Irish-influenced Sydney band The Rumjacks are the first to join ABC Music’s latest label, FOUR | FOUR.

The Rumjacks take their cues from Celtic traditions but layer those classical sounds with punk rock, reggae, and even a bit of gypsy swing. They’ve been plugging away under the radar since 2008, but the signing with ABC’s latest label should introduce them to a whole new audience.

“In essence, FOUR | FOUR represents music that, at its core, is as simple as a 4/4 time signature,” explained ABC Music head Robert Pattinson. “It’s music that moves people in a fundamental way. The imprint’s first signing, The Rumjacks, typifies what FOUR | FOUR is all about – honest music making with a no-nonsense directness and immediacy that connects with the listener from the first moment.”

The Rumjacks’ new single “Crosses for Eyes” gives us a taste of what’s to come on their first FOUR | FOUR album release. If you want to hear even more you can catch the band on their annual St Patrick’s Day tour next month.

15 March 2012 – The Joynt, Brisbane
16 March 2012 – Baroque Bar, Katoomba
17 March 2012 – The Sandringham Hotel, Newtown
18 March 2012 – Cherry Bar, Melbourne

I was introduced to The Wall in Mrs Pengilly’s year nine English class. We were learning about the poems of Robert Frost, and she decided that Pink Floyd’s trippy rock opera had parallels to his “Mending Wall.” I still think it was a bit of a stretch, but I’m thrilled that she helped me discover such an incredible body of work.

I held The Wall very closely for the next few years. In my darkest teenage moments it made me feel less isolated and misunderstood. As I listen back to it now it’s a little frightening to think how much I identified with Pink Floyd’s concept album, but there’s still something about those two discs and the accompanying film that resonates with me.

And it was that something that took me to Sydney’s Allphones Arena on Wednesday night to witness Roger Waters performing the piece in the flesh, so to speak. As I looked at the T-shirts of the faithful fans gathered outside the venue I realised nine years has passed since I last caught his act. However the years have not wearied him.

I’m not someone who typically sees those big spectacle shows. Give me a few guys with guitars and I’m a happy woman. But this production blew my mind. I expected a lot. Pink Floyd set the standard for this kind of thing all those years ago. But I wasn’t prepared for exactly how thrilling this show was. It was a visual feast, with exploding airplanes, flying pigs, oversized puppets, pyrotechnics, and of course, that wall. The projections beamed onto those bricks were like nothing I’ve ever seen.

While the production was slick, it wasn’t all about the gloss. Roger Waters clearly still believes in this piece, and he performed it with everything he had. He inhabited his Pink role, only breaking the fourth wall now and again to remind us how grateful he was for our attendance and love. His voice is still superb, and his band matched him. Replicating David Gilmour’s guitar solo in “Comfortably Numb” is a feat, but the appointed guitarist came close. Seeing present day Roger accompanying his 1980-self on “Mother” was breathtaking. I also loved seeing those personal favourites like “One Of My Turns” and “Nobody Home,” the tracks I’d never hear at an ordinary Pink Floyd or Roger Waters show. Closing the show with “Waltzing Matilda” once those bricks had toppled might have been corny, but it was still a lot of fun.

The show was the perfect marriage of music and theatre. I’ve never seen anything like it. It’s early days yet, but it just may prove to be the concert of the year.

Image source: own photos

“Villages,” the debut single from Gold Coast rockers Fairchild Republic, is one of those songs that creeps underneath your skin, staying put long after it’s over. The band leaked it to Rage late last year, and it made such an impression that it ended up in the music program’s top 50 clips of the year.

And it wasn’t even released yet.

So we can expect even bigger things now that the epic “Villages” is officially dropping. It should whip us all into a frenzy before Fairchild Republic’s debut album hits record store shelves in the middle of the year. That frenzy whipping will kick off later this month when Fairchild Republic embark on an east coast tour to support the single’s release. Be there so you can say you saw them before they made it big!

23 February 2012 – Oh Hello, Brisbane (supporting Cub Scouts and Pluto Jonze)
24 February 2012 – Runaway Bay Tavern, Gold Coast (supporting Cub Scouts and Pluto Jonze)
29 February 2012 – Neverland, Gold Coast (supporting Neon Indian)
3 March 2012 – Oxford Art Factory, Sydney

Quirky Adelaide band The Beards are launching their third album, Having a Beard is the New Not Having a Beard, with one of their most extensive Aussie tours to date.

As they sit poised ready to release that disc it’s a good time to reflect on just how far they’ve come. The beard-loving band, who came together as a joke, expected to play just one show before going their separate ways. They certainly didn’t expect enough beard-related material to sustain them for three albums.

The years have marched on, and they’ve built up lusher arrangements and experimented with some musical styles along the way, but The Beards’ central message remains the same.

“It will be our third concept album about the same concept – the only concept of any importance to any of us – beards!” explained frontman Johann Beardraven.

Having a Beard is the New Not Having a Beard hits stores on March 9, the same day as the big tour starts. It’s time to quit shaving now in preparation!

9 March 2012 – Settlers Tavern, Margaret River
10 March 2012 – Fly By Night, Fremantle
11 March 2012 – Indie Bar, Scarborough Beach
16 March 2012 – The Corner, Melbourne
17 March 2012 – The Bended Elbow, Geelong
23 March 2012 – Royal Oaks Hotel, Launceston
24 March 2012 – Republic Bar, Hobart
30 March 2012 – The Zoo, Brisbane
13 April 2012 – Adelaide Uni Bar, Adelaide
18 April 2012 – Great Northern Hotel, Newcastle
19 April 2012 – ANU Bar, Canberra
20 April 2012 – Manning Bar, Sydney
21-22 April 2012 – Apollo Bay Music Festival, Apollo Bay

Image used with permission from Riot House Publicity

Made in Japan are a Sydney band on the rise. They gave us a taste of their unique sound with the breakout single “Oxford Décor,” the first track from their debut album Sights and Sounds. With that record hitting stores later this month I caught up with founding member James Cooney to chat about the LP, the band’s upcoming tour dates, and what comes next.

You’re a Sydney band, so where did the name Made in Japan come from?

We were just throwing names around one afternoon, and Made in Japan just seemed to catch on. It sounds some what technological and advanced; precise. I think it lends itself to our sound in that way.

I’ve heard your music described in different ways by so many critics. How would you sum it up?

I’ve heard it described in so many different ways too! From my perspective I think our music is quite dreamy and melancholic with nostalgic flashes of the best Australian summer you ever had. We take a lot from the mood of shoegaze bands such as Slowdive and Lush but our take on it is a bit more symphonic with some added pop sensibilites. As for genre umbrellas: dream-pop sounds right to me. Indie’s too broad.

You were one of the first acts discovered through General Pants Co.’s Major Label initiative, which seems like such a great program for unearthing new talent. What did it do for you?

All the usual stuff like some Triple J play, lots of FBi love and some new clothes. Apart from that it’s only a single release so it doesn’t have a whole lot of longevity. That’s up to you.

And now fast-forward and bit and you’re preparing to release your debut album Sights and Sounds. How would you describe it?

An album lover’s album. It will take a few spins to get a feel for the thing but we wanted to make a grower of a record and I think that’s what we’ve done. It’s structured in two movements like a vinyl so hopefully we’ll get to put a vinyl copy out at some stage. In terms of how it sounds, refer to question two.

After spending so many years honing your craft on stage it must be interesting to step inside a studio. What was the recording process like for you?

It was fast at points and long-winded in others. We recorded the whole thing broken up over the course of six months but most of the instrumentation was laid down in two days playing all the songs live to tape. It was a really rewarding way to work and it makes the album feel really honest to what we’re like live. We went to Melbourne a few months later to track vocals and mix it.

I hear that after you worked with producer Paul “Woody” Annison on your single “Oxford Décor” you knew he was the man to work on your album. What does he bring to your sound?

He just brings an unflinchingly honest outside opinion to all our music and he’s really committed to making every song the best it can be. He did that with “Oxford Décor” and improved it massively so we knew we wanted to run the album past him before we put it on there.

On the same day the album hits stores you’re playing a launch gig in your hometown. How important was it for you to start the album tour there?

I guess the Sydney fans have been there for us from the beginning. We haven’t done a huge amount of touring as of yet so we’re still working on the other states. We’re just really happy that the record will finally be out there and we wanted to celebrate with the people that helped make it happen first.

You spent so much time on stage last year, and you’re starting 2012 the same way. What do you love most about playing live?

Simply just seeing the audience connect with our music. Whether that’s having a marathon dance or standing up the back being contemplative is dependent on the individual, but if we manage to captivate them, that’s more than I could ever ask for.

Only a few tour dates have been announced so far, but I hear there’ll be more to come. If you could play anywhere in Australia, where would it be?

I’m going to go hometown on you and say The Enmore Theatre, Sydney. Saw my first gig there, worked there for a little while and saw heaps of bands. It’s a great sounding room and it has a great atmosphere and a great history. Would love to play there.

After this album tour wraps up, what’s next on the agenda for Made in Japan?

Finish writing our second record, which is well underway, do another tour and then head into the studio. We’ve just hit a roll, so why stop now? There’ll be a new MIJ record by the time 2013 comes around. Promise.

Sights and Sounds hits stores on February 25. They’ll play shows at Sydney’s Oxford Arts Factory on February 25, Melbourne’s Horse Bazaar on March 17, and Brisbane’s Beetle Bar on April 6, with more dates to come.

Image used with permission from Footstomp Music

It’s Valentine’s Day. Yes it’s a Hallmark holiday, and it was a day I used to loathe as a single teen so desperate to be in love. But as a happily married adult, I think there’s something pretty sweet about a day designed to celebrate love.

My husband and I don’t make a big deal about Valentine’s Day. We buy a joint gift every year, a Wii game or a cookbook, something that will encourage us to spend some extra time together. Sometimes we eat out but with it falling mid-week I’m on cooking duty this year. Add a nice bottle of wine and you’ve got the recipe for a pretty special night in, Valentine’s Day or not.

And there’s likely to be music. I’m not sure whether it’ll make its way to the stereo tonight, but with love in the air I thought I’d post “Into My Arms” by Nick Cave and The Bad Seeds. It’s one of those very honest love songs that doesn’t resort to cheesy lines or clichés. Whether you’re in love or still waiting for that special person, enjoy! And to my own darling boy, happy Valentine’s day!

Look out North America; Busby Marou are coming your way.

The talented twosome from Toowoomba will tour Canada and the United States next month to celebrate the American release of their self titled debut album. These dates include prestigious slots at Austin’s South by Southwest and Canadian Music Week.

That amazing album will hit American record stores soon, but until then music lovers can get a sneak peek at the following shows. You all know how I feel about this band. See them Americans! You won’t be disappointed!

11 March 2012 – The Echo, Los Angeles
17 March 2012 – Maggie Maes, Austin
14 March 2012 – Horseshoe Tavern, Toronto
26 March 2012 – Bowery Ballroom, New York

Image source: own photo

After five years of hiding behind the name Phatchance, Sydney hip hop act Chance Waters is ditching the moniker. It’s only fitting that Chance is performing under his own name now, because his new single “Infinity” is one of the most honest urban tracks I’ve heard in some time.

The song is so beautiful, with lush strings and some incredibly moving lyrics. Make sure you listen to those words to really appreciate what “Infinity” is all about. The tune, which drops today, comes from the forthcoming album of the same name.

Former Kid Confucius drummer Bart Denaro has moved on with his brand new outfit Briscoe. The Sydney-based six-piece are giving us a taste of their sound with the cruisy new single “Animal.”

The track doesn’t officially drop until February 16, but this film clip lets us listen to it early. It’s a gorgeous slow-burning number which is perfect for post-hangover Sundays. And there’s a cat in it, which we all know makes any internet video much cooler. “Animal” is the first cut to come from Briscoe’s debut album Friends Ago, which will hit stores in May.

If you like what you hear you can catch Briscoe on their single launch tour, which kicks off in their home town this week. See them at the following East Coast venues this month and the next.

16 February 2012 – GoodGod Small Club, Sydney (with The Ray Mann Three)
18 February 2012 – Phoenix Bar, Canberra (with Waterford and Tales In Space)
3 March 2012 – The Great Northern, Newcastle (with The Fearless Vampire Killers and The Owls)

We’ve all got expectations when we step inside a venue to see a live band. When we’re lucky, they’re met. When we’re really lucky, they’re exceeded. And when the act falls short, it’s bitterly disappointing. I felt a little of all these emotions when I headed to Sydney’s Entertainment Centre on Wednesday to catch the big 80s double bill of Icehouse and Hall and Oates.

It’s amazing that way that a band can get under your skin without you really noticing. I thought Icehouse would be good to see, but I didn’t expect to be swept away by them. But after just a few bars of “We Can Get Together,” I pumping my fists and singing along in full voice. The band started strong and didn’t take their foot off the gas pedal. The years have not wearied them, but the addition of young singer-songwriter Michael Paynter has given them a youthful injection. Hearing him take the bulk of the vocals on “Man of Colours” was one of the set’s real highlights. I also loved the souped up version of “Miss Divine,” one of those childhood favourites I’d all but forgotten. We were given a little early Oates when John stepped out to play along with “Electric Blue,” the song he cowrote all those years ago. And no Aussie could be unmoved in a crowd singing along to “Great Southern Land.”

After such a great set from Icehouse I was pumped up for an incredible show. However quickly I became deflated. Hall and Oates were performing “Maneater” and I should have been swept away, but it wasn’t. The sound was a mess. Where was that crisp audio Icehouse enjoyed? When you’ve got eight musicians up on stage this needs to be spot on, or else it becomes jumbled. So many squeaking microphones is unforgivable at a concert of this calibre. The sound seemed to distract the band a bit; for the first few songs I noticed Daryl Hall gesturing to turn this up or this down. Things settled somewhat, but the music never sounded as good as it did for the support.

But the show’s sound wasn’t the only disappointment. Sadly for much of the set it seemed Hall and Oates were merely going through the motions. Daryl commented before “She’s Gone” that it was one of the few songs that still feels great after so many outings. His passion for that number showed. Earlier in the night I wondered whether he still had his voice, as notes were shortened and phrasing lazy. “She’s Gone” showed it’s all still there when he wants to use it. It just seems most of the time he can’t be bothered.

It seems many of Hall and Oates don’t feel as good to Darryl Hall now. He delivered them by the numbers, without the fire and passion laid down on the original recordings. He gave us everything in some numbers. “Sara Smile” sounded as fresh as a daisy, and the extended jam on “I Can’t Go For That” was magic. I was dancing up a storm come “You Make My Dreams Come True.” Yet “Maneater,” “Out of Touch,” “Adult Education” and countless others were only half baked. To be fair Oates did his part admirably, but this band has always been the Daryl Hall show, and if he’s not on the experience is lacklustre.

A night with the songs of Hall and Oates is never a bad time. They’ve written some of the world’s best soul pop numbers, and they’re always enjoyable. I was also impressed that all of those big hits were represented. It was one of the best set lists I’ve ever witnessed on paper. However the glimpses of brilliance only made me ache for the show that might have been.

Image source: own photos