare Australian dates for 2020, bringing their timeless live show to fans at Sydney’s Hordern Pavilion on Wednesday 11 March and Melbourne’s Sidney Myer Music Bowl on Saturday 14 March.
Over a career spanning four decades, New Order cemented themselves as one of the world’s most vital bands. Combining guitar-heavy post-punk with masterful use of synths, their seminal music has held them amongst the “most successful and innovative dance acts of all time”(Pitchfork).
Formed by members of Joy Division after the death of singer Ian Curtis in 1980, New Order crafted a distinct, cutting-edge electronic sound that was apparent from the release of their first single, ‘Ceremony’. The next forty years have seen the band combine sensitive and often dark lyrical content with melodic and celebratory electronic production.
Their expansive repertoire of acclaimed albums and adored hits include the quintessential tracks ‘Bizarre Love Triangle’, ‘Regret’, ‘Crystal, ‘Plastic’, ‘True Faith’, and ‘Blue Monday’, the latter a thumping dance anthem that became the best-selling 12-inch of all time and currently exceeds 150 million streams on Spotify.
New Order’s acclaimed live show has been described as transformative – even hypnotic – featuring jaw-dropping lighting displays and immersive visuals. Nostalgic but never sentimental, their set combines new material with reimagined old favourites, and features a tribute to the enduring legacy of Joy Division, with a setlist that often includes ‘Love Will Tear Us Apart’ in its encore
“The identity that New Order has built for itself replaced Joy Division’s stark hollows with intricate patterns” – New York Times
“This was a night capable of stirring the heart and soul. Once again, New Order deliver with finesse and class.” - ★★★★ NME
Most recently the band released ‘∑(No,12k,Lg,17Mif) New Order + Liam Gillick: So it goes..’, a live album recorded with a 12-piece synth orchestra. The innovative and thoroughly contemporary record was widely praised for its artistic vision and complexity.
The band remains incredibly prolific, collaborating with Iggy Pop, Brandon Flowers and La Roux, and sampled by Rhianna and Kylie Minogue. Nominated for a Grammy and Mercury Prize, with a slew of NME Awards under their belt, New Order has headlined world-class festivals including Reading, Coachella, Lollapalooza, and Glastonbury.
Last in Australia in 2016 performing with the Australian Chamber Orchestra, their four sold out Sydney Opera House performances reached “euphoric heights” according to The Guardian.
“… as a summary of everything magical, frustrating, brilliant, human, and completely unique about New Order, this performance was a perfect representation.” - ★★★★ The Guardian
Beloved dance quartet CUT COPY bring their pulsing hits to the Melbourne show. The Grammy-nominated, ARIA Award-winners broke through in 2008 with their acclaimed album ‘IN GHOST COLOURS’ and hit single ‘Lights & Music’, and have remained one of the country’s most vital electronic acts in the decade since. Refining and expanding their rousing sound in recent years has seen Cut Copy sell out shows worldwide and appear on the line-ups at Coachella, Lollapalooza, Primavera and Pitchfork, and tour with the likes of Franz Ferdinand, Daft Punk, Bloc Party and The Presets.
Appearing in both cities are Australian dance-pop prodigies CONFIDENCE MAN. Kitschy and clever, they broke through with hits like ‘Bubblegum’ and ‘Boyfriend (repeat)’ from their 2018 debut album ‘CONFIDENT MUSIC FOR CONFIDENT PEOPLE’. Their irrepressible live show winks at the posturing of electro-snobs and has invited crowds at festivals such as Glastonbury, Groovin The Moo, Primavera, Splendour in the Grass and Golden Plains to thoroughly lose their cool and surrender to their irresistible party theatrics.
New Order secured their place in the pages of music history long ago, and they remain as peerless and essential now as they were then.
NEW ORDER will play the Sidney Myer Music Bowl on Saturday March 14th, tickets go on sale midday Tuesday 15th of October here.
Press Club release new single 'Get Better' and accompanying tour dates
PRESS CLUB rocket out of the gates, giving us the first taste of new songwriting in over twelve months. As premiered on triple j last night, ‘GET BETTER’ is a helter-skelter, 2:45 song of two halves. A Dr. Jekyll + Mr. Hyde piece about people not practicing what they preach and an urging to ‘GET BETTER’ and be consistent. Be good.
‘GET BETTER’ is the first release from PRESS CLUB since their debut LP, Late Teens in March 2018. Spotlighting the band’s now trademark sound of ‘kicked-in-speaker’ bass and guitar tones interlacing one another. The drumming of Frank Lees that has become such a familiar PRESS CLUB sound, it feels like a veritable war-time calling card.
Oft introspective, the lyrics of Natalie Foster take an about-face in ‘GET BETTER’, her ire being caught by the insincere actions of others. Although the song has a palpably aggressive energy, it is perforated with the exposed vulnerability that is omnipresent in her performances.
The song was written collaboratively in the band’s self-built studio at the foot of Westgate bridge in Port Melbourne, where they now spend most of their time writing material. Keeping everything in-house, the single artwork was designed by Foster herself.
As with all of their catalogue to date, ‘GET BETTER’ was recorded and produced by the band themselves. This time calling on Woodstock Studios in Balaclava, Melbourne to put their songwriting to tape. Wanting to not deviate from their aim of capturing real, organic, human performances - inaccuracies and all - they opted to track ‘GET BETTER’ live. Mirroring Frank Zappa’s notion that no two performances are ever identical, and that wherein lies the magic.
‘GET BETTER’ is out now and the band will do a limited run of shows around the country to repatriate themselves with their beloved Australia after a month in the Northern Hemisphere which includes a sold out London headline show and festival spots at Manchester Punk Festival, The Great Escape, Liverpool sounds City and Belgium’s Groezrock.
We'll be seeing Press Club wake up sleepy Melbourne on the 8th of June at the Howler.
The Melbourne Tone @ Grapevine Gathering 🍇 [Festival Review]
“The never-ending rows of grapes and rolling green hills created a unique setting for a festival”
Review by Harry Bradley
Photos by Ziggy Cross
Grapevine was a festival I’d heard very little about when coming into its 2018 edition. All I knew was that it was set on a beautiful Yarra Valley winery (which sounds pretty good so far!). The Jungle Giants were playing and so were The Wombats, two party bands that were sure to bring an atmosphere. Big tick there. Grapevine was looking to be a good time, but not something we hadn’t seen before in Australia.
Rochford Wines
Rolling into the Yarra Valley and onto the Rochford Estate was something pretty special, with the never-ending rows of grapes and rolling green hills creating a unique setting for a festival. Getting inside the beautiful venue proved difficult, as the organisation of guest passes and security clearance seemed overlooked; I had to explain to security what my business being there was for about 5 minutes. However, once I’d eventually worked my way in, I was greeted by the fantastic winery setting. The amphitheatre was one large rolling green hill with views for miles, a perfect spot to spend a lazy day on the wines with friends. Rochford wines also sold their product by the (plastic) bottle which was a nice and time-saving touch, I thought.
MK
Joy. was the first act I caught of the day, and her breezy pop harmonies were a nice touch to get the ball rolling as the crowds came in. However, after this set, three consecutive DJ’s would take to the stage; Dom Dolla, Lovebirds and MK. While all masters of their craft, it felt to me as if the three sets blended together, giving the afternoon an uninteresting tinge - perhaps a different act in the middle to break the sound up would have gone down better. However, Tkay Maidza took to the stage soon after, picking the crowd up with her vibrant personality.
The crowd were in a big mood now, ready to go off into the night as Miami Horror kept the ball rolling. Tracks such as ‘Real Slow’ and ‘Love Like Mine’ really pushed the envelope in terms of energy and fun, a really great set all around. The biggest Aussie party band then brought the house down: of course, I’m talking about The Jungle Giants. Frontman Sam swaggers around the stage like it’s second nature, and bassist Andrew ‘Dooris’ Dooris oozes energy from not only his bass-lines but his dance moves as well. Songs like ‘Quiet Ferocity’ and ‘Feel The Way I Do’ were standouts.
The Wombats
Finally, to cap off an easy going day of tunes, bevs, and mates, Australia’s favourite Wombats brought an action-packed set like it was business as usual for the boys. ‘Give Me A Try’ and ‘Lemon To A Knife Fight’ are fantastic tracks from the new album, and I was really happy to see them get some love on the night. A classic like ‘Moving To New York’ had bassist Tord Knudsen flying around the stage with smiles all round, and the crowd mirrored exactly that. As the cult classic ‘Lets Dance to Joy Division’ sent the crowd off satisfied into the night, I thought of the enjoyable day I’d had nestled in the wine country. However, Grapevine Gathering never truly grabbed me as something unique. The pedestrian Triple J inspired lineup, and same old fashion tropes on display by the majority of punters made me feel like I’d perhaps seen this festival once or twice before - minus the stunning location of course.
Ben Wright Smith releases the first instalment of new EP trilogy, Psychotropical
It has been a busy year for Melbourne’s Ben Wright Smith. Since the release of his acclaimed single ‘Storm Boy’, the songwriter has been furiously working on ascending to the top of his next crowning achievement - the Psychotropical trilogy.
This new EP series will see Wright Smith releasing new music into next year, with the three EP’s culminating in a new album, to be released on vinyl in 2019. The first of the trilogy, Psychotropical, is a sonically rich collection of music that further expands on the radiant tones listeners heard on ‘Storm Boy’ in August.
Throughout Psychotropical, Wright Smith mixes textured guitar lines with glorious melodies. Proving once more his talent for producing beauty within the indie folk details, Wright Smith’s musical output further positions himself as an artist to watch flourish.
Across four tracks, Psychotropical revels in strong songwriting and excellent recording and production quality, courtesy of David Turner Soundpark (Courtney Barnett, Paul Kelly) and Oscar Dawson The Aviary (Aley Lahey, Ali Barter). Having cut his teeth on London’s indie punk scene in 2005 and 2006, Turner’s production prowess as seen him work more recently with bands including Crepes and The Delta Riggs. Lead single ‘Everyone Wants What Is Mine’ saw Wright Smith reconnecting with Dawson, an effort that saw the songwriter’s already present musicality elevated on record.
As the song twists and weaves together textured guitar with Wright Smith’s enticing vocals, ‘Everyone Wants What Is Mine’ marks another strong step forward and leads the listener into a vibrant and sonically rich playground of sounds that has formed Psychotropical. ‘This stuff I think breaks into a new level of honesty that I don’t think I’ve ever quite been able to grasp in the music I was making’ - Ben Wright Smith
Where ‘Storm Boy’ marked a stunning and vibrant return this year, Psychotropical stands tall as a promising new era for Wright Smith, particularly following his acclaimed 2017 debut album, The Great Divorce. Singles ‘Sand Grabber’ and ‘No One’ chimed well with Triple J, with both being added to high rotation, while the latter earned an APRA Award nomination in the Blues & Roots category in 2016. The album propelled Wright Smith successfully onto the radars of fans in the United States, as it entered the Top 30 Charts and achieved high rotation on 30+ American College Radio stations, while at home, The Great Divorce received rotation on over 20 Australian radio stations.
After dropping their anticipated third LP Solace on Friday, one of the world’s pre-eminent electronic acts RÜFÜS DU SOL have announced their Solace Australian tour – their biggest Aussie tour yet. The epic run of shows will kick off with a festival headline set at Sydney’s Field Day festival on January 1, 2019, before moving through Melbourne to play Sidney Myer Music Bowl, Adelaide’s Entertainment Centre, Perth’s Fremantle Arts Centre, Margaret River’s Three Oceans Winery and finishing up at Brisbane’s Riverstage on March 2. Massive venues, massive tracks; it’s set to be the Aussie live music event of the new year.
Solace follows RÜFÜS DU SOL’s previous two platinum-certified albums ATLAS and Bloom, and is an album that is as sonically rich as it is emotionally intelligent. The Australian three-piece, comprised of members Tyrone Lindqvist, Jon George and James Hunt, have explored new territory on Solace; born out of a particularly poignant period for the band, it tackles heavier themes such as the pain of loss and the persistence of memory. This is unequivocally the group’s most sophisticated work to date.
The Australian Solace tour follows a rigorous two-year world tour which saw the band perform everywhere from legendary California festival Coachella, to Serbia’s EXIT. This intensive period of touring helped pave the way for the Solace live show, crafted through years of varied live experience for the band. Giving fans a rare insight into what to expect for the upcoming tour, Tyrone says, “This new show has allowed us to be able to take people on an inner journey and to get lost in the depths of Solace. It’s the most ambitious live experience we’ve put together yet.”
The brand new live show will push the band’s on-stage abilities to new levels. With an emphasis on jamming and live improvisation, the trio will bring the magical spontaneity of their studio process to the stage in an unprecedented format. Bringing a host of new analog gear into the fold, as well as a revamped visual setup, the new live show will allow for each RÜFÜS DU SOL performance to be sonically distinct. Of the upcoming shows, Jon says, “Some of our favouite moments have been at these outdoor venues. These live experiences just bring everyone together - whether you’re losing your friends, or finding new ones, but being so content in dancing and connecting with the music and the band on stage. We really hope to bring those moments and create that emotional connection over the summer.”
On top of the album release, upcoming tour, and the bands’ recent relocation to Los Angeles, they have also officially launched their own record label, Rose Avenue. The name serves as a tribute their Venice Beach home, and the friends they have shared it with. With a new album, new record label, and bold new live show, RÜFÜS DU SOL have laid the groundwork for what will easily be their most groundbreaking year yet.
RÜFÜS DU SOL will hit the Sidney Myer Music Bowl on Friday the 15th of February. Tickets are available here.
EDIT: RÜFÜS DU SOL has announced a second show on Thursday the 14th of February. Tickets are available here.
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