Posted on by Lauren Katulka

Racing Birds Release Stellar Debut Single, “Rarely Never Loaded”

Racing Birds have burst out of the gate with their debut single “Rarely Never Loaded.” It might be their first musical foray together, but this duo are industry stalwarts. Bobbie Lee Stamper has performed with Guy Sebastian, Human Nature, and Matt Corby, while Jeremy Strother has shared stages with Stellar Perry and I Am Apollo. This song is a foot-stomping good time, a killer alt-country track with a swampy blues-rock sound. If you love acts like Black Keys, Alabama Shakes, and old-school Creedence Clearwater Revival, you’ll dig this.

“I think we were still in Bob’s garage when we started working on ‘Rarely Never Loaded.’ I was playing back a voice memo of the writing session and I heard Bob’s swampy lead guitar hook that eventually became the biggest part of the song,” Jeremy recalled. “Once we got our heads around that it all came together pretty quickly. Shakers, tambourines, kick drums, hand claps etc. I was reading about the Hells Angels in the ‘70s and looking at some old photographs while I was finishing off the lyrics for the song. There was a particular photo that I found of a girl waving her hand around with a cigarette that inspired the character in the song.”

“Everything was done with just the two of us, a couple guitars, a laptop and whatever we could find around the garage to bang on. I didn’t have a proper studio at the time so we set up in the front half of my garage, and there was a sheet hung up to hide the lawnmower … you could see daylight coming in through cracks in the walls, there were possums walking around in the rafters at night, and it was either boiling hot or freezing cold depending on the weather,” Bobbie added. “But we used that DIY feeling to give the record a bit of edge and energy. I tried not to use many samples or edit the takes much.”

If you love “Rarely Never Loaded”, you won’t have to wait too long to hear more. Racing Birds will release their debut EP Lonesome Blue on April 14.

Image used with permission from Beehive PR

Posted on by Lauren Katulka

1927 @ The Art House, Wyong – 2 April 2022

After so many months without live music, nobody takes it for granted. Not the audience and not the musicians who are so excited to reconnect with fans again. I’m not sure how long this wonder will last, but it’s beautiful to witness. I felt genuine excitement as I took my seat at The Art House in Wyong for 1927’s show on Saturday night.

I think this is the first time I’ve ever seen a band’s lead singer doing double-duty as support act. I wasn’t sure what to expect from Eric Weideman’s set. Stripped back versions of the 1927 songs we’d hear later? Covers? It turns out he has some stellar solo material that I was so thrilled to hear. He told us he’d much rather come out and play for us than keep sitting backstage, adding that these were the songs he plays in his bedroom. With just an acoustic guitar and minimal staging, we were transported there. It was a short but intimate set. Without the other members on stage, Eric was free to chat a little more about the songs and the people who inspired them.

I’ve seen 1927 at pubs and festivals, but never quite like this. While I loved being smashed against a barrier back in the day, this more sedate sit-down theatre show feels much safer in these pandemic times. The band certainly didn’t take it easy, delivering tracks like “You’ll Never Know” and “Propaganda Machine” with as much energy as they ever did. That’s especially impressive when you remember the band released their acclaimed debut album …Ish 30 years ago. I know. I don’t like that fact either.

This show wasn’t just about nostalgia though. While tracks from that beloved album dominated, 1927 also showcased some new material. I particularly loved a track called “Shine” which Eric dedicated to all of the fans who’d been there since the beginning. The appreciation this band has for us was evident through the show, from the generous set featuring all the hits and fan favourites to the way Eric spoke to us. He gave thanks to us and reminded us that we are the reason for their success and longevity. Watching him sit on the edge of the stage during “Compulsory Hero” to get just a little closer to us all was beautiful. Even the band’s decision to return quickly to the stage rather than milking us for an encore showed respect. “If I Could” is always the encore. If the band is tired of it though, they don’t show it. Instead, Eric encouraged us to sing along and it was beautiful. And after so many months when we couldn’t do that, I think we all appreciated it just that little bit more.

1927 will be on tour for many more months yet. Catch them at one of the following venues near you.

8 April 2022 – Byron Theatre, Byron Bay
9 April 2022 – Jetty Memorial Theatre, Coffs Harbour
10 April 2022 – Manning Entertainment Centre, Taree
22 April 2022 – Lighthouse Theatre, Warnambool
23 April 2022 – The Cube, Wodonga
27 May 2022 – Mildura Arts Centre, Mildura
28 May 2022 – Chaffey Theatre, Renmark
3 June 2022 – Norwood Concert Hall, Norwood
4 June 2022 – Northern Festival Centre, Port Pirie
10 June 2022 – Middleback Theatre, Whyalla
11 June 2022 – Barossa Arts Centre, Tanunda
17 June 2022 – Montreal Theatre, Tumut
18 June 2022 – Orange Civic Theatre, Orange
1 July 2022 – Capitol Theatre, Tamworth
2 July 2022 – Dubbo Regional Theatre and Convention Centre, Dubbo
22 July 2022 – Karralyka Theatre, Ringwood
23 July 2022 – West Gippsland Arts Centre, Warragul
12 August 2022 – The J Theatre, Noosa
13 August 2022 – Moncrieff Entertainment Cente, Bundaberg
20 August 2022 – Princess Theatre, Brisbane
26 August 2022 – Country Club Showroom, Launceston
27 August 2022 – Wrest Point Showroom, Hobart
2 September 2022 – Glasshouse Theatre, Port Macquarie
3 September 2022 – Cessnock Performing Arts Centre, Cessnock
9 September 2022 – Griffith Regional Theatre, Griffith
10 September 2022 – Civic Theatre, Wagga Wagga
16 & 17 September 2022 – Opera House Studio, Sydney
23 September 2022 – Laycock Street Theatre, Gosford
24 September 2022 – Blue Mountains Theatre, Springwood

Image source: own photo

Posted on by Lauren Katulka

Downsyde, Harts, and Flewnt Team Up For Chess Records Tribute Album

The more I hear from this upcoming Chess Records tribute album, Everybody Knows I’m Here, the more excited about I am. If you flipped over imbi’s take on “Mannish Boy,” take a listen to the latest take, Downsyde, Harts, and Flewnt’s collaboration on a cover of Howling Wolf’s “Poor Boy.” Their version, called “Po’Boy”, brings an urban edge to the track. If you prefer a more traditional cover, the double A-side single also features Harts’ solo version.

I really like what the version with Downsyde and Flewnt brings to the song though. I’m pretty sure if Howling Wolf were still alive, he’d embrace the rap and beats that freshen up his iconic tune and bring the message into the 21st century.

Downsyde member Optamus says their version delves into the “connection with young people through hip-hop and youth culture,” and the “importance of representing a young voice and, particularly, a young voice and struggle,”

“It’s really important and unique that we are able to do the song that tells a similar story to that of my people, but from the other side of the world how many years ago,” added Flewnt. “That is a big, major part of us doing the song and what will draw attention to it.”

“Particularly First Nations’ youth in this country are more likely to go to prison than to graduate high school, and we have systemic problems that are not being fixed and are not being faced,” Downsyde said. “I believe our job as hip hop artists from years ago … and having a voice … is that we have to bring that discussion to the table.”

“I hope that it challenges a few perspectives of what people might think of Australia or what they even think goes on or what the society looks like,” confirmed Flewnt. “There are a lot of hard challenging moments, for a lot of different people, from a lot of backgrounds … I think having that sort of story being out on an international level is more than important and vital to the survival of our culture.”

Everybody Knows I’m Here drops on May 6. Given what we’ve heard so far, it’ll be epic. Visit the album’s website to preorder your copy.

Image used with permission from Chester Records

Posted on by Lauren Katulka

Pale Spells Make Their Mark With “Wallow”

Pale Spells is an emerging Melbourne band, but they’re not to be underestimated. Featuring members from the UK’s Sirens and Melbourne acts The Valley Ends, Idle State, This Town, and A Forest, their experience really shines through their new single, “Wallow.” Channelling the emo, post-hardcore sounds of acts like Deftones and AFI, this track is really something special.

“Wallow” is the first single lifted from Pale Spells upcoming EP, Carelessly Designed. Listen out for it on May 2. We’ll get another sneak peek when Pale Spells releases the second single, “Kerosene”, on April 14.

Image used with permission from Pale Spells

Posted on by Lauren Katulka

Justin Miller Launches New Musical Project, JSTNXMLLR

ISOTOPES frontman Justin Miller is striking out on his own under the moniker JSTNXMLLR. His debut single “Fake Fcuk” is a modern pop-punk anthem. I love the way that electronic beat sits underneath the classic early ‘00s pop-punk sound. If you were cranking Blink-182 and Good Charlotte back in the day, you’re going to love this one.

“Fake Fcuk is about shadowing your problems from everyone like it’s all a big charade,” Justin explained. “You can run, but you’re still going to have to come home and face them one day.”

“Fake Fcuk”’s release ushers in a new era of music for Justin.

“I feel like ISOTOPES helped me touch on some real personal subjects whereas JSTNXMLLR is the side of my personality I feel like I’ve lost since my teenage years. So, it’s almost as if I’ve had all these ideas brewing in the whole process and I finally get to be myself again. I think the most interesting thing about this project is that myself and Stevie [Knight, his long-time collaborator] have been mates for around 10 years and we’ve always spoken about doing something like this. I guess the one good thing about COVID was allowing us to really knuckle down on bringing this idea to life.”

Watch this space. With a debut single this strong, there’s bound to be more great music to come.

Image used with permission from Good Intent

Posted on by Lauren Katulka

Mia Lovelock Drops Stunning New Single, “Winter Comes”

With a cool sound reminiscent of ‘90s acts like Massive Attack and Portishead, Mia Lovelock makes a big impression with her latest single “Winter Comes.” The haunting sound initially captured my attention, but it’s the lyrics that reference Mia’s Indigenous heritage that stay with you.

“This song is about the fragile nature of sovereignty, the scars of stolen generations, and the beauty of healing,” Mia explained.

Mia will play for hometown audiences tomorrow night at Torch Fest Sydney. The show at The Factory Theatre in Marrickville is more than a typical gig. A true celebration of the arts, Mia’s performance will combine her music, visual art, and fashion talents. The art she creates live on stage will be auctioned off at the festival, with all money raised benefiting mental health music charity, Listen Up Music. Torch Fest Sydney also features performances from Bec Sandridge, Joe Mungovan, Amy Vee, Elysaé, and heaps more. You can read more about Torch Fest Sydney and get your tickets here.

Image used with permission from Mia Lovelock

Posted on by Lauren Katulka

“Baltimore Train” – William Street Strikers

I’ve been maintaining this blog for so long that when things began I regularly received CDs in the mail to review. I understand digital review copies make more sense for artists and record labels, but I miss having my mailbox full of great music instead of bills. This week I received my first physical album for review in years: a copy of Baltimore Train, the latest album from Adelaide rock act William Street Strikers.

Interacting with this album made me remember just how good physical music can be. The ritual of removing the CD from its cardboard sleeve and placing it in the CD player heightens the anticipation. Incidentally, I borrowed the player from my husband when I discovered my relatively new laptop doesn’t have one. Putting the CD in the activated Windows Media Player, a program I didn’t even realise modern computers have. What a nostalgia trip. Listening to this album though, that process feels so right.

Baltimore Train has such an old-school feel. There are no bells or whistles, no electronic beats or production wizardry, just a bunch of blokes making music. From the first guitar strums of the opening track “Poor Boy,” the album transports listeners back to a simpler time. The songs drip with nostalgia. I love the psychedelic feel of “How Does It Feel,” the classic surf rock vibe of “I’m Going Home,” those big Who-esque guitar chords in “Everything’s Wrong.” Up-tempo rock tracks dominate the release, but William Street Strikers has a softer side. Intimate ballads like the current single “Bad Man” and “Shelter” reveal different layers of the band’s sound. William Street Strikers are natural rockers, but with these tracks they remind us that they’re more than capable of switching gears. They might have swagger, but there’s real heart hiding underneath.

As the final chord of the closing track “Let You Down” faded out, I thought to myself “They just don’t make albums like that anymore.” Baltimore Train is a throwback in many ways, but there’s a reason why so many of us are nostalgic about music from the past. Catchy melodies, charismatic vocals, tight harmonies, and a band with members that sound like they’re genuinely having fun playing together never go out of vogue. In today’s era of accessible yet disposable music, there’s also something special about an album that people have to seek out and invest in to hear. Check out the music video for “Bad Man” below. If you like what you hear, email William Street Strikers at thewilliamstreetstrikers@yahoo.com and they’ll hook you up with a copy.

Images used with permission from William Street Strikers

Posted on by Lauren Katulka

Rock Out With 90ivy’s New Single “Tiffany”

Sydney band 90ivy are taking me back to my angsty teenage years with their latest single “Tiffany.” If like me you loved nothing more than grungy, angry female-fronted acts like Alanis Morissette, Garbage, and PJ Harvey, you’re going to eat this up. And if you’re a fan of more modern acts like Middle Kids, The Beths, and Press Club, this one’s bound to resonate with you too.

Agnes O’Dwyer’s powerful vocals are heartbreaking, but you don’t have to feel too sorry for her. Rather than drawing on her own pain, she had some unlikely inspiration for the song during lockdown.

“Usually the story of the scorned woman is told one of two ways – either she is voiceless and passive or she is furious and directing her anger at “the other woman”. Dolly Parton’s ‘Jolene’ is so genius to me because it doesn’t subscribe to these cliches. She sings praise to the other woman and simply begs her not to take her man. It inspired me to write a song that tells the story of infidelity that looks at the relationship breakdown and the faults of the two in the relationship, rather than placing blame on the other woman,” she explained. “The idea was also brought on by watching one too many trashy, melodramatic TV shows over lockdown – TV and movies inspire my songwriting a lot.”

90ivy are at the top of their game after honing their live show on stages with Teenage Dads, CLEWS, Obscura Hail, Jess Day, and more. See what they can do when they launch “Tiffany” with a hometown show at Oxford Art Factory Gallery Bar on April 9.

Image used with permission from Habit Music Co; photo credit: Cath Connell

Posted on by Lauren Katulka

Platonic Sex Drop Rocking New Single “Disappoint Another” Ahead of Aussie Tour

Alt-rock group Platonic Sex have just released a bold new single “Disappoint Another.” It’s raw and rebellious, with a garage rock quality that really brings out the angst in its lyrics. The track is bound to strike a chord with the queer community and anyone who’s ever felt their happiness wasn’t a partner’s priority.

“When I wrote the song, I needed to release insecurities that stemmed from my relationship with somebody who wasn’t entirely ‘out’,” explained Platonic Sex’s lead singer, Bridget Brandolini. “My ex-girlfriend wanted to show her love for me in a different way than I wanted, and writing the song helped me separate my feelings for her from the way it felt to be kept a secret.”

“Choosing to come out can feel like dealing out a lot of disappointment – whether it’s to your parents, the parents of the kid you babysit, or other loved ones – and it’s hard to cope with, as a young person trying to present themself authentically,” they added. “As somebody who is openly queer, the song feels really liberating. It’s up-tempo, joyous, fun,” they say. “I’m so grateful that I have the privilege to exist as my true self in the world safely and without shame. At the end of the day, the joy that comes with discovering an accepting community gives you strength to reach the end of the tunnel and dust yourself off after you’ve disappointed the people whose boxes you can’t fit into.”

Platonic Sex are about to tour the country with Hope D and Noah Dillon. Catch them at the following venues:

8 April 2022 – The Factory Theatre, Sydney
9 April 2022 – Lion Art Centre, Adelaide
29 April 2022 – Altar, Hobart
6 May 2022 – The Northern, Byron Bay
7 May 2022 – The Princess Theatre, Brisbane
13 May 2022 – Corner Hotel, Melbourne
27 May 2022 – Miami Marketta, Gold Coast

Image used with permission from Aleisha McLaren; credit: James Caswell

Posted on by Lauren Katulka

Mathilde Anne Asserts Herself With “I’ve Had Enough”

Emerging Melbourne artist Mathilde Anne is hitting back against toxic relationships in her new single “I’ve Had Enough.” It sounds sweet, but there’s a tough centre under that sugary exterior.

“When you’re young and grow up in environments where you’re not shown healthy ways to behave in a relationship, it tends to warp your perception of what it means to be loved or be in love,” Mathilde admitted. “‘I’ve Had Enough’ stemmed from the realisation that I wasn’t doing what was best for me, because I wanted to feel ‘loved’ or ‘worthy’.”

Mathilde is inspired by an eclectic collection of artists including Lorde, Arctic Monkeys, Amy Winehouse, and Otis Redding, so I can’t wait to hear what she releases next. She’s planning to launch “I’ve Had Enough” with a few full-band shows around the country, so keep an eye on her Facebook page for the dates when they’re announced. She’ll also play the Gig Around the Green Mount Eliza Music Festival at the Canadian Bay Hotel on April 1.

Image used with permission from Sandhill Bookings