FAVOURITE TAPES OF 2013

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If my vinyl collection expanded last year then my tape collection exploded. I heartily got aboard the tape resurgence, purchasing many cassettes through Bandcamp and label home pages. People buy tapes for different reasons. I’m sure some people do it for nostalgia but that’s not important to me, as a youth most of my pocket money was spent purchasing CDs. For me it’s really nice to receive a physical product to accompany a digital purchase. I get the digital album immediately from Bandcamp then a couple of weeks later I get a package in the mail with a beautifully packaged tape, often accompanied by a personal note and assorted paraphernalia from the sender (stickers, zines, badges, tea…). Having a decent tape deck helps too and I’ve been listening to a lot more of my cassettes since picking up a nice Technics deck on the cheap. Like listening to vinyl, I find it to be a nice escape from the digital realm and I do enjoy the aural textures of cassettes, particularly in more experimental recordings. Here’s the ten tapes that I cherish most from last year then, in no particular order.

Sparkling Wide Pressure
Little Shrine
No Kings

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A remarkable year for Sparkling Wide Pressure with a load of great releases across multiple labels on a variety of formats. This tape on No Kings was particularly strong; indeed No Kings boss Lee Noble (who designed the brilliant art work) described it thus : “The best tape ever. End of tapes”. Frank Baugh’s explorations of noise, drone, folk psychedelic, and everything in between have developed a universe wholly of their own; each new release a startling addition to a deep, deep well of music that will reward for years to come. I talk about the futility of describing music a lot but it’s especially relevant when writing about Sparkling Wide Pressure’s music. It is dense art that you must experience on your own, and draw your own experiences from. I will say however that there is a sadness and beauty to Little Shrine that captures the sensation of melancholia unlike any other music that I’m aware of. I gain solace from this tape as I do from all of Sparking Wide Pressure’s music, but mostly I find it extremely interesting. Baugh’s music engages parts of my brain – and soul – like no other music does. I can only hope he is equally productive in 2014.

Bruff Superior
Bruff Superior
Major Crimes

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Released on top Adelaide label Major Crimes, this tape from Bruff Superior stood tall from the masses of other releases from slacker Australian guitar pop bands in 2013. I think to stand out in such a scene the personality of the band needs to come through, and it’s the friendly yet diffident attitude of Bruff Superior that provides their charm. The five tunes are repeated on both sides and it’s a pleasure to flip the tape after an initial run through but be warned: ear worms lurk within. All Alone gets you in off the bat with the its affected guitars and sweet harmonies, while the swaggering pulse of In The Dark recalls Melbourne guitar pop greats The Stevens. The sludgey oof of Can’t Explain is probably my favourite here, a rough edged thumper that nails that don’t-give-a-fuck demeanour of the band in the most delightful way. Bruff Superior aren’t out to reinvent anything – they’re taking their tools, getting to work and having a damn good time while they’re at it. Sounds that way, anyhow.

Cousins
Bathhouse
Bridgetown Records

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As thrilling as it is to listen to this tape from Cousins it’s a little sad to think this was their final release. The Milwaukee three piece called it a day back in August, leaving behind the magnificent epitaph of Bathhouses. A superbly recorded collection of post-punk infused rock songs that crackle with hope and defiance, Bathhouses absolutely must be played loud in order to experience to experience the concussive effect of those drums, to be overwhelmed by the maelstrom created by those guitars. I dig every moment of this tape but opener Abdicator is the track that still gives me goosebumps on every listen. Behind jet exhaust guitars and the sucking undertow of the killer rhythm section, frontman J. Wyatt intones my heart as simple as your heart,my heart as simple as your heart, my heart as simple as your heart and the effect is dizzying, disarming and a total thrill. Wyatt’s voice is central to the appeal of the Cousins sound – droning indifference at times, raw corrosive power at others – though it’s clear Cousins were very much a cohesive whole, three musicians combining to create a highly combustible sound that was well and truly ablaze on Bathhouses. Unfortunate that they are no more, but it really is better to burn out than to fade away.

FWY!
No Exit
Moon Glyph

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What an intriguing project FWY! is. In creating these pulsating electronic soundscapes, San Francisco’s Edmund Xavier seeks to capture the essence of movement, the sensation of being transported. As Steve of Moon Glyph discussed with me, Xavier creates these works based on his own visual compositions (that double as the tapes artwork). Drawing on krautorck grooves and blissful layers of ambient sound, Xavier paints beautiful sonic vistas on No Exit that do indeed evoke slow moving landscapes and the gentle receding of a highway into the horizon. Pair it with twin Moon Glyph release HWY Trust you have your essential soundtrack to your next psychedelic adventure, on earth or beyond.

Circuit Rider
Unit Holds
Jehu and Chinaman

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One of the most anticipated tapes of 2013 became one of the most celebrated once these baby blue numbers made their way out into the world. The collaboration between Lee Noble and Derek Rogers is a beguiling set of analogue synthesiser improvisations, conjuring up atmospheric visions of alternate dimensions. There’s a tension in these pieces that suggests the paranoia of altered states; disorienting passages lead to glimpses of clarity before you are once again led down winding rabbit holes of sound. A potent concoction cooked up by two most adventurous artists, and a follow up is on it’s way in 2014. Clamp on a quality set of cans and choose your own adventure in this dazzling electronic cosmos.

Julie’s Haircut
Ashram Equinox
Crash Symbols

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Ashram Equinox was my introduction to Italian band Julie’s Haricut and I was smitten with the expansive psychedelic visions of this tape. Released on ace US label Crash Symbols, Ashram Equinox is a lush listening experience that revels more on each listen. This is dense psychedelic music that incorporates a myriad of genres into its swirling sound, drawing on krautrock and prog influences to shape these superb songs. Their winding maze-like structures create a feeling that the music is pushing beyond the limits of their time frame – engage with a song like Sator or the magnificent Tarazed and once you have returned from the voyage that they take you on I guarantee you will gaze upon the time passed with incredulity. It seems like so much more than mere minutes have passed. That, friends, is escapism. Beautiful escapism.

Former Selves | Aloonaluna
Our Air | Visitors 
Cosmic Winnetou

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An ingenious pairing of two artists at the forefront of modern experimental music, this soul soothing tape was released on German label Cosmic Winnetou. The Former Selves side continues the amazing output of Paul Skomsvold, who released other fine tapes in 2013 on Patient Sounds, Lillerne Tapes and SicSic. All were great though the music on this tape is particularly beautiful, a set of transcendent electronic soundscapes that evoke the gentle passing of time amongst tranquil surrounds. Skomsvold uses field recordings to good effect on our air, infusing the warm pulse of the piece with recordings taken from Joshua Tree National Park. Aloonaluna has also been prolific over the last year and her side is an intriguing set of distorted electronic sounds. Disjointed drum machines crackle beneath layers of ghostly vocals while sparse electronics colour the canvas. It’s strange and slightly eerie stuff, though the atmosphere created is reassuring, not fearful. A gorgeous auditory experience, greatly enhanced by cassette listening.

Eyes, Wings and Many Other Things
Rural Pain
Pour Le Corps Records

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Perfectly suited to cassette, this hazed out album of psychedelic bliss was reviewed by yours truly just a little while back. Here’s an excerpt:

It’s an enigmatic and beautiful album, constructed not with thick outlines but composed of many blurred musical shapes. EWAMOT are the sort of band that may be unfairly labelled a “jam band” and those unwilling to engage may find this music meandering, too unstructured. The rest of us have an album to become submerged within, to be taken downstream by. Keep breathing.

The Kevin Costner Suicide Pact
Container Ship
Patient Sounds

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Released on Colorado’s Patient Sounds, this sounded very much like the grand opus of drone masters The Kevin Costner Suicide Pact. The incredible cover art (probably my favourite of the year) perfectly captures the glacial power of this music – slow moving, icy and carrying a great weight beneath its berth. I was struck by the additional instrumentation on this KCSP release, there seems to be more of a focus on acoustic instruments and melodies compared to the other drone heavy releases of theirs I was familiar with. “Drone” is still what Container Ship is best described as however, and the slightly warped soundscapes offer the discovery of many beautiful sonic textures for the devoted listener. It really is a brilliantly composed tape. Iceberg. Dead ahead. A titanic album.

Mirror Parties
Bear Vomit
United Trash Records

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I remember discovering Bear Vomit on Bandcamp not long after I recommenced blogging earlier in the year and being really taken with the Mirror Parties sound – noise rock tinged with pop smarts and plenty of weird shit going on. Bear Vomit gave me the buzz of excitement that I look for as a person who searches for music day in, day out. The Glasgow band sometimes remind me of Velvet Undergorund, sometimes of King Missile, sometimes of The Butthole Surfers, though these songs are so vital sounding that to mull over influences is an awful waste of time. Get your kool thing on with Cherry Pie. Get proper spooked out by Where Is Judy? Lose yourself in the inverted fuckery of Bodies. It’s mad dirty fun.

FAVOURITE VINYL OF 2013

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My vinyl collection expanded considerably in 2013; it remains my format of choice for the music that means the most to me. Many of these records were acquired through mail order, I find it to be the most convenient way of sourcing my music. I’ll always love hitting record shops however and want to give a shout out to Tommy Gun Records (where the Native Cats album was purchased), Polyester, Round and Round, and my local store Thornbury Records for providing excellent service and superior product range in 2013. Drop that needle…

Dirty Beaches
Drifters / Love Is The Devil
Zoo Music

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Alex Zhang Hungtai’s triumphant nocturnal opus earned plenty of accolades in 2013 and rightfully so. Drifters / Love Is The Devil sounded like both an arrival and a departure for Dirty Beaches, taking the no-wave noise of previous releases to a more expansive, unsettling realm. From the distorted groove of opener Night Walk through to intense sonic saturation of Mirage Halls, first half Drifters makes for gripping listening. These are distinctly cinematic songs, suggesting seedy noir action and tragic love stories mixed up with deals gone wrong. The minimal atmospherics of second half Love Is The Devil were also stirring but in quite a different way. If Drifters is the whiplash motorbike ride through downtown Bangkok at 2am then Love Is The Devil is watching the sun bleed out of the Mekong through an amphetamine come-down haze, a slightly concussed set of instrumental pieces that explore murky depths greater than any lyrics can hope to describe. It’s wonderful when an album not only surpasses your expectations but offers a totally unexpected and challenging listening experience. Drifters / Love Is The Devil shattered all expectations, in the most thrilling of ways.

Ensemble Economique / Heroin in Tahiti
No Highway – Black Vacation
Sound of Cobra Records

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What a pairing. Italian label Sound of Cobra Records did a great service to the world of music when they combined the talents of Ensemble Economique and Heroin in Tahiti, artists who share a flare for the sinister and surreal. Brian Pyle continues to astound with his output as Ensemble Economique, and while I also thoroughly enjoyed his release with Not Not Fun, this was my favourite release of his for 2013. Opener I light my cigarette, I see YOU there is, as I will blog about elsewhere, the best song I heard all year. I was instantly hooked by the combination of sexy rhythms and dread filled drones that characterise this track, as was everyone else I played it for. A big sauntering beast of a song. EE’s remaining tracks on this side are great too, sitting together cohesively with the opener to create a troubling, magnificent whole. I wasn’t familiar with Heroin In Tahiti before listening to this record but am very glad to be have been taken on their Black Vacation, a terrific expedition into pulverising “death surf”, as they call it. A great achievement, issued with an apt note of caution by Sound of Cobra: The music that springs from having experienced these horror trips is as seductive as Lisa Bonet drinking a little red rooster’s blood! Be warned: This is a one-way ticket, no refunds, no exorcism included. 

Sonny and The Sunsets
Antenna To The Afterworld
Polyvinyl

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Ah Sonny. I’ve got so much affection for your music, it fills me with such giddy joy. I’ve been aboard the good ship Sonny and The Sunset since the get-go though I did feel previous album Longtime Companion slightly missed the mark with it’s existential country ramblings. It was good, but Antenna To The Afterworld was great. It’s a record that’s got everything I dig so much about Sonny’s music – warped humour, subtle shadings of darkness, tears-streaming-down-your-cheeks love songs and straight up good time party tunes. It’s really hard for me to single out highlights, I just adore this whole album so much, but MutilatorPath of Orbit and the interstellar romance of Green Blood seem to be thesongs that plant the biggest grins on my face. It was a total gas to see Sonny perform these songs and older hits as part of Melbourne Music Week earlier in the year, he’s a fantastic performer with a super tight band backing him. If I could see him every night, I would.

The Native Cats
Dallas
R.I.P. Society / Ride The Snake

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Native Cats were a band that I was only vaguely aware of before this year. I found their oblique synth pop somewhat evasive, I just never had that moment of clarity with their sound. Dallas provided me with a full album of clarity. Julian Teakle and Peter Escott achieve innovation through minimalism in their music, combining spare electronics and insistent bass lines with non-suquitor lyrics to create a compelling, singular sound. I Remember Everyone is one of my favourite Australian songs of 2013, an uncompromising reflection on existence that crackles with a defiant post punk attitude. Like all of Dallas, it’s a tense listening experience that disorientates in the unexpected twists and turns it takes, both lyrically and sonically. The production is superb and with a final sheen applied by the omnipresent Mikey Young, Dallas is an aural treat to listen to on vinyl nice and loud. There’s a terrific sense of space to these songs; though minimal they achieve great weight in the precision of the performances and in the power of the lyrics. Sure to linger long on the Australian musical landscape, and beyond.

Kevin Greenspon / Former Selves
Betrayed by the Angels / Apropos of Golden Dreams
Bridgetown Records

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Release #100 for the great Bridgetown Records was a superb split between label founder Kevin Greenspon and the prolific Paul Skomsvold, aka Former Selves. I regularly took to playing this record in the mornings as I started my day, I found the serene synthesizers of most tracks to be a fine way to settle my mind for the coming day. As such the album has grown to have a reassuring power over me, and I’m still discovering its subtleties. Betrayed by the Angels / Apropos of Golden Dreams could lazily be slotted in the “ambient” genre but it’s not all blissful minimalism, with some of the Greenspon tracks (From Concrete to CarelessnessTruth and Falling) exploring more abrasive sonic textures. The tone of the Former Selves tracks is well described by song titles Watercourse Way and Golden Dreams. With it’s graceful piano part and gentle layers of synth, the latter is simply immaculate. A transfixing piece of music that ranks with Skomsvold’s finest achievements, and that’s saying something. As a whole the album works brilliantly, an ingenious paring of two artists gifted in crafting sounds to drift away with. An album that has become a fine friend of mine.

Lee Noble
Ruiner
Bathetic

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I remember receiving this LP on a wet Melbourne night earlier in the year. I remember listening to it for the first time. That sort of record. To say I’d been looking forward to Ruiner is an understatement, in recent years I’ve become slightly obsessed with the music of Lee Noble. Listening to his music remains for me a deeply personal experience. Mostly I listen at night and on my own, mostly with headphones. Often while walking through empty streets. Ruiner is instantly identifiable as a Noble record in the slow melt of Covers and the disconnected haze of December ∞. However each album from Noble is markedly different, each has it’s own character, and this is true of Ruiner. Noble’s vocals are sometimes much more coherent on this album than previous releases, with the less emphasis on noise. The largely acoustic Wring the Rag is disarmingly spare – it’s both pleasant and somewhat jolting to be hearing Noble’s voice so clearly. This said there are still dense sonic textures at work in every moment of Ruiner, it’s a beautiful headphone experience. Centrepiece Demon Pond traverses a great expanse of musical styles in it’s fascinating nine minutes, while Disintegrate Ideas provides perhaps the most beautiful song on the album with its combining of other worldly organ, ghostly voices and shimmering beats. I could go on forever but I will not. Another triumph from one of my favourite music makers.

Michael Beach
Golden Theft
Twin Lake Records

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It was wonderful to sit back and absorb this full length from Michael Beach after closely following his progress in recent times. Here were songs that I had grown deeply fond of from previous EPs and 7 inches (There Is No Edge Of The World To Run To, Straight Spines, Mountains + Valleys) placed alongside several new exciting songs. Along with Chad VanGaalen, Beach is one of my absolute favourite modern songwriters. As a lyricist he is a craftsman – able to tell a compelling tale while slowly building tension in his words that often muse on love, sometimes evoke biblical beings and always resonate with honesty. There’s great variety in these songs too, whether it be the jolting punk mayhem of Straight Spines or the bluesy grit of Dirt or the west coast feel of Static, Golden Theft is a surprising and constantly engaging rock and roll album. It ends on a grand note with the epic Eve, an unholy vaunt along the highways of America with Jesus and a whole cast of misfits in tow. It’s great ride, right through to to the bitter end.

Parading
Swallowing A Sunflower
Birds Love Fighting

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Just recently I took a detailed look at this album from Melbourne’s Parading, a fine record that I’m obviously very fond of. Not much I can add to what I’ve already said really, you can read the review here. An excerpt:

Heartache and hardships come and go in this town, just like any other place. The Great Constant in Melbourne is the music – guitars to get lost in. Noise that bleeds the pain away. Great bands releasing great albums that become your closest of friends. Parading are a Melbourne band.

Mountains
Centralia
Thrill Jockey

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Experimental overlords return with their finest hour (and a bit). Is Centralia a place? A mystical land that this album explores? Perhaps. I certainly felt as if I was leaving this dimension as this album resonated throughout my home. The transcendent soundscapes of Centralia do indeed seem to suggest geological formations though not through brute force, rather these pieces evoke the subtle processes of nature – the gradual corrosion of rock by water, the shaping of land by wind, the complex contours of – yes – mountains. Processes of great power of course, though you cannot see them happening. They are subtle. For me this is what Mountains achieved on the grand Centralia – earth shifting power through restrained and supremely skilled music making. Synthesisers feature heavily throughout but so does acoustic instrumentation – to label Centralia electroacoustic seems woefully inadequate. It defies description. A deep listening experience, and a beautiful place to visit.

Trouble Books
Love At Dusk
MIE Records

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Another superb album of pristine, slightly disconnected electronic pop from Trouble Books, released on UK label MIE. What I’ve always liked about the Ohio duo is their ability to elicit a certain natural warmth from cold, synthetic sources, and Love At Dusk was perhaps their most coherent realisation of this sound. It’s also a fine advertisement for the album as an art form. Stacking Spheres is a wonderful song but being paired alongside the off-kilter piano paean of Unfolded results in both songs becoming imbued with a great lasting resonance. The contrast between the cacophonous conclusion of Fake Fern Shadows and the heart melting The Very End, Again is also genius, I recall being profoundly moved when I first heard it. Love At Dusk is that kind of listening experience. A brilliantly arranged album, best experienced by listening devotedly from beginning to end. Trouble Books are the pulsing electric flame. They are lovely lost moments in the analogue/digital divide. They’re a thousand beautiful moments beneath the shimmering pixelated sunset.

FAVOURITE LABELS OF 2013

I continued to be amazed by the output of independent labels in 2013, many of which I’ve become acquainted with through my work on Bandcamp Hunter. Below are the ten whose work I most admired this year, in no particular order. The emphasis here is on smaller, less established labels that have inspired me with their productivity and imagination, as well as with the quality and variety of their releases. Important to me also is the creation a distinct identity, through both strong design and the personality of the operators.

You may recognise a few of these labels from my interview series here on Formless Fields and I make no apology for that – I admired these labels greatly before speaking with them about their work. Keep up the fine work you good, good people.

Patient Sounds

Stand out releases: The Kevin Costner Suicide Pact – Container ShipCuddle Formation / The Spookfish – EarthboundWellington Downs – The WestersFoothills – New World

Colorado based Patient Sounds released an impressive nineteen tapes in 2013, a great achievement for such a small label. Run my Matthew Sage (aka M.Sage) and his fiance, the label prides itself on releasing diverse styles of music that push the boundaries of what experimental music can be. I’d been familiar with their work for a while but taking the time to explore their catalogue further revealed many gems, in particular I fell pretty hard for the Wellington Downs album The Westers (another project of Sage’s) and the magnificent Container Ship from The Kevin Costner Suicide Pact is one of the finest things I heard all year. Each release from Patient is surprising and worthy of devoted listening, it’s an exciting label to follow. Add to this beautiful packaging, a strong identity and personal service and you’ve got yourself a label that embodies all that is good about DIY labels. With their first vinyl release on the horizon and more great tapes in the pipeline, 2014 looks very promising for Patient sounds.

Read my interview with Matthew Sage

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Moon Glyph

Stand out releases: The New Lines – Fall in Line, FWY! – Any ExitHenry the Rabbit – Earthen Birth ByThe Non Travellin’ Band -Never Prayed Once

I was very excited for Steve Rosborough of Moon Glyph to be my first interview subject here on Formless Fields after admiring the output of the label for some time. I’ve learned this year that running a small label is all about musical taste – the owner/operator of an independent label is also a curator – and Steve has great taste. From groovy krautrock to rampant psychedelic rock to warped pastural folk, Moon Glyph has had an outstanding year of releasing innovative music, complimented always with gorgeous packing. The San Fransciso label has grown from focusing on primarily local music to releasing international sounds, with the lovely album from Copenhagen’s Henry the Rabbit becoming a personal favourite of mine. The New Lines album was also brilliant and the twin releases from FWY! were both indispensable. A red letter year for a class act label.

Read my interview with Steve Rosborough

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Milk! Records

Standout releases: Jen Cloher – In Blood MemoryCourtney Barnett – The Double EP: A Sea Of Split PeasFraser A. Gorman – Fraser A. GormanTanah Merah – Royston Vasie

With the year Courtney Barnett had it’s remarkable her label Milk! Records released any music at all but nay, they managed to release some outstanding records from several Melbourne artists. The centrepieces were certainly the mighty In Blood Money Memory by Jen Cloher and the celebrated double EP from Courtney, A Sea Of Split Peas. These were world beating albums featuring songwriting that’s as good as anything going ’round – Jen’s an emotional and stoic masterpiece of smouldering rock songs and Courtney’s a great round up of the two EPs that have propelled her to international acclaim. On top of this Milk released killer records from Melbourne locals Roysyton Vasie, a live album from The Finks and a sterling CD from the irrepressible Fraser A. Gorman, all packaged with tender loving care and distributed from lounge rooms in Melbourne’s north. Live music is a big a part of the Milk identity too, and their Xmas shindig at The Tote was one of the highlights of my gig going year.
Good music, good friends, good times. It’s what Milk is all about.


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Major Crimes

Stand out releases: Bruff Superior – s​/​tOld Mate – s​/​t 7”Multiple Man – s​/​tBig Richard Insect – s/t

After just a couple of initial releases in 2012, Adelaide label Major Crimes upped the ante in 2013 and released a slew of killer music. Much of this music was guitar-centric – from the loose jangle pop of Bruff Superior to the bruising, brilliant album from Big Richard Insect – though the label also released two electro-mindfuckers from Brisbane based Multiple Man. The Wireheads release was most enjoyable too, pulsating noise rock that could emanate from nowhere but the gritty underbelly of the Australian musical underground. And indeed this is what Major Crimes trades in – transmitting the rough edged, vital music from the fringes of our musical scenes to those who are wise and willing. A year of essential releases from a label that’s in it for all the right reasons, I can’t wait to see what they come up with in 2014.


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Carpi Records

Standout releases: Sunny Dunes – Wash, then Dance/Never SoonMagnétophonique – Lush Islands/Illusion of ParadiseAltar Image / The Inverted Orange – SplitCasino Hearts-Lonesome Island

Carpi Records are one of those labels I have to stop myself from featuring constantly on Badncamp Hunter, everything they released this year was gold.  Based in France, the label primarily releases music that errs on the side on “hypnagogic” – electronic based music that explores alternate dimensions through sonic innovation and experimentation. They’ve done a great job of carving a strong identity through their classy design and consistently strong releases, largely on cassette. Delving through their Bandcamp page is a languid journey into the sound of a dream world, beautifully crafted music borne of exceptionally talented musicians from around the globe. The Sunny Dunes release stood out to me as one of the French artists finest efforts yet, while the Ki Choquette album was a masterpiece of graceful, understated beauty. Also noteworthy was the sublime album of distorted guitar ruminations from Casino Hearts, the work of a young man from Reno. Follow this label, and infuse the wonderful music they release into both your waking and sleeping hours.


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Furious Hooves

Standout releases: You Won (or, We Have All Lost) – Blood CousinOmphalos – BlackruneStay Rad Vol​.​01 compilationOnline Birthday – Hallucinex

“Stay Rad”. That’s the simple catch cry for Furious Hooves, a label run by two childhood friends living in two separate cities in the American east. Positivity comes through in all that Ryan and TJ do with “Fur Hoof”, it’s a label that’s fuelled by love of good music and strong binds to family and friends. It was great to chat with them back in September and gain inspiration from their creative approach to running the label, they’re a great DIY story who are doing things exactly how they want to. Their a label that make me want to get out there and make stickers and start slicing up old magazines and dubbing tapes to send to kids in Japan. The music they release is great too – that’s important – and I recommend checking out their compilation Stay Rad Vol​.​01 for a satisfying ear-full of Fur Hoof sounds. Stay Rad in 2014 Fur Hoof, and keep gettin’ them buckets.

Read my interview with Ryan and TJ


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Fire Talk

Standout releases: Baby Birds Don’t Drink Milk -Think ToneTjutjuna – WesternerCampfires – Tomorrow, TomorrowOrchard Thief – Professional Textures

Denver based Fire Talk had a stellar 2013, surpassing the lofty standards set by their releases of 2012. Fire Talk were responsible for releasing one of my very favourite albums of the year, the revelatory album from Baby Birds Don’t Drink Milk. A remarkable album that saw the Brooklyn band transition from subversive noise to a blissful psychedelic sound, very much taking me by surprise. Also somewhat surprising was the release of the Campfires LP, Tomorrow, Tomorrow. I had been a fan of the Portland band for a while and didn’t expect a new release to come via a label that until then I had pegged as dealing in louder, more psychedelic sounds (the label is run by Woodsman guitarist Trevor Peterson). And that’s a great thing about following a label like Fire Talk – their taste is expansive and not confined to one genre or style, they’ll push your own musical tastes while also releasing gems from more accessible artists. The important thing is that it’s music they like. The Tjutjuna release was a barnstormer too, surely one of the most underrated albums of the year. Acquaint yourself with it ASAP if you haven’t already, and sample the rest of the fantastic Fire Talk catalogue while you’re at it.


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Jehu and Chinaman

Stand out releases: Circuit Rider – Unit HoldsAdderall Canyonly – Between The Rays Lies Fear But Also Joy.​.​. and yet it moves – Roadside PicnicThe Vertical City EP – Rejections

Jehu and Chinaman caught my attention with the release of the Circuit Rider tape, a beguiling collaboration between Derek Rogers and Lee Noble. The UK label released another ten fantastic tapes in addition to Unit Holds, putting together a roster that now includes some of the worlds finest experimental artists. The Adderall Canyonly tape was utterly masterful and came with a great presser –
Imagine your favourite soap opera. Imagine your favourite soap opera’s gone wrong. Like, seriously wrong. Like, Ring wrong; tanned hunks and buxom babes crawling out of your TV with their eyes spurting cheap ice cream all over your sta-prest chinos and really fucking up your new cat.
Adderall Canyonly’s Between The Rays Lies Fear But Also Joy improves on all your favourite soap operas by making this highly erotic vision a reality…
So refreshing in comparison to the usual cliched marketing gump served up by bigger labels. Much of the music JAC release is of a darker nature but there’s a sense of fun and inventiveness in what they do that earns my allegiance. They’ve also got a distinct sci-fi vibe going on that really appeals to me, plus their packaging is gorgeous. Gold stars all round, then.


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Crash Symbols

Stand out releases: Emily Reo, Yohuna, Brown Bread, MoonLasso – Clubhouse Split, Julie’s Haircut – Ashram EquinoxZen Mantra – How Many Padmes Hum?Halasan Bazar – Space Junk

Crash Symbols seeks to release “left-field production and electronic music, psychedelia, abstract pop, as well as more bluntly experimental releases”. A mission statement that really presses my buttons. It was a mammoth year for the West Virginia based label, releasing no less than eighteen albums from a dazzling array of international artists. The Julie’s Haircut album was perhaps my favourite of all, a splendid expedition into deep psychedelic sounds from the Italian band. I also loved the Zen Mantra album and the split between Emily Reo, Yohuna, Brown Bread and MoonLasso was a genius grouping of three artists whose music meshed together beautifully. It’s a great thing when labels pull of successful collaborations. Crash Symbols did this in 2013 and much, much more. A truly vital label.


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Data Garden

Standout releases: Moan (Shinji Masuko) – Bookshelf SanctuaryThe THANGS – WedodoLive at The Switched​-​On Garden 002

A late inclusion in my top ten, Philadelphia’s Data Garden grabbed me with their re-imagining of what the modern record label can be. After discovering their musical component through Bandcamp and the stunning album by Moan, I spent the good part of a day on their site exploring the lush expanse of art that they have on display. Data Garden strike me as a label with a lucid vision of what they are seeking to achieve – not only do they release impeccable electronic music but they also act as an archive, promoting art both old and new questions, provokes and inspires. They too have a sci-fi mystique going on in their beautifully designed site and their approach to packaging is, as far as I know, totally unique. Purchase a digital album and receive a “plantable” postcard – nestle it in some soil and wait for the flowers to bloom. What a wonderful concept. What a wonderful label.

Honourable mentions: Birds Love Fighting, Aguirre Records, Orchid Tapes, Melted Icecream, Unknown Tone Records

 

2013

Over the next couple of weeks I’ll be looking back on the music that inspired and moved me in 2013. I’ll do this by posting on my favourite vinyl, favourite tapes and favourite labels. Over at Bandcamp Hunter I’ll be reviewing my favourite music that I found on the blog for the year, so in between the two sites I hope to provide you with a fairly comprehensive take on what I consider the best music of 2013. This post concerns reflections on other musical events of 2013, as well as taking stock of where I’m at with this whole caper.

Formless Fields and The Record Label

I haven’t posted on Formless Fields as much as I would have liked. This is mainly due to laziness, straight up. My lifestyle is quite conducive to more frequent postings but the extra time that I’ve afforded myself is often given to less energetic endeavours, or being unconscious altogether. Discipline and motivation are things I’ve always struggled with and I don’t exactly have a healthy lifestyle. I hope to be more productive in 2014.

This said I am happy with how Formless Fields has developed, in particular the regular interviews with the good souls who run independent labels have been the source of much inspiration. As nice as it is to get positive feedback online, blogging is a very solitary practice so it’s been a pleasure to talk with people who I admire, to learn more about them and to share in their passion for music. Thanks again to everyone I spoke to this year. I know how valuable your time is.

I still want to start a record label in 2014. I hoped to be further along in the planning process by now but it is still something I have a strong desire to do and the interview series has only motivated me to do it further. I’ve gotten a lot more interested in tapes this year and this is how I see the label beginning. I’d like to release local music then branch further afield, much like my first interview subject Steve did with Moon Glyph. The combination of music and design is something that greatly interests me and I hope to make beautiful packaging to accompany whatever music I push into the world.I feel as if I’ve grown as a designer over the year and I also hope to collaborate with some of my absurdly talented friends. I also still intend on going to the USA in 2014 and experiencing different music scenes while meeting some of these people I’ve interviewed and, I’m sure, some new folks. 2014 then – the year of getting busier, making things and going places.

2013 has been pretty great, here are some reflections of my musical year in Melbourne.

Good Things

A highlight of 2013 for me has been seeing musical friends gain success and recognition. I’m not a musician myself though I understand the difficulties that come with being a full time musician – the strain it puts on time, money and relationships. It warms my heart no end to see people I know and respect achieve success while continuing to smile and grow musically, seemingly unhindered by the pressures of musician life. Specifically I’m talking about two acts – Courtney Barnett and Batpiss.

The success Courtney has gained this year isn’t surprising at all. I’ve said for a while now that she’s the hardest working musician I know and certainly this is central to her gaining such a devoted following, however there’s more to her success than just gigging and gigging (Courtney also runs her own label, the terrific Milk! Records). You can play thousands of shows, but at the end of the day you’ve gotta have the songs, man. Personal, odd and utterly infectious, Courtney’s songs have always been very likeable and this year she wrote some her finest tunes, with Avant Gardener and History Eraser being the arrowheads that hit the bullseye with many respectable music publications and sites. Her live shows are always fantastic fun and Courtney has a great damn band (enthusiastic tip of the hat to Messrs Sloane, Luscombe and Mudie) to compliment her own brilliant guitar playing. It was awesome to see her so rapturously received in the US and in Europe, and she’s returning in 2014 to conquer even bigger and brighter stages. 

The combination of clever, honest lyrics with hook filled jams is no musical revelation but in this day and age of musical saturation I think we all respond to music that feels like it comes from a real place, a real human being. Music from a person that we feel like is doing it for the right reasons, making music that’s devoid of pretension. A person who is doing it because they dig it. This is what I get from Court’s music. It’s really nice to see that a whole lot of other people get it too.

A disclaimer on the following – Marty from Batpiss is my younger brother. These words are entirely non-nepotistic.

Having built a strong rep as an incinerating live act by the end of 2012, Collingwood’s Batpiss had nothing but scorched earth before coming into their wildfire 2013. With the release of the magnificent Nuclear Winter and a live show that intensified with every performance, their following grew from word of mouth buzz to fervent cult status as the three piece maimed and slayed all that came before them. Their music is violence, it is catharsis, and it is great fucking fun. It’s three young guys expressing themselves through a relentless strain of sludge punk that is of their guts, of their place, of who they are. They’re a true band, in that each member in utterly indispensable – Pirie’s psychedelic mind molesting guitar work (plus his unmistakeable artwork that has given the band it’s distinct identity), Thomy’s roaring vocals and pulverising bass, and Marty’s intense, super tight drumming. Replace one of these guys and they are not the ‘Piss.

Batpiss are a creative melding of these three musicians, yes, but the strength of their music comes from the combining of their personalities. This is true of many bands but it’s absolutely vital to Batpiss, and it has a lot to do why so many people got aboard the searing musical juggernaut that they let loose in 2013. So much sweat and blood was shed seeing them play in 2013, with the album launch of back in May at The Tote standing out as one of my gigs of the year. An unbelievably caustic punk rock show that may well have permanently damaged my neck. But that’s what you do for the music you love. You hurt yourself for it.

2013 was a year I drew a line in the sand on seeing bigger bands in larger venues. I’ve found that in bigger venues the crowd is mostly disinterested, the sound poor and the performance lacking. I’d much rather see a band perform in a smaller space, with better sound and greater comfort. Yep I’m getting real old. So this year it was wonderful to see two of my favourite international artists Mark McGuire, Dirty Beaches and Barn Owl perform in smaller venues, at the (sadly defunct) Gasometer, The Tote and Northcote Social Club respectably. I’d had a deeply solitary relationship with the music of these artists up until seeing them perform so it was a great thrill to be immersed in their music in a more expansive environment, alongside people who also appreciated the music.

It’s difficult for me to pinpoint a list of gigs by local artists that I enjoyed the most, my memory also fails me in my latter years. However I can say that gigs by The Ocean Party, Michael Beach and a very recent show by The Stevens stand out as some of the best I saw. Then of course there was the Formless Fields launch party, a great day of music and sunshine held at my own house. Events like those are what I enjoy the most, in getting to see bands perform and meet a whole lot of folks that I’d only had online contact with up until then. I’ll be organising more shows in 2014, starting with a new series of nights that I’m organising called Formless Mondays. More about those gigs soon.

One of the great musical moments of the year was seeing one of my favourite bands of all time You Am I perform their two classic albums Hourly, Daily and Hi Fi Way at The Forum. I was wary going into this gig as I’ve become very anti-reunion/album performance shows. I’d attended a few fizzers and dislike the exploitative nature of some of these gigs, they prey on nostalgia (like much of the music industry does) and often don’t do the band justice. My apprehension was misplaced for this show however, as You Am I delivered a blinding gig and upheld their title as The Greatest Rock and Roll Band I Ever Did See. I hurt myself at this show too – strained my face from smiling too damn hard.

Sad Things

Continuing the local slant of this post and it was saddening to lose two of our best music venues in melbourne this year, The Gasometer and, just recently The Empress. The Gasso had established itself as one of Melbourne’s best local venues, hosting an amazingly diverse range of music across its two stages every night of the week. As a venue it sometimes lacked in atmosphere however I always enjoyed the gigs held within the walls of this beautiful old pub and will miss it greatly.

The Empress shut its doors just this month amid an outpouring of public grief. It’s a grand pub that had become a strong part of Melbourne’s culture, both musically and socially. People held this place dearly in their hearts, something I have not really understood until taking up employment in a similarly beloved pub in the same area. These buildings are not just about booze and bands, for many people they are central to their day to day lives and social interactions. Places to meet, talk and laugh. I had many fond memories of nights spent at the the Empress and will miss it’s red interiors, that lovely little stage and the personality of publican Sandra.

As glum as all this I have great faith in the ability of Melbourne’s live music scene to rebound from such losses. In my time spent in Melbourne I’ve seen many a venue close, only for another to rise elsewhere. These are not fatal blows. Mourn their loss but let us move on. The best way to do this is by getting out and see as much music as we can in the new venues that will inevitably take their place.

Not to long ago I was disappointed to learn that favourite local band Sandcastle had called it a day. Those who have followed my blogging for a while will know that the psychedelic marauders were a favourite band of mine, having impressed me greatly with their stunning debut EP and consistently gripping live shows. With their rhythm section dispersing across Australia the band called it quits, though frontman Max and guitarist Ryan continue to work on their own projects. The two have an intriguing new project named Conatus while Max continues in his sonic alchemist guise as Nothinge. Fruitful times ahead for them I’m sure but vale Sandcastle, and thanks for all the good times.

A Good Thing and A Sad Thing

Back in March I was fortunate enough to witness a remarkable performance by my chief musical hero, Neil Young, held as one of these “Day On the Green” type deals out on a winery near Geelong. The weather was foul that day my friends. Neil and Crazy Horse’s set was gloriously defiant in the face of howling gales and torrential rain, a stunning display of stoicism that encapsulated all I love about Neil and the music that he’s given us. His performance of Like A Hurricane during the most intense period of the storm was one of those moments that cannot be described, it was truly magical. You just had to be there.

While I was witnessing this spectacle another musical hero of mine was leaving this mortal realm. Jason Molina died that night. Molina and Young are often linked and while I feel this comparison is not always appropriate from a musical view point (I consider Jason a superior lyricist), I do consider them to be similar in being defined by their great artistic integrity. On this night we drove back to Melbourne listening to my favourite Songs:Ohia album Didn’t It Rain. I looked at factories in the moonlight, saw wires swaying in the rain and wondered how Jason was doing. Little did I know that he was dying. I’ve never been so saddened by a musicians death. I miss him every day but will always be grateful for what he gave, and am thankful that I’ll always have his music. I plan on writing a more in depth tribute to Jason, hopefully in time for the anniversary of his death in March.

I appreciate all the support you’ve given me in my blogging endeavours this year. I look forward to continuing to bring you new music and articles in 2014 while also embarking on new adventures. In closing I’ll invoke Molina and use the words he would say at the end of nearly every song he performed live : “Thank you kindly.”

THIS MONTHS VINYL : PARADING

parading_vinyl

Our Melbourne is a town that never gives you what you want. Desperate for definition as we all are, Melbourne – like any large city – defies categorisation, in both meteorological and urban terms. You can talk about how pretty the bay is on a summers day, but spend an afternoon sweating in the industrial badlands of Preston and you might not be so chirpy. Wax lyrical on the wonderful creative community that thrives in the town and I’ll suggest you walk down Swanston Street at 2am on a Saturday night. Tell me how everyone is getting along. Talk about how lovely it is outside right now and be certain that you’ll be struck by a blast of sleet within the next moment. My point being that a city is a rich and complex place, it has both unpleasant and beautiful aspects. Dark and light. Loud and quiet.

Released on ace local label Birds Love Fighting, “Swallowing A Sunflower” is a guitar odyssey that captures the contrasting sides of life in Melbourne. And those guitars are glorious. “Shoegaze” is probably one of my most disliked of all silly genre titles but it’s hard to talk about this record without dropping it in. The guitars on “Sunflower” do indeed build walls of sound and we are indeed guided into spiralling chasms of noise by these dream-like songs. The sound here tips its hat to stalwarts of late 80s shoegaze however there’s a rawness to the Parading sound that indicates their place of origin; a combining of hard edges and formless (I do like that word) noise that makes it a distinct Melbourne album.

There’s been a lot of hype about the rise of the “New Pop Underground”  in Australia recently but the last eighteen months has also been a Golden Age for heavier bands, led by acts such as Batpiss, The Spinning Rooms, White Wallls and Exhaustion, to name but a few. Parading fit somewhere between the two fields; their songs have a tenderness that sets them apart from these other high volume bands. Their sound is undeniably all about volume however and, like the bands mentioned above, seeing them perform live is the best way of experience Parading. My appreciation for this album has been heightened by seeing a few Parading gigs and they’re an impressively tight unit as a band, devoid of showmanship in their performance. What they are is assured, sharp and paint-strippingly loud. It’s the contrast between the power of their performance and the themes of uncertainty and personal struggle in Tom Barry’s lyrics that makes them an intriguing band.

Opener “Apollo” is the heaviest track of the album, a mid-tempo crusher that establishes the elements of the Parading sound : the muted, rock-solid rhythm section, those heavyweight guitars and Barry’s distinct voice.

His delivery has something of an affected slant to it – not slurred but sounding alternately like he is either entering an altered state or coming down from one. It’s a central part of the bands sound and adds to the understated quality of this album – while the instruments are often hitting celestial heights of noise, the vocals keep the sound grounded, and very human. “Apollo” also hints at lyrical themes to come in it’s fragmented, pained conversations with lovers-

You don’t come easy to me;
Thinking of how long;
We didn’t know that we was wrong

“Country Song” is a heavy one too though slightly more melodic than its predecessor, with the presence of acoustic guitar perhaps contributing to the songs title. It’s got a brighter feel to it, with a guitar refrain that almost reminds me of Teenage Fanclub’s “Alcoholiday”. The lyrics  feel conversational but that conversation is happening with just one person – an overseen diary entry of doubt and second guessing.

These dark themes take on their bleakest form in “Flying Too Low”, a song that inverses the myth of Icarus.

Please don’t turn around that’s too slow;
You’re flying too close to the sun;
I’m flying too low

The words here seem to deal with the paralysis of depression. I don’t believe it’s a misanthropic song though the lyrics reference wanting to be alone, of being repelled by society. The feeling of isolation is tangible, though as with many songs on this album the introspective moments are offset by the power of the band. It bristles with stoicism. Parading battle sadness with noise, fend off demons with jet exhaust strength guitars.

At only thirty five minutes “Swallowing A Sunflower” could be regarded as a brief album for a band with such an expansive sound but I think it’s perfectly weighted. Three instrumental tracks break up the album nicely – “Julienne” at the end of side one, “Sweet Julienne” as the second track on side two and the title track as the album closer. Wedged between the two “Julienne” tracks is a crackling cover of Springsteen’s “Factory”. At almost twice the length of the original, it’s delivered at a slower tempo and filled out with a much greater volume. That said it’s one of the more minimal songs on this album, delivered with (of course) less earnestness than the Boss to create a reflective rendition that seems to have more to do with the drudgery of working life than being a rousing working class anthem. Mostly it sounds like a band delivering an affectionate cover a song they admire, and in the context of being a Melbourne album it evokes the city’s hulking docks and factories – an aspect of Melbourne that is rarely acknowledged in song.

“Dreaming about Killing” is aptly named, its dark dreamy tone makes it the most “shoegazy” of all the songs here. A line that concerns a dream about murder can’t help but remind me of the opening line of “Via Chicago”, one of my favourite Wilco songs. And while on the Chicago band, the sound of “Swallowing A Sunflower” does remind me of “A Ghost Is Born” songs like “At Least That’s What You said” and “Hell Is Chrome” in the combining of detached vocals with cathartic guitar noise. Another big influence is undoubtedly Galaxy 500, and the albums high point “Untouched” evokes “Fourth of July” in the spoken delivery of the verses and soaring guitars.

A poignant postmortem on a relationship, it’s a terrific song that’s delivered with great power and honesty.

It was bound to happen;
They were bound to fall over just to get up again;
Two people crashing into each other;
Just to see how close they could get

In tandem with the blissful spaciousness of the closing instrumental, “Untouched” rounds off the album beautifully. Dark days have been encountered on “Swallowing A Sunflower” but it’s an album that leaves a positive afterglow.

parading_list

Like the long Melbourne winter that never seems to end, followed by the spring that never was, followed by the summer that refuses to begin, this album reflects the uncertainty of life in Melbourne but, I believe, rejoices in that uncertainty. Heartache and hardships come and go in this town, just like any other place. The Great Constant in Melbourne is the music – guitars to get lost in. Noise that bleeds the pain away. Great bands releasing great albums that become your closest of friends. Parading are a Melbourne band.

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For a limited time you can purchase “Swallowing A Sunflower” through Birds Love Fighting and receive  “Bow Down To” by Hierophants and the ‘”Fresh Milk EP” by Orbits 7″ for free.
Visit the Birds Love Fighting Bandcamp to do so.

FOUND MUSIC : BANDCAMP 17.11.13

For all that I’ve missed;
I just want to drift

*upper crust cracking riff*

This, friends, this is the sort of music that strikes me right in the solar plexus, leaves me exhilarated, brimming with joy, and utterly vindicated in my decision to spend day in, day out searching for the next piece of music that will make me feel this way. Staten Island band Colour have been around for some time and it’s fair to say they’ve approached Psych Rock Master status with their latest album, “Into The Mirror “. “I Just Want To Drift” is a magnificent conclusion to what is a triumphant album, it’s a colossal twenty minute psychedelic jam. The fuck-the world-let’s-dance sentiment of the lyrics perfectly match the euphoric sound of a great band simultaneously letting it all go and putting it all together, creating a beastly boss hog of a song and taking it to the open desert highway beneath a star spangled night sky, and just riding, on and on and on. Buckle up, you’re invited.

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A mysterious release this from Bois. I couldn’t find anymore info on them other than it’s the solo project of a guy named Brian Bo. And that’s quite ok. Stories of background and influences are irrelevant, the music speaks for itself. “Lost” is a gorgeous album of warped pop music, filtered through gentle static and wavering with a beautiful fragility. There’s a great feeling of solace to these songs (especially in the touches of that warm, reassuring horn)  and I really like the late night introspective atmosphere of these understated songs, particularly evident in “One Souls Only So Deep”. It’s a bittersweet song that quivers between resigned heartache and blissful wonder. Bo’s words  are reflective and yearning, searching for that solace and seemingly finding it by songs end:

“And I learned;
That space is all I need.”

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A melding of extraterrestrial elements and those of a more earthbound, tropical slant, the sound of Ecstatic Cosmic Union is delightfully adventurous. The husband and wife duo venture to outer reaches of slow burning celestial music on this beautiful tape, combining pulsing electronic krautrock with a minimal approach to the psychedelic sound, well represented in this track “X​=​C​=​U”. Tribal rhythms, whale song-esque synths and the understated presence of squalling guitar combine to create a lush, mind bending listening experience. It’s the sort of psychedelic music that succinctly captures the ethos of science fiction for me – richly imaginative art that reaches for the stars, while always gazing within.

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Uncompromising, idiosyncratic, sparse – these are all words that get thrown around when discussing Tasmanian music, and all are apt in describing the sound of Hobart’s Mess O’Reds. Their first release was a promising yet roughly recorded affair and this self titled EP sounds far more refined, perhaps due to the handy work of Everywhere Man Mikey Young in mastering. Better production has not lessened the cathartic nature of their sound however, each song here snarls with a defiant, bristling energy. “Sorry” is my favourite – an angry, angry break up song that cuts deep, pours salt in the wounds, then gets back to opening up more lacerations. The pain is tangible – at times too close to the bone – but I can’t get enough of it. A must see live band, obviously.

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Italian band Julie’s Haircut put together a fascinating collection of songs on “Ashram Equinox”, released on the great San Francisco label Crash Symbols. Listening to the bands older releases provides some context for this album and shows just how much of an adventurous progression it is. As the name of the album suggests this, again, is psychedelic music. It’s an ambitious concept album; perhaps having more of a spiritual, hallucinatory feel than other music featured in this post. I’ve loved listening to this album from beginning to end – it’s superbly produced and paced, each song transitioning beautifully to the next as the band take you on an techni-coloured ride down the rabbit hole. This track “John” stood out to me as being particularly good, the menacing synth providing a slight John Carpenter tone while a glorious kaleidoscope of sound unfurls all around it.

FOUND MUSIC : SOUNDCLOUD 19.10.13

Nothinge is Max Posthoorn, of tragically-now-defunct Melbourne band Sandcastle (an obituary from me is forthcoming – they were a great band). His work as frontman of that group always indicated to me that he was a musical explorer, a restless and curious artist who would not settle on one sound, on a set way of doing things. The steady stream of music he’s been uploading to Soundcloud of late suggests a fertile period of creativity, with these Experimental Series providing especially fascinating listening. The sound of an artist at work.

Boy oh boy I’m excited about the new Trouble Books LP, to be released on MIE later in Novemeber. The soft electronic pop of “Concatenating Fields” was one of my favourite releases of the last few years, a somewhat peculiar album that  intrigued me with its subtle sonic mutations and lyrics of a scientific bent. While this new track is but barely a skerrick, it’s enough to suggest that the new album from the husband and wife duo will provide more many more moments of pristine, off-kilter beauty.

I caught Melbourne Cans supporting The Ocean Party a few weeks back and really enjoyed their set of loose garage pop. Just the one track up on Soundcloud and it’s a roughly recorded gem that’s got something sinister going on:

We could leave our shoes in the shape of a heart; covered in blood

Love that murderous tone, though I do recall a lot of songs in their being a bit brighter. We’ll have to wait and see what their debut release holds.

My mailbox eagerly awaits the arrival of the new Clipd Beaks tape, to be released through Moon Glyph. When I chatted with Steve of said label he described their sound as ” crunchy guitars and weird 90’s vibes” and this holds true with this rather brilliant taster, though the swirling psychedelic atmosphere generated here reminds me more of modern bands like Woodsman. Really got my mouth watering for that full length. Godspeed little tape.

If I had to choose just two words to describe the music of Spain’s Lucrecia Dalt they would be minimal and inventive. Her music rewards – nay, demands – close listening. This new track is a great representation of the sublime subtlety at work in her music. If “Mirage” seems to stretch on longer than its five minutes then that’s because it is deceptively dense – sounds introduce themselves then depart, rhythms form and then decay, and then there is always Dalt’s voice : haunting and barely there, wavering like heat on a blacktop highway. An amazing artist.