I am a sucker for a great country duet. I don’t consider myself much of a country music fan, but put on a little Kenny and Dolly or Johnny and June and I’m all about it. The cheesier the better. So I’m totally smitten with “Someone Like You,” the brand new single from Bradley McCaw and Paulini. Sure it’s a little formulaic, but there’s no point reinventing the wheel. With stellar vocals and romantic sentiments, there’s a lot to like here.
“Paulini’s vocal is effortless. There’s a power and a playfulness that takes the song to a new place. It’s a positive love song, with is kind of rare for modern radio,” Bradley said. “Inspired by all the old school duets I have sung along to in my car!”
He originally wrote the song for one male singer but left the song unfinished for nearly a year until he realised what was missing. This needed to be a duet.
“We recorded the vocals in one session using two microphones, side by side in the one studio. It was very old school and because of this, we captured an innocence and joy in the performances,” he added. “Duets just have a different energy, combining two artists from different genres at the top of their game, and that sends the song into unexpected places.”
This is a total throwback, but I’m just optimistic enough to think it might inspire a revival. We can only hope!
Blue Mountains sibling band Storm & Stone have released their fabulous new single “Run.” This track defies genre. I thought I had it pegged as a sassy, Destiny’s Child-inspired soul track, but once that chorus kicks in it takes a dark country left turn. It’s unexpected, but a real delight. And can we just take a moment to appreciate those incredible harmonies? The way sisters August and Auriel and their brother Hallelujah come together is just so special.
“Auriel had started showing me murder ballads, and some of Dolly Parton’s darker stories,” August explained of the song’s inspiration. “When we were writing and working on it, I really wanted us to have the energy of a train leaving a station. A build-up of excitement and movement forward as the song came to its climax to bring the story even more to life.”
“Run” is also the first song that Auriel and August penned together.
“I think for me, when we were writing this song with August, I really wanted to express how it felt to be on the other side of a love song, in the desperate dark place the song talks to,” Auriel said. “I also wanted something with a beat that had a lot of movement, to sort of follow the emotional movement the song talks about.”
The song’s dark feel is perfectly matched by the video set in Heartly Vale Cemetery in the Blue Mountains.
“The story is one of a woman experiencing her partner being drawn to another woman, but what ensues after that is left somewhat up in the air. What happened? What is going to happen? That ambiguity was enthralling,” said Thomas Crnkovic of Cranky Dog Production, who directed and produced the clip. “Are we listening to someone’s internal torment from trying to keep a grip on a relationship that’s slipping away? Are we witnesses to the aftermath of a crime of passion? Both? I wanted to make a video that honours those stakes and that ambiguity. Maybe spirits can hear our darkest thoughts, maybe nothing can. Either way: Run.”
These guys are the real deal. I’m really looking forward to hearing more of what they can do.
Image used with permission from Wildheart Publicity
VOH is back to brighten your day. Her new single “Amnesia” is pure shimmery sunshine, the kind of pop track that makes you want to dance the moment you hear it. The follow-up to “Away,” it cements her reputation as a pop act to watch.
“Amnesia” is the second track lifted from VOH’s EP, V Pop, scheduled for release later this year.
Gold Coast Alt Fiction has just dropped their new single “Yesterday,” their first release since 2020. This is a cracking track that effortlessly melds indie-pop influences with coastal rock. What a way to come back.
“It’s about understanding what goes up in a relationship must come down,” explained Alt Fiction’s singer and guitarist Will Tyler. “About remembering the best times to help you through the worst, and coming to grips with the fact that no relationship can stay perfect.”
The song’s coastal vibes are reflected in the lyric video for “Yesterday.” If you want to sing along, this one’s for you.
Alt Fiction say they’re ready to pick up where they left off before the pandemic. Keep an eye on their Facebook page to find out what comes next.
Image used with permission from Island Records Australia
It’s an exciting time for musicians and their fans. After COVID-19 brought the world to a screeching halt, we’re all starting to reconnect with one another and live music. In that spirit of connection, Western Australia’s Last Quokka and Victoria’s Plaster of Paris have joined forces for a “full-tilt punk rock extravaganza” travelling the country this April and May. Before it kicks off, I caught up with the bands to chat about the tour, how the pandemic hit them, and what comes next.
Last Quokka, we’re chatting because you’re about to kick off a national tour, which must be so exciting for you as a Western Australian band. How are you feeling about it?
LQ: Honestly it feels like a bit of dream right now, so until we’re there it’s hard to know how to feel! But we’re incredibly excited. This has been such a long time coming and obviously like every band not having the opportunity to tour these last two years has been a struggle. We’ve also had a bit of a line-up change so it’s going to be rad to get to travel together as a new five-piece. And of course we’re super pumped to be able to hang with Plaster of Paris.
What have you missed most about touring the country?
LQ: Last Quokka is really all about the live energy and the community connection we make through playing so we’ve missed that a lot. It’s also just such a rad thing to be able to travel with your mates and play shows.
Plaster of Paris, you’re joining Last Quokka on this tour. How did that come about?
POP: We just kept talking after our Sonic Masala shows together got cancelled in Brisbane last year and we all just seem connected. Both bands are running DIY gigs and self-releasing and working in these scenes that centralise politics and feminism and community so it just feels symbiotic to come together. And so fun!
After all the lockdowns in Victoria, it must be pretty exciting to simply get back to playing for audiences. How did the pandemic treat you?
POP: We had an album to mix and release during the pandemic so Melbourne’s crazy long lockdown gave us time, if nothing else, to focus on what we wanted to achieve. We drove Paul Maybury a little mad I’m sure with remixes and redos, but by the end we got something we are incredibly proud of and I’m not sure we would have made the same album pre-pandemic. A silver lining perhaps?
Last Quokka, as a Western Australian band you’ve probably had a really different experience of the pandemic than a lot of East Coast acts. I saw photos from gigs that looked almost normal while we were in lockdown, yet you were cut off from the rest of the country for so long. What was that experience like for you?
LQ: It was exactly as you’ve said really. It felt super weird and privileged to be playing shows like RTRFMs In The Pines or Yardstock to thousands of people while our mates over east were in lockdown, but that said the isolation has definitely been pretty intense. While it feels dumb to complain about it, we’re already so very isolated over here and that was just hugely reinforced, especially with East Coast bands not being able to come over. Also, Perth is an odd place. While there is a great DIY and lefty community in general, it’s a very conservative place and can feel very suffocating at times. So it is great to get out.
Plaster of Paris, during the pandemic you released your album, Lost Familiar. What was it like to put that out in the world at a time when you couldn’t tour the country?
POP: Hitting ‘Public’ on Bandcamp and collectively opening beers in our lounge rooms. Doing a band Zoom when we were nominated for Best Rock Punk Act in the Music Victoria Awards and clinking virtual champagne flutes. Connecting with online fans and making email buddies across the globe in places like Estonia and Portugal. Doing interviews on Instagram Live with Spanish blogs at 3 am (and getting the day wrong and having to do it all over again). Making the “Danceflaw” filmclip in the exercise hour we had each day (literally Nicola and Zec exercise/dancing in empty streets of Thornbury with a camera). These are the weird things you do for album releases in a pandemic!
Why did you release the album during the pandemic? Was there ever a time that you considering holding it back?
POP: We started recording this album in 2015/2016 and had a lot of setbacks. By the time the pandemic hit we just went along and kept pushing and took it as another challenge. A big scary one! But being with our creative family was all we wanted to do. The album is so much about the family you create, particularly as queer-identifying humans. You build this new family that let you be yourself and we wanted to celebrate that because lockdowns often separated us from safe spaces and chosen families. Our lost familia.
The music you make is so ballsy and bold, I’m sure it takes a lot of people by surprise. The post-punk genre is so dominated by men. What’s it like for Plaster of Paris playing in that space?
POP: Ha! Ballsy! Imagine if we described music as Breasty! I’m not having a crack … I just wonder if we’ll ever ungender strength and anger and loudness. Even now it scares people when female-identifying people are loud. All you have to do is cross the river in Melbourne and play a crowd that has never seen a punk band and watch them squirm and get confused in 2022! Their idea of loud women is Miley Cyrus covering Metallica. (Hashtag I love Miley FYI). We’re all fans of hard rock, the riot grrrl movement was instrumental to me understanding I was allowed to be in the band not just hang out with them. I used to sit on the floor of my male friends’ rehearsals watching them. All of a sudden I started seeing women playing instruments and I picked up a guitar. We still need representation, especially as instrumentalists. As older women we need to see ourselves too, ageism is real in the music industry. As Zec sings in “State of Emergency” – we “want Social Currency” and “a community to speak to me”.
I was reminded of a lot of female punk pioneers as I listened to your album. Who are some of your influences?
POP: My heart will always be with the ’90s ladies like Bikini Kill and Bratmobile and other affiliated acts like Helium and Sleater Kinney and the ’70s UK punks: The Slits, Raincoats, XRay Spex. Zec loves Siouxsie Sioux, Nina Hagan, Wayne County and her love of Kate Bush and Bowie is clear in her phrasing. As a guitarist, I also love bands like Gossip and Yeah Yeah Yeahs because Plaster is a two-piece band mostly: guitar and drums. Three people just locking in. Having said that, we are touring as a five-piece!
How about you Last Quokka? What artists have made a big impression on you?
LQ: We did a whip around the band: Kirill – Michael Jackson, Carlota – Tool, Justin – IDLES, Ray – Fugazi, Trent – Phoebe Bridges.
What can music lovers expect from these shows?
LQ: Drunken shenanigans, conversations about Geoff Gallop, some booty shaking, and maybe some good music.
After the tour wraps up, what’s next for you?
LQ: We’re working on our fifth LP so that’s exciting and trying to eventually get over to the EU! A few of us are also thinking about getting more pets, maybe learning to play tennis. That kind of thing.
POP: Extend the tour with more dates!! Let’s do Tassie and Darwin and then Europe. Quokkas watch out!
If you’re ready to rock (and let’s face it, who isn’t?), you can catch Last Quokka and Plaster of Paris at the venues below. Check out the Last Quokka and Plaster of Paris socials for tickets and more details about the shows:
1 April 2022 – The Outpost, Brisbane (with Tape Off)
2 April 2022 – Eleven Dive Bar in Maroochydore (with Tape Off)
3 April 2022 – Sonic Sherpa, Brisbane (instore)
7 April 2022 – The Servo, Port Kembla (with The Elastic Waste Band)
8 April 2022 – Graveyard Shift @ The Lansdowne, Chippendale (with Yes I’m Leaving)
9 April 2022 – The Old Bar, Fitzroy (with Zig Zag)
10 April 2022 – Arvo show at the Barwon Club, Geelong (with Zig Zag)
6 May 2022 – The Bird, Northbridge (with Dead Tooth Hottie)
7 May 2022 – Yardstock! Fremantle
8 May 2022 – The Shed, Albany (with Pack Hoarse)
Images used with permission from Last Quokka and Plaster of Paris; photo credit for Plaster of Paris photo: Kalindy Williams
Cheap Date are best known for creating acoustic pop-rock, so their latest single “Honest” is a real departure. This is a straight-up electro-charged dance-pop banger. If it’s a sign of the kind of new music we might expect from the band, I’m here for it.
Cheap Date’s frontwoman Lara Dee penned the song about an emotionally one-sided encounter. It explores the idea of finding connections and giving yourself to someone else wholeheartedly in such an eloquent, interesting way. It’s also fantastic for dancing.
With dancing back on the agenda, you can expect plenty of it when Cheap Date play the following hometown shows:
26 March 2022 – Super Fun Day @ Eatons Hill Hotel, Brisbane
23 April 2022 – The Brightside, Brisbane (supporting Concrete Surfers)
24 April 2022 – The Zoo, Brisbane (supporting The Courage Collective)
Straight Girls reminds us just how good bedroom pop can sound with her new single “Best Friend.” The song beautifully captures the heady emotions of infatuation.
“’Best Friend’ is just about a crush I had on my friend’s best friend! It was never really a crush I shouldn’t have had or anything, it was just a funny situation to be in,” she recalled. “The song just kinda goes through how into this girl I was, and how long I was into her, and it’s also about it being reciprocated, and how we used to interact. It was just something that never fully happened, but it was known that I had a thing for her by basically everyone around either of us, never tried to hide it, even around her, and that’s what the song is about!”
With a new backing band set to help her bring her songs to life, Straight Girls is set for a big year in 2022. Definitely watch this space, because Straight Girls has the goods.
Image used with permission from Footstomp Music
On a gloomy day in a week that seems far too long, Driving in the Dark, the new EP from East Coast act Columbus is the perfect punky pick-me-up. This three-piece band has punk-pop down to a fine art. Combining a nostalgia for the genre’s glory days of the late ‘90s and early ‘00s with a fresh perspective, I can’t get enough.
The five-track EP starts with recent singles “Temporary Summer”, “Full Heart”, and “Pain is a Mirror” bringing new fans up to speed and reminding those of us who’ve been on the bandwagon for months just how good this music is. Things take a little left turn with “The Holiday,” with the band trading in the electric guitars for acoustic ones. It’s still got the band’s trademark energy, but it’s delivered with more sweetness. I love when the band is full throttle, but it’s exciting to hear them working with a different gear. Columbus cranks it up for the EP’s closer “Care About You”. It’s anthemic and glorious, the perfect final impression.
“I wrote the Driving in the Dark EP about learning how to love – my life, others, and myself,” frontman Alex Moses explained. “With each release we’re adding to the fire what Columbus means to us. This EP represents where we’re at right now. It’s been a wild time driving in the dark, but I think we’ve finally arrived.”
Driving in the Dark is out now. Columbus will play the following shows next month to support its release.
9 April 2022 – Crowbar, Sydney
14 April 2022 – The Brightside, Brisbane
17 April 2022 – North Gong, Wollongong
29 April 2022 – Fat Controller, Adelaide
30 April 2022 – Stay Gold, Melbourne
Sydney singer-songwriter RAGEFLOWER is making a splash with her debut single “Still Calling.” RAGEFLOWER’s moniker is so appropriate because this track has just the right combination of aggression and beauty.
“Essentially, ‘Still Calling’ is about the journey back to self and healing the inner child. It’s also about the consequences of suppressing trauma with destructive coping mechanisms,” RAGEFLOWER explained. “When I wrote the song I was in a dark place, I really felt that I had let myself down and that I had wasted my potential on temporary highs. At the time I was listening to a lot of music from my emo high school years (Bright Eyes, Tonight Alive, Sum 41) and connecting with the person I used to be, which really inspired the sound. I wanted to write a hyper dualistic song with verses that felt confessional and vulnerable but choruses that felt destructive and nihilistic.”
“Still Calling” sets the bar so high, so I can’t wait to hear what comes next for RAGEFLOWER. She’s definitely someone to watch.
Image used with permission from Beehive PR; credit: Nicodemo Scali
Waxflower’s ability to lift your mood in less than three minutes shouldn’t be underestimated. Just like previous singles “Soak” and “Ring,” their new track “The Drama Scene” clocks in at under that magic three-minute mark. And just like those other singles I adored, this one makes a massive impact in such a short space of time. Surely it’s a superpower.
“‘The Drama Scene’ is a reflection of my social life at the time,” explained frontman Tristan Higginson. “There was just so much negativity swirling around, and I was contributing to that. I was generally unhappy. The song is me airing out some of the agitation I had with where my own actions were placing me. The song is mostly the same as the demo, with exception of the second verse which ended up a more DnB style effort. Stevie [Knight] helped us add more programming to make that section of the song stand out from the rest.”
The release of “The Drama Scene” isn’t the only exciting thing happening for Waxflower today. They’re also kicking off their supporting duties for Trophy Eyes, starting with the first gig tonight on the Sunshine Coast. Arrive early to catch their set at one of the following shows:
24 March 2022 – Eleven Dive Bar, Sunshine Coast
25 March 2022 – The Northern, Byron Bay
26 March 2022 – Coolangatta Hotel, Coolangatta
27 March 2022 – The Triffid, Brisbane
1 April 2022 – Torquay Hotel, Torquay
2 April 2022 – Pier Bandroom, Frankston
7 April 2022 – Corner Hotel, Melbourne
8 April 2022 – Sooki Lounge, Belgrave
20 April 2022 – UC Refectory, Canberra
21 April 2022 – Uni Bar, Wollongong
22 April 2022 – Cambridge Hotel, Newcastle
23 & 24 April 2022 – Oxford Art Factory, Sydney
Image used with permission from Habit Music Co.
On a gloomy day in a week that seems far too long, Driving in the Dark, the new EP from East Coast act 
