Not too long ago I raved about “Losing Touch,” the latest single from Way Dynamic, so today I’ll treat you to the video version, if only to reignite your interest in this great song. I don’t know how you can be a pop fan and not enjoy the feathery vocals draped over the strummed acoustic guitar and minimal rhythm section present here. And, don’t even get me started with how ridiculously good that chorus is. The band release their new EP, What’s It All for Now, this Friday. Shout out to our friend Lach whose playing drums in the video! Go listen to this song a lot, right now!
Lloyd Meadows reached out to us from across the sea, and I feel like we shine some light on this 15 year old songwriter. Don’t worry one bit, the age is irrelevant, as he’s writing with a maturity far beyond his ears. His guitar lines have faint crystalline qualities, sparkling against Meadows’ deep vocal tones, crafting a contrast the fits perfectly for guitar pop. There’s a certain earnestness too, here, which perhaps could be due to age, but perhaps could play a bigger role in our own lives. If you have a minute, sit down and listen to Lloyd.
I greatly appreciate Cyanide Thornton today. I’ve got several other Aussie acts on the table today, but this one steps out from my expectations of the region (I’m a pigeonholing jerkstore, I know). Sienna Thornton has this breathy vocal delivery, deep in her register, which might draw some comparisons to Courtney Barnett; it’s great to find her notes wrapped in the rest of the band’s notes, adding textured depth. Most of the tune is fairly relaxed, sitting back waiting to suck you into the sound…go ahead and give in to it. The group will release their self-titled LP on November 9th via Bedroom Suck Records.
There’s a rule here at ATH, apparently. If the Ocean Party want to share a new song, we’re going to share it. It’s honestly one of my favorite groups, period. The diversity in songwriting alone makes the band like a hydra of pop sensibility. This new turn has this sense of longing, particularly in the way the vocal notes curl at the end. Musically, it’s steady and solemn, with slide guitar shooting off through the track’s distance. Plus, the last 40 seconds are definitely a nice extra musical bonus for listeners. The Oddfellows Hall will be out November 9th via Spunk/Emotional Response.
Pressing play on the latest track from Magpie, I almost expected the group to have swung over to the world of Black Sabbath; the riffs are definitely hard and heavy from this Melbourne outfit. But, beneath the rolling smog riffage is a bubbling pop curiosity, as well as an abundance of self-awareness. Singer Leish explains that the song came about as a way of expressing her guilt towards being white/middle-class in Australia; she spits it out in a venomous manner, perhaps the reason she says her songs are “incredibly therapeutic.” Into Space will drop on November 2nd via Psychic Hysteria.
A little over a month ago we brought you the first single from Gregor; it was a smoothed out pop gem with an electronic background. This outing, Gregor utilizes reggae-style guitar chops to provide a natural rhythm to the song; it automatically gives the song a light quality that is sure to woo listeners. Of course, his voice has this Aussie/British affectation that you can picture crooning in some old school barroom during karaoke hour. The finer touches, such as the added guitar line between verses elevates this song immediately into the front of my playlist. Look for Silver Drop on October 5th via Chapter Music.
Remember when you thought Iceage was dangerous? Well, if that was your sound, then spend a second or more with Constant Mongrel, an Aussie supergroup of sorts (Woollen Kits, Nun and Terry). It’s an easily discernible post-punk sound, with a howl that fades as the syllables die off; the rhythm section is mostly just working to show you’re alive while the guitars buzz through your eardrums. There’s this strange feeling of angry unity that pervades, almost like reveling in some sort of deep euphoric even amongst a crowd of peers. The band will released Living in Excellence via La Vida Es Un Mus on September 21st.
This Goon Sax tune dropped on the Internet yesterday, but I was working at the real job and such, so wasn’t able to get to it quite yet…until this morning! Admittedly, it’s one of my favorite tunes off of their new LP, so I had extra encouragement. I love how the track opens up with vocals working over a percussive loop and quiet piano chords. Then it switches, with an acoustic guitar strum accompanying the male vocals; I wasn’t completely sold, however, until drummer Riley joins the vocal fray for a powerful verse. The youthful attachment was shed for me on this song, as it showed me a great maturity I might not even have been expecting. We’re Not Talking drops on September 14th via Wichita Recordings/Chapter Music.
I’ve been into the work of Cool Sounds for just a bit, and with the announcement of a new LP on the horizon, lets get back on it. The opening minute and a half is a little more subtle than before, perhaps drawing inspiration from a more classic rock guitar sound, maybe even a fine slice of country. Still, the Melbourne outfit are a pop outfit, so they’re not turning their back on that sound, letting the tension build up until a funky little jam delivers pop sensibility to keep you all in check. Cactus Country will be out on October 26th via Osborne Again.
Admittedly, when I stumbled upon the music of Rabbit Island, I knew very little of Amber Fresh and her project. But, with her forthcoming album, she seems to have struck a cord within me that’s not easily ignored. For instance, this track has this emotive organ as the key musical element; I, oddly, don’t even think it needs much more than that. Amber operates between spoken word and half-hearted song throughout, and its her dedication to musical patience that draws you further into the depths of the song. Deep In the Big is going to take me on a magical journey, and I couldn’t be happier about it; it drops this week via Bedroom Suck Records.