Ella Fence shows she’s not afraid to take risks with her latest double A-side single, “The Child/I Was Made for Loving You.” We’ve heard her in pop mode with “Pink Mojitos,” seen her softer side with “Known Better,” and now she’s in rock goddess mode. Playing in this genre has been a great way for Ella to cut loose and find her authentic voice.
“Previous recordings I wanted perfect (and I make no apology for that objective), but now I want real. We’re enduring challenging times and people deserve the truth,” she explained. “I was born real not perfect and I wanted that attitude to be recognised in my music.”
“The Child” is an epic rock ballad, dark and haunting with killer vocals. Her slowed-down take on “I Was Made for Loving You” may draw the ire of the KISS Army, but I’m really digging its moody vibe. This new version takes the song from a seductive rock classic to something much more sinister.
Ella Fence will bring her music to punters on the Sunshine Coast when she supports Sofia Isella at the Solbar on March 18.
Image used with permission from Ella Fence Music; photo credit: Shierley Lam
Meg Mac has just released a powerful, thought-provoking new single “Is It Worth Being Sad” that I know you’re going to love. Her music always gets me with its intimate, introspective lyrics and strong vocals. This track is no exception. Whatever you’re struggling to move past in your life, hopefully you can use this song as therapy as Meg did.
“I had just run away to the country,” she recalled of the time she wrote her new single. “I was running away from my troubles. I was living in peace and quiet finally and really thought I’d figured it all out, and it was all smooth sailing ahead. It was the start of sorting out my life. This song was like my first step—I didn’t know it then, though.”
I’m a big believer that the right song finds you when it’s supposed to. With so many of us feeling like 2022 will mark a new chapter, I’m sure this song will resonate with many of you.
Ahead of their Aussie tour, Polish Club are back to rock you with their latest single “Unstable.” Doing mid-tempo rock well is a bit of an art, but Polish Club nail it here. It’s even got a classic guitar solo! John-Henry Pajak and David Novak are on such a roll, and they’re not ready to stop any time soon.
“We found ourselves not wanting to stop the momentum after our last record,” David admitted. “We couldn’t tour, and we had so many good songs left unfinished. So there was zero hesitation when it came to deciding to regroup with Wade in the studio and just punch out some rock songs.”
With COVID restrictions lifted, there are more tickets available for all Polish Club’s East Coast shows but they won’t last long. Don’t muck around if you want to get yourself to one of the following shows:
1 April 2022 – Miami Marketta, Gold Coast
2 April 2022 – The Tivoli, Brisbane
7 April 2022 – The Cambridge, Newcastle
8 April 2022 – UOW Unibar, Wollongong
9 April 2022 – Roundhouse, Sydney
14 April 2022 – The Gov, Adelaide
16 April 2022 – Badlands, Perth (SOLD OUT)
22 April 2022 – Torquay Hotel, Torquay
23 April 2022 – The Croxton, Melbourne
Image used with permission from Island Records Australia
Listening to Josie Laver’s new single “Tangled,” you can hear she’s a proper country artist. There’s an authenticity about her sound, which is unsurprising when you discover she spends her days running sheep and cattle on her family’s farm just outside Boorowa, New South Wales. When she’s not on farm duty, she’s writing incredible songs like this one.
She can’t take all the credit for “Tangled” though. She co-wrote this track, and others that will feature on her forthcoming album, with Matt Joe Gow. This beautiful song has got me excited to hear what comes next. Josie will debut the single at Cowra’s Railway Hotel on Saturday, March 12. She’ll also support Fanny Lumsden at Grenfell Hall on March 19.
Canberra is better known for its buttoned-up politicians than its awesome R&B acts, but Kirrah Amosa is working hard to change that perception. Her latest single “Possessive” seems effortlessly cool. Her vocals are confident, whether she’s playing in her lower register or delivering angelic high notes. The presser compares her to fresh new artists like SZA and Kehlani, but as I listen I’m also reminded of old-school jams from Aliyah and Monica. The song is deeply personal, recounting times of struggle while celebrating growth and her potential for the future.
“2020/2021 bestowed on me the best of the worst; crushed my dreams, dissolved years of hard work, ended my relationship, introduced me to my new bestie, Anxiety, and helped me understand that the niggling feeling in the back of my head wasn’t motivation to be healthier – it was body dysmorphia,” Kirrah admitted. “2022 is officially the new year of birth as I have completely shed all remnants of the shame and doubt that fuelled my being and have fully embraced my good and semi-toxic traits e.g., ‘Possessive’. Accepting this darker side of me was nothing short of absolute liberation, so if you’re anything like me, I offer you this. Instead of entering the always-vicious screening cycle with a new potential partner, feel free to play them ‘Possessive’. Let ‘em know what to expect, and if they get surprised by your ‘passion’ (or emotion-filled mood swings), that’s on them.”
The music video is just as personal as the song, as it was shot on location at her grandparents’ home.
“I grew up in my grandparents’ house, so I’ve only ever seen it as another home until very recently realising it was the ultimate, ‘70s-vintage, jackpot and location for all my content, including ‘Possessive’,” Kirrah added. “I needed this video to be very different to everything I’d done in the past, so I just let my inner-crazy alter-ego take over. She knew exactly how she wanted each shot, exactly where she needed each scene, exactly how to deliver each line. Combine this with [filmographer] Isack Hoppit’s unmatched ease behind a lens, and the underutilised acting expertise of my good friend and talented artist, Kirklandd, this song and video is my proudest piece of work so far. I am nothing without my loyal team.”
If this song is any indication, I can’t wait to hear what else 2022 brings for Kirrah Amosa.
Image used with permission from Beehive PR; photo credit: Siapo Screen
The Foo Fighters’ concert in Geelong last night seemed like a turning point in the pandemic. It was the first time an international artist visited our shores and played a full-scale gig since this shitshow began. Friends in New South Wales and Queensland crossed the border and plenty of my Victorian buddies got themselves along. From all the photos and streams I saw, it was a triumph. The set celebrated the hits, concluding with my favourite: “Everlong.” If you missed the gig or just want a little more Foo Fighters music in your life, check out this fab new cover from Sydney artist Grace Amos.
Now I’m going to warn you, this is very different from the Fooies original. But I’ve always believed if you can’t bring something new to a song, why cover it in the first place? The gentle piano treatment really brings out those incredible lyrics. Grace is also in fine voice here. It might be a dramatic departure, but I love it.
“Something about Everlong has always caught my eye,” Grace said. “It’s so beautiful, and so well known that I was confused as to why I couldn’t find a cover of it that really showcases the lyrics. I feel that I’ve really achieved this, particularly with the mix of piano and strings in the instrumental.”
While her next show might not be as big as the Foo Fighters gig, ValleyWays is sure to be a good time. With The Rubens, Middle Kids, Skeggs, Slowly Slowly, and heaps more on the bill, you don’t want to miss this. It hits Onslow Oval in Camden on September 10.
Soulful Melbourne act Velvet Bloom turns on the charm with their latest single “Glimmer.” It’s another sultry number from Velvet Bloom. I really dig its cool jazz-waltz vibe and sweet lyrics.
“I wrote ‘Glimmer’ about my relationship with my mother and how much she inspires me,” explained Velvet Bloom frontwoman, Maddy Herbert. “My dad passed away when I was four and the strength that I saw in my mum following this loss helped to shape my entire being. This song is about expressing admiration for the people who you love and making them aware of how special they are. Some people have a major influence on the way you see the world and if that influence is positive – you should hold them close.”
“Glimmer” is the latest track from Velvet Bloom’s forthcoming self-titled debut EP. Preorders of the limited-edition vinyl are open now ahead of its April 8 release. You can hear some of the new music ahead of time at one of Velvet Bloom’s upcoming shows.
3 March 2022 – Monash Student Union Peninsula, Frankston
12 March 2022 – Run To The Hills @ The General, Mt Hotham
18 March 2022 – Frankston Block Party @ Thompson Lane, Frankston (Duo)
19 March 2022 – Come Together Fest @ Edendale Community Environment Farm, Eltham
25 March 2022 – The Espy @ Melbourne (supporting Death By Denim – Solo)
26 March 2022 – Torch Fest @ Max Watt’s House of Music, Melbourne
Image used with permission from This Much Talent; photo credit: Anthony Rennick, Joshua Davies, and Jess Newton
Columbus lay their emotions bare with their latest single “Full Heart.” It’s got a great indie rock sound reminiscent of the Foo Fighters or Eskimo Joe (perhaps unsurprising as Joel Quartermain worked on the track). It might rock hard, but the lyrics reveal the band’s soft side. They’re brimming with hope and optimism, delivering a refreshingly pure take on the search for love.
“’Full Heart’ is a song about trying to find love in the dark,” explained Columbus frontman and guitarist Alex Moses. “You know how you feel, but you don’t know where to look. The song was one of those songs that took years to write. I had the main chorus and was really excited to finish it, but ironically I didn’t know where else it should go. The track went through 2-3 versions of different lyrics, I showed the band but ultimately it didn’t make the cut for our recording sessions in 2020. I re-wrote the lyrics again in early 2021, and knew I’d found what I wanted to say.”
Columbus had big plans for 2021, including a tour with Stand Atlantic, but COVID had other ideas. However, 2022 is already seeming brighter. The band’s new EP Driving in the Dark, the long-awaited follow-up to 2018’s A Hot Take on Heartbreak and their first collection of songs with their new line-up, drops on March 24. The band also has the following shows scheduled, and hopefully there’ll be more to come. Get amongst it!
31 March 2022 – The Barwon Club Hotel, Geelong (with Sly Withers)
9 April 2022 – Crowbar, Sydney
I don’t write about a lot of instrumental music. It’s not that I’m against it, but I think as a writer I gravitate towards tracks with lyrics. They resonate with me because it’s clear what they have to say. “The Boring Apocalypse,” the latest single from Melbourne duo Farewell Horizontal is different. It manages to give commentary on the pandemic without ever saying a word.
“Early in the pandemic, a friend said they didn’t expect the apocalypse to be so protracted and chaos-free. I demo’d it with guitar playing the tune, thinking I’d replace it with vocals, but then I got attached,” explained Pat Walker, Farewell Horizontal vocalist, guitarist, and bassist. “So then I started thinking about doing it like a Shadows type thing. Was also thinking about the spacious bop of a lot of peak Sonic Youth (Murray Street – Sonic Nurse – Rather Ripped) with the breathing band-in-a-room being both powerful and gentle in guitar and drum tones.”
The video is pretty apt for a single about the “boring apocalypse.” It features security camera footage from drummer Lauren Lime’s front gate.
“There was something kind of interesting about the mundane day to day of a busy Thornbury road during the pandemic that felt kind of apt for a boring apocalypse theme,” she added.
“The Boring Apocalypse” comes from Farewell Horizontal’s third album, You’re Not an Empath, which is available to stream on all your favourite services and purchase from the band’s Bandcamp page.
Sasha March casts a spell with her latest single “Can I Call.” This song kind of snuck up on me. It’s subtle, but it has a way of getting under your skin with its languid electro beat and Sasha’s beautiful voice. The minimalist treatment gives the song space to breathe, ensuring you feel the full impact of her words.
“’Can I Call’ could be a dark place or a kind of comfort depending where you’re at,” Sasha admitted. “It could be a love song, or a place where you fight yourself as the super hero and the villain. But there’s always hope that there’ll be someone or something to sober you and ground you again before the next round.”
Sasha’s had the song in her back pocket for a while, but collaborating with Tristan Jvmes has transformed it into the special single you hear today.
“I left it aside for ages and then eventually took it to Sydney producer Tristan Jvmes last year,” Sasha added. “Tristan built up a bunch of ideas sonically and each time his production developed, I’d do another vocal take. This was a fun process which went on for a few months until we found together what the song meant and eventually I did a vocal take I was happy with. We lost count of the different versions, but landed on the final loved one and sent it off to be mastered by Harvey O’Sullivan at Studio 301 in Sydney.”
Sometimes music is worth the wait. This song certainly is.
