New music for your ears including the John Steel Singers, Green Buzzard, Planete, Many Things, Lastlings & more!
THE JOHN STEEL SINGERS – WEEKEND LOVER (PLUTONIUM / CREATE CONTROL)
‘Weekend Lover’ is new direction in sound for the beloved Brisbane band who for the past 2 years have been exploring more 70’s funk & soul inspired records, melding them with their signature sonic personality to form a new post yacht hybrid. But it’s in their studio, The Plutonium, where for the past 8 months the band has been preparing something new and different. ‘Weekend Lover’ is the first taste and with its classy sax solo, whirly synths, off-beat guitar clicks and catchy as hell falsetto chorus, it’s something that will stick in your head for days.
‘Weekend Lover’ is new direction in sound for the beloved Brisbane band who for the past 2 years have been exploring more 70’s funk & soul inspired records, melding them with their signature sonic personality to form a new post yacht hybrid. But it’s in their studio, The Plutonium, where for the past 8 months the band has been preparing something new and different. ‘Weekend Lover’ is the first taste and with its classy sax solo, whirly synths, off-beat guitar clicks and catchy as hell falsetto chorus, it’s something that will stick in your head for days.
LASTLINGS – WAVELENGTHS (YOZLYN)
LASTLINGS’ ‘Wavelength’ takes a page out of beloved chillwave producer shak.‘s sonic playbook, but with some serene vocals accompanying the similarly natured backdrop of the track, the brother-sister duo has a glorious sound all their own. Production from fellow Australian GOVS aids in this being the case, and, for almost four minutes here, we’re granted a slightly progressive, entirely chill sound that’s what one means when they say that something’s “alluring”. Needless to say, the two definitely did what they needed to here with respect to making the second single a success, and, as a result, we’ll be keeping our eyes and ears glued to all future material that they put out.
LASTLINGS’ ‘Wavelength’ takes a page out of beloved chillwave producer shak.‘s sonic playbook, but with some serene vocals accompanying the similarly natured backdrop of the track, the brother-sister duo has a glorious sound all their own. Production from fellow Australian GOVS aids in this being the case, and, for almost four minutes here, we’re granted a slightly progressive, entirely chill sound that’s what one means when they say that something’s “alluring”. Needless to say, the two definitely did what they needed to here with respect to making the second single a success, and, as a result, we’ll be keeping our eyes and ears glued to all future material that they put out.
LAPSLEY – HURT ME (XL / REMOTE CONTROL)
‘Hurt Me’ was recorded this summer at the XL Recordings studio in Ladbroke Grove, London. It follows the release of single flipside ‘Burn’ which Låpsley recently debuted on her 19th birthday to widespread acclaim. ‘Burn’ was described by Pigeons & Planes as “a brilliant reminder of what makes her music so captivating” while Stereogum described ‘Burn’ as “another excellent track from one of music’s most promising new artists” and DIY simply stated “no fretting, just progress, her future is paved out miles ahead”.
With a debut album scheduled for early 2016, ‘Hurt Me’ further cements Låpsley’s position as a prodigious new talent, mixing constantly evolving, sparse electronic production with gorgeous, emotive songwriting.
‘Hurt Me’ was recorded this summer at the XL Recordings studio in Ladbroke Grove, London. It follows the release of single flipside ‘Burn’ which Låpsley recently debuted on her 19th birthday to widespread acclaim. ‘Burn’ was described by Pigeons & Planes as “a brilliant reminder of what makes her music so captivating” while Stereogum described ‘Burn’ as “another excellent track from one of music’s most promising new artists” and DIY simply stated “no fretting, just progress, her future is paved out miles ahead”.
With a debut album scheduled for early 2016, ‘Hurt Me’ further cements Låpsley’s position as a prodigious new talent, mixing constantly evolving, sparse electronic production with gorgeous, emotive songwriting.
GREEN BUZZARD – SLOW IT DOWN NOW (I OH YOU)
Similarly to its predecessor, ‘Slow It Down Now’ features the catchy guitar work and laidback vox of frontman Paddy Harrowsmith, while the band feature as the song’s backbone as it twists and turns in a bliss of indie guitar pop.
Similarly to its predecessor, ‘Slow It Down Now’ features the catchy guitar work and laidback vox of frontman Paddy Harrowsmith, while the band feature as the song’s backbone as it twists and turns in a bliss of indie guitar pop.
ANATOLE – AWAY (FEAT. TASH PARKER) (TEEF)
His new single ‘Away’ is an artfully layered song that sums together a number of organic elements with the pulsing rythms of Anatole’s always meticulous beats. Sitting slightly underneath the beat are the ever present and always impressive piano runs that are a staple of Anatole’s live show whilst a string quartet slowly builds thoughout the track, eventually climaxing at the song’s conclusion. Amidst all this is the clarion vocal of Melbourne’s Tash Parker who is currently working on her own next collection of songs with a number of other collaborations in the pipeline.
His new single ‘Away’ is an artfully layered song that sums together a number of organic elements with the pulsing rythms of Anatole’s always meticulous beats. Sitting slightly underneath the beat are the ever present and always impressive piano runs that are a staple of Anatole’s live show whilst a string quartet slowly builds thoughout the track, eventually climaxing at the song’s conclusion. Amidst all this is the clarion vocal of Melbourne’s Tash Parker who is currently working on her own next collection of songs with a number of other collaborations in the pipeline.
AUTRE NE VEUT – WORLD WAR PT. 2 (CREATE CONTROL)
“Age of Transparency” marks the second step in a trilogy exploring the difficulty of making personal connections in an impersonal time. “The title comes from marketing jargon,” Ashin explains.“It’s a term for the place we’re in now, where truth and transparency are just ways to sell things and honesty is its own kind of performance.
Coming from an artist who pushes his voice and body to their breaking points, it might seem like a strange admission. But for Ashin, close is as close as you can get.“ Transparency is an impossibility,” he says. “It’s more about trying to be transparent and falling on your face in the process.”
“Age of Transparency” marks the second step in a trilogy exploring the difficulty of making personal connections in an impersonal time. “The title comes from marketing jargon,” Ashin explains.“It’s a term for the place we’re in now, where truth and transparency are just ways to sell things and honesty is its own kind of performance.
Coming from an artist who pushes his voice and body to their breaking points, it might seem like a strange admission. But for Ashin, close is as close as you can get.“ Transparency is an impossibility,” he says. “It’s more about trying to be transparent and falling on your face in the process.”
PLANETE – ALTAIR (GOOD MANNERS)
Quickly becoming one of Melbourne’s worst kept secrets, Planète (producer and musician Dion Tartaglione) is poised to expand his reach in 2015. Following on from his expansive, well-regarded previous releases, Tartaglione has a bold new soundscape to share with his growing legion of followers.
His latest release ‘Altair’, at a touch over 5 minutes, is Planète’s sharpest work to date. Still possessing the producer’s unique take on melodic house, the track’s punchy tempo and meticulous shifts in intensity showcase an artist of unique talents and potential.
Quickly becoming one of Melbourne’s worst kept secrets, Planète (producer and musician Dion Tartaglione) is poised to expand his reach in 2015. Following on from his expansive, well-regarded previous releases, Tartaglione has a bold new soundscape to share with his growing legion of followers.
His latest release ‘Altair’, at a touch over 5 minutes, is Planète’s sharpest work to date. Still possessing the producer’s unique take on melodic house, the track’s punchy tempo and meticulous shifts in intensity showcase an artist of unique talents and potential.
MANY THINGS – 77 (DEW PROCESS)
‘77’ gets its title "from the empty bank in the drum machine where I punched in the initial beat" says Michael. "I was really into numerology at the time so I felt like it ought to stay. I felt the organ riff was ‘hype’ like Missy Elliot’s ‘We Run This’. Me and my $40 drum machine. The beat was somewhat improved when Macks picked up his drumsticks.”
‘77’ gets its title "from the empty bank in the drum machine where I punched in the initial beat" says Michael. "I was really into numerology at the time so I felt like it ought to stay. I felt the organ riff was ‘hype’ like Missy Elliot’s ‘We Run This’. Me and my $40 drum machine. The beat was somewhat improved when Macks picked up his drumsticks.”
