News: SITG 2018 Sideshows have been announced!

Monday, April 23, 2018
(Above- Superorganism)

Get excited, a whole heap of sideshows were announced for SITG 2018. To make life easier for you, we've rounded them all up below!

JULY 22ND - 170 Russell - Melbourne
JULY 24TH- Metro Thearte

JULY 24TH - Hammer Hall, Melbourne
JULY 25TH - State Theatre, Sydney 

JULY 24TH - Festival Hall, Melbourne
JULY 25TH - Hordern Pavillion, Sydney

JULY 22ND - Hordern Pavillion, Sydney
JULY 23RD - Margaret Court, Melbourne

JULY 18TH - The Tote, Melbourne
JULY 19TH - The Lansdowne, Sydney

JULY 15TH - The Factory Theatre, Sydney
JULY 18TH - Melbourne Recital Centre, Melbourne

JULY 20TH - Oxford Art Factory, Sydney
JULY 21ST - Prince Bandroom, Melbourne

JULY 19TH - Howler, Melbourne
JULY 20TH - Oxford Art Factory, Sydney

JULY 24TH - Howler, Melbourne
JULY 19TH - Oxford Art Factory, Sydney

JULY 18TH - The Lansdowne, Sydney
JULY 19TH - The Evelyn, Melbourne 

JULY 21ST - Corner Hotel, Melbourne
JULY 24TH - Oxford Art Factory, Sydney

Premiere: Lisa Crawley – 'You Got Me'

Wednesday, April 18, 2018

Today, we're delighted to bring you Lisa Crawley's new single 'You Got Me'. Crawley has spent a year off working on other music endeavours, such as arranging music for Symphony Orchestras, creating and performing her own cabaret 'Elizabeth' (which featured during Melbourne Fringe 2017) and touring. Her new single was crafted in her Melbourne studio, as well as in Canada. Crawley also spent time working on the single in mentor sessions with Grammy award-winner Kim Richey.

'You Got Me' is raw and sentimental. Crawley weaves in introspective, yet dazzling lyricism, delicate guitars and her soothing vocals, and the result is an absorbing mix of magical sounds. If you're looking for a new dreamy number for your playlist, then look no further than 'You Got Me'.

Lisa Crawley will be launching the single on Sunday 22nd April at Open Studio in Northcote. The night kicks off at 5pm and tickets are available at the door for $10. She will be playing the show with Mimi Gilbert (USA). More information is available here.

Gig Review: ILUKA | The Grace Darling | Melbourne | 14.04.18

Tuesday, April 17, 2018

A teeth chattering, autumn grey Saturday was very soon filled with sunshine from the sounds of sizzling Sydneysider ILUKA. ILUKA is currently on her six Aussie show tour for Ritual, tonight gracing a 19th century old Melbourne pub with flare.

Introducing herself in 2013 with her EP Paper Doll’, 2018’s Ritual is all about the present. ILUKA has left her musical footprint at the likes of Byron’s Bluesfest, Vivid Sydney’s event for Women in Music, and across miles of waters, playing gigs in France and New Caledonia.

Planted on a corner stage, two Melbourne bands Royal East and The Mamas are tasty appetizers for the night. Consisting of four mates, Royal East breaks the ‘first gig of the night’ seal, meshing well together as a group with their Southern California, modern day Beach Boy vibe and party-rock energy. ‘Say Hey’ draws listeners in as a fun, celebratory anthem for good times.

The Mamas sure did not disappoint with their addicting harmonies. Combining funky fem-hop, soul and shoulder bouncing choreography, this eight-piece group wowed everyone with ‘Sneans’ and a song about vegetable euphemisms. Together they shadow a witch’s cauldron of ‘Pitch Perfect’, ‘Dreamgirls’ and The Chordettes served in contemporary twang. Their keyboard ‘papa’ is pure talent, leaving us (and a far far away Elton John) jaw-dropped with his agile playing. 

ILUKA’s 11pm set congregates more people upstairs of the pub, where they shall expect to hear a mix of retro pop sounds (with a backstory) distributed by her mature beyond years voice that commands attention.

‘Ritual’ features some great sax and captivating instrumentals, a perfect sounding track to feature in a television advertisement for a new Australian ‘Offspring-esque’ drama series. Likewise, ‘Sympathy’ immediately hooks you in with jazzy, marching band flair – a track nodding to societal outcries to empower today’s generation to take a stand and raise their voices. There is no sax in the live version however her three-piece band is enough as a sufficient accompaniment.

“Now we’re all fighting for a sentimental victory, a shallow dream of how we imagined it to be”, she sings.

ILUKA’s set is a blend of fizzy creaming soda, blood orange velvet, a scattering of daisy chains and the crackle of a vintage TV playing 'Monster Mash'. ‘Sleeping for 20 Years’ is a title escapists can relate to, one certainly to fascinate. Upbeat on the surface, it has an underlying bittersweet “a restlessness inside” lyrical nature.

The crowd experienced an assortment of swanky tunes by ILUKA, ones to get you on your dancing feet and others to swirl you off into another state of being. Consistent with the quantity of music she’s put out this year and last, it will be interesting to hear how she’ll progress with her catalogue of songs.

Written by Sally Hui (@sally__hui)

You can catch ILUKA at these remaining dates:
20th April - Rad Bar, Wollongong 
21st April - Waywards, Sydney

Gig Review: Donny Benét | Howler | Melbourne | 14.04.18

Monday, April 16, 2018

I didn’t expect to walk into a time machine when I headed into Donny Benét’s gig at Howler, but that’s exactly what happened. Benét, who fans affectionately call ‘The Don’ (which is also the title of his latest release) revived the 80s in mighty style and the crowd were pretty darn excited about it.

Benét made his way onto the stage with his band, launching straight into ‘Working Out’ — which not only set the precedent of the high-quality sounds that we were about to be gifted by Benét and his band, but the amount of grooving the audience was expected to do. Looking around the room, there were quite a few eccentric dance moves from the audience (including some of my own) and it turned the energy right up. Despite Melbourne’s icy cold air, everyone wanted to let their hair down and have fun, and Benét provided the perfect opportunity for everyone to do this.

The alluring vibes of Benét’s sound continued on with ‘Love Online’, where the eagerness of the crowd was still burning bright. During his performance of ‘Love Online’, I spotted a girl near me who was on someone else’s shoulders — and if you haven’t been to Howler before, it’s an intimate venue, so this was a funny sight. After ravishing through ‘Love Online’, Benét announced to the crowd that he was playing The Don in full, which was exciting for everyone in the room.

Benét ploughed through the rest of The Don including the trance-like 'Konichiwa', which continued the fire that was clearly there when he hit the stage from the beginning. 'Konichiwa' also featured a fine saxophone solo (gold star stickers to Benét’s saxophonist who killed it all night!)

For his encore, Benét played a rendition of 'I Was Made for Loving You' by KISS, which was ever-so-magical. He added his own flair to the track and made it his own. Benét departed the stage with 'You'll Find Love Again', which is off of his 2011 release Don't Hold Back.

Donny Benét’s performance featured everything you could possibly want from a gig — including good vibes, galvanizing energy and dazzling sounds.


Interview: A Chat With J. Willgoose Esq. From Public Service Broadcasting

Public Service Broadcasting — if you're unfamiliar with their work, you'd be forgiven for thinking that they could be a sister television or radio station to either the ABC or perhaps SBS; but they're actually a band from the UK who make good use of archived recordings by layering them atop a soundscape of their own creation.  It sounds strange I know — and it is - but their use of these obscure samples (that could rival the likes of The Avalanches) just bloody works I tells ya!  Their third album Every Valley manages to propel an important narrative while simultaneously pleasuring your aural cavity.  The album was centred around the decline of the coal industry, specifically in South Wales, UK and the injustice experienced by the shafted miners of the area.  Here's what founding member J. Willgoose, Esq. told me about the album this week, ahead of their upcoming Aussie shows in May.

Good afternoon, I believe it’s afternoon for you over there in Liverpool?

Ah, it is definitely morning.  I'm still waking up.

Well, it’s evening over here and while you’re probably preparing for a show tonight, I’m getting ready for a night of drag queen bingo.  Not a super relevant opening to the interview but here we are.

Wow, that sounds like fun.

Now I have to say, never before have I done so much research or learnt so much about a specific political issue when preparing for an interview as I have for this one!  

Ah geez. Sorry about that, yeah.  

(Laughs) So I apologise in advance for the long-winded questions.

The decline of the coal industry, especially throughout the mining towns in South Wales (UK) is certainly a different thematic topic for an album.  With the move towards sustainable energy and consequently away from the use of fossil fuels, this music piece is and will become more and more relatable as countries make the shift.  I noted that you have no family ties to the location or the mining industry, so pardon the pun but where did you dig this idea up from?

(Laughs) Yeah. That's a good question.  I think it kind of just follows on from the last two albums that we made and the sort of subject matter that we've been looking at and [with] the last album was The Race for Space and are all kind of, large-scale, epic, grand achievements of mankind etc... and it's similar to some of the stuff on the first album, you know the conquest of Everest and things like that.  [We] didn't want to just get kind of sucked into becoming formulaic and predictable in terms of the subject matter we looked at.  We wrote a lot with the British Film Institute (BFI) and I knew that they had a massive archive of 'Coal Board' films.  The National Coal Board used to have a dedicated film unit, which released films on a regular basis so I knew that the material was there and I thought maybe we can do something interesting with that; and that was kind of the starting point really for descending into making an album all about mining and trying to focus it as much on community as coal itself.  That's why we ended up centring it in South Wales and giving it that particular focus.

I did notice how much research it must have taken to obviously, not only learn about the issue at hand but to physically track down appropriate recordings from the BFI to use.

Yeah it was a lot, and it wasn't just the BFI, this album, I was working with the South Wales Miners' Library at Swansea University and some smaller production companies who make documentaries as well; and then there's... the poem for example that we got the rights to have on the album and finding the right piece of music for the choir to sing.  It was pulling together a lot of different strands from a lot of different areas.  It was pretty labour intensive — especially some of the audio interviews - just listening through them because there are no transcripts for this stuff, unlike some of the stuff we've worked with before.  [There were] no synopses really so it was quite... well to find out what song it is [you just have] to sit down and listen to them for an hour and a half.  And there's no way around that, you've just got to get on with it and hope you get something good out of it.  But luckily, in amongst a lot of stuff that turns out to be not particularly useful, you do find these little gems that just kind of leap out at you.

100%. Is it almost an easier process for you guys to create the music around it?

I wish it was.  (Laughs) Um, no I think in the end the research is easier because you know, it's something you either find or you don't.  Whereas with music, you just never know if it's good.  You just never know.  Even the ones that you start off friggin' sure about, confident about, you know, it's then just the endless sort of self-questioning and self-doubt.  It's the same with anyone who's writing anything, whether it's music or a book or poetry or even doing a painting.  It's that constant quest to make it as good as possible and to make sure you got the most out of what you were trying to do.  It's only really happened once or twice in our history that we've had something that I think I came away from it thinking, "Yeah, that's a winner."  Otherwise, it's just fairly torturous sadly.

Well, it's definitely not predictable as you said.  

(Side note: *The champs were also selling a t-shirt to raise funds for the Orgreave Truth and Justice Campaign.  I recommend spending some time at J. Willgoose, Esq's Tumblr blog page for further reading.  After you've finished reading this article of course :) )

Now there will obviously be a lot of people displaced by this shift away from coal – and while some can I guess be trained or employed in the sustainable power projects there will be many people that will suffer in similar ways as they have in South Wales.  It’s very cool that you guys are donating a share of your profits to the South Wales Miners’ Benevolent Fund to support these ex-miners and their families.*  You also played your very first gig in support of “Every Valley” in Cardiff, which is in the area that you were focusing on.  How was it received there?

Yeah well, we did do the show in Cardiff as part of the larger tour but we also did two shows in the room [that] we actually recorded the album in, which is a 300 capacity hall in the valleys themselves, up in Ebbw Vale.  Those shows seemed pretty special and very emotional just in terms of like giving something back to the community, which had helped us and supported us.  It just felt like a good, socially responsible thing to do, so we were very happy to do that.  And then the sort of bigger shows rolled around and Cardiff was the first of those bigger shows and I think because it was the first night of the tour we were all a little bit on edge — there were various things we hadn't really tried.  We'd rehearsed them but you never know how they're going to go until you actually get out there and play them.  It was quite overwhelming actually, it was quite an overwhelming response.  The crowd you know, they just really went for it and I just remember we closed the show by getting the Beaufort Male Choir to come up and sing 'Take Me Home', which is how the album ends as well and that sound is such an emotional sound - just being in that room and the whole crowd sang the national anthem back at the choir in Welsh and it just felt like a really special moment.


It's just lovely to have that kind of acceptance, from a region that we're not from and for a subject that we're not directly connected to, to get that kind of response and that kind of endorsement in that way, it was just absolutely lovely.

Definitely!  And probably very hard to top for the rest of the tour, getting something like that straight off the bat!

It's definitely one of the ones you'd remember, yeah.  That's for sure.

My personal favourite from the album is 'People Will Always Need Coal'.  There is so much going on with this one and the title instantly piques interest.  Throughout the sampled recordings you’ve even managed to touch on the very much outdated but still prevalent rationale of having all male or mostly male industries; while staying on course with the inclusion of misleading quotes pertaining to the security and stability of the mining industry itself.  Was the track intended to be a demonstration of how much we’ve changed in such a short time? 

Yeah and I think, you know, its darkly ironic title is intended to show how things that can seem so certain in one particular era or one age, you know, it doesn't take that long for them to change.  The first thing to change here, I think, was that.  This is an advert that was produced in 1975 boasting how there is lots of money and security in this industry and nine years after that, the UK's going through its biggest ever industrial relations dispute - the year long miner strike and people going without pay for all that time, going through great hardship and struggling through it and then the gradual - not knowing then - but the dismantling of the industry and the kind of discarding of these workers who have done so much for their country over the years, just being sort of left on the scrap heap and left to fend for themselves.  It's a really kind of sad past and I think it's very illuminating - it kind of illuminates human behaviour in a way; things that can seem so certain in some areas just very quickly fall apart in retrospect.  Just the title 'People Will Always Need Coal', I mean, no they won't, they definitely won't.  There'll be other sources of energy to replace it.  That kind of certainty is very misplaced, I think.

Yeah definitely, I was actually thinking, given the ironic title, you should send it to Trump in the hopes that he'll use it on face value in support of the coal industry because you know he won't put any research into it (laughs).

Aaaaah, I don't want anything to do with that man.

Well the titular song, 'Every Valley' has some awesome foundations that I feel could really be well used in the background of a movie.  There is a slow burning intensity to it.  Have you ever thought about the possibility of creating music for a film score?

Yeah, I'd love to!  We get asked this a reasonable amount, which hopefully means that there is potential there but um... maybe if they ever come knocking seriously.  But you know (laughs) if they're listening and they're out there, I think it could be a really interesting thing to work on.  I think I would've felt much more, sort of overawed by it if we'd been approached early on, after the first album or something; I don't think I'd have felt ready but I think we've kind of grown up a bit and matured a bit and just in terms of the use of different instruments, different textures, different techniques and things like that, I think I'd feel much more confident about tackling something like that these days.  

Definitely! Well, I think that if they probably read Wickedd Childd I think this could be your in!  They'll see that you're keen and I reckon it'll take off from there.


The spoken passage featuring Richard Burton — who in my opinion is the UK’s vocal-version of James Earl Jones — effectively paints a picture of the way miners were perceived and where they saw themselves fit into the social hierarchy.  You’ve put that on top of layered music that has the super intense gradual build I mentioned earlier, with a minor fade at the end.  Was this an intentional tactic used to kind of, build a subconscious tension and unease for the listener – sort of in line with the heavy subject matter?

I think so, I think the whole opening track is a lot of discordant strings and there's tension inherent even in that, in terms of the fast sort of, tremolo strings (I think you call it) and it's kind of suggesting a kind of pastoral scene to me in terms of the sound of it/the use of the instruments but at the same time it's suggesting a kind of tension within that, and a darkness you know?  This industrial darkness eating away at the landscape and sort of blighting it for future generations.  This sort of fall from grace that's around the corner but there's still this kind of big monolithic side at the time in this seemingly unstoppable industry.  It seemed like a good way of setting up the album.  It was great fun to record it, working with the strings and that was amazing.

Well, I don’t know how much you guys value lols or pranks during your live show, but maybe you could just throw in a massive Skrillex style drop instead of the slow fade at the end – you know, just to mess with the crowd. 

(Laughs)  Maybe!  Yeah we'll see.  You know, we don't mind having fun on stage.  It's certainly a long way from being po-faced (laughs).  We'll see.

(Laughs and Googles the phrase "po-faced" - it means, 'humourless and disapproving' for you curious Aussies).  Well looking at your own personal blog on Tumblr (link), it seems as though you’ve gone from being quite a non-political artist and have progressively become more and more confident about speaking out or using your platform for matters you believe in.  One of which, you spoke at length about a seemingly innocuous post from a fan about your collaboration and tour with Smoke Fairies and how women seem to be taken less seriously as artists and musicians.  Although this was a really boss blog post and you guys seem to be aligning nicely with my own personal values, have you found that having a public opinion on these kinds of issues has alienated fans or detracted from the music at all?  Or maybe the opposite is true?

Um, probably... I think it kind of makes the people who agree with [you] feel more strongly about you in terms of in favour but I'm sure it's turned some people off and I think you have to accept that if you're going to start talking about things like this and talking about more personal beliefs then it is going to turn some people off.  But I would rather do that and be honest and speak up for these kinds of things that we're interested in and that we believe in and the kind of changes that you want to see in the world/the kind of world that you'd like to reflect I suppose than just kind of play it safe and toe the line and just aim to sell as many records as possible.  It's never been about that for us, it's kind of a creative endeavour.  And I think, yeah you're right, it's just confidence.  Confidence growing in all kinds of manners as the albums have come out.  You know we're on to album three now and it's just realising that you have earned a voice and that you have the right to use it for whatever you want to and there's always going to be people who try and tell you to shut up or [that] you should stick to this or stick to that - but I'm not really having any of that - I think that is absolute nonsense.  I don't believe that art and politics are divorced and are used in different spheres at all.  I think that's just, well it's just nonsense, absolute nonsense on every level.  So yeah I just felt like we've gone way further with this and had way more success with it than I ever thought we would do.  So what do you want to do with that?  Do you want to try and be a force for good in your eyes or do you want to just play it safe?  You know it wasn't really ever a choice.  

If you've got a voice, use it.

Well yeah, you know, we've earned it.  Other people buy newspapers and endlessly use them as their mouthpiece for their own political purposes and they don't necessarily get told to shut up.  They just get on with the business of quietly poisoning people minds with nonsense and lies.  And for us to really have pulled ourselves up to where we've got to and to be told to shut up - well I'm not having it really.

Excellent.  That's what I like to hear.


Do you remember the first time you heard your song on the radio?

Yes.  Yes, I do.  It was going out at 2 in the morning on BBC 6 Music in kind of an introducing program.  They tell you in advance that your music is going to be played and me and my wife were away on a camping trip (laughs) and we both sort of decided that we wanted to stay up to hear it even though it's pre-recorded.  So we brought a portable DAB radio and just stayed up 'til 2 and yeah (laughs) it was amazing.  It's the sort of thing you never forget.  It's weird how quickly you just get used to stuff being played on the radio, but you shouldn't really because it's so amazing having stuff being played out there and being listened to.  That sense of wonder and just delight, you shouldn't really lose that.  

Can you name a song that you think is just absolutely, flawlessly brilliant but is super underrated (and it can be one of your own songs)?

(Laughs)  It's never going to be one of ours.  No chance.  Um... hmmm... underrated... I mean it's not underrated but perhaps it's sneered upon by people but I can't get enough of 'Rosanna' by Toto.  I just love it so much.  It's such a great song.  It's just incredible.  It's one of those songs that you kind of know and that you know, you know it but if you actually sit down and listen to it properly, you're just like, "Woah! That is awesome!".  So yeah, we've all become slightly obsessed with that over the years.  It gets played before most shows. So I'd probably go with that but even then, it's sold millions of copies so I don't know how underrated it is.  

Is it true that once you’ve done a TED Talk, you are just instantly a better person and more highly regarded in society at large?

(Laughs)  Well, it was TED x.  It was a fringe event so I don't know if I'm quite on that level yet.  It was interesting, you know?  It was quite a challenge trying to fit it all into that actual space of time.

What are you most looking forward to doing in Australia?

Um... Seeing my friend actually, I've got a good friend in Melbourne who I haven't seen for a while, so I'll actually stay with him and you know, just hang out.  But the food there, that was what really blew me away last time.  I wasn't expecting it to be as good.  And the tea!  It's very hard to get a good cup of tea on tour.  Wall to wall good tea.

Tea?  That's a big call!  

Yes, it was good tea in Australia.

The next one is a weird one.  It's a 'Would You Rather?'.  Would you rather eat every meal for the rest of your life from a petrol station or speak with a racist, stereotypical Indian accent for the rest of your life?  (Question courtesy of Tosh.0,) (LINK).

Ah Jesus!  (Laughs) Well, they're both awful!  Ah, well I'd probably have to go with the petrol station though because at least that's only causing harm to yourself rather than causing harm to everyone else.  

You'd have to take the missus on a nice date down to get some microwave pies.

Oh God yeah I think that'd be the end of the marriage.  I'd rather not though, is that an option? (Laughs)

Do you have a random interesting fact (it can be about anything or yourself or the band) that you’d like to share?

Oh God, I'm normally full of them.  Um.  Giraffes are the only animals born with horns.  There ya go!

Really?  OK, perfect, that's a great fact.  Well, thank you so much for chatting with me today!

Thanks, it was nice, cheers!

Public Service Broadcasting are touring Oz in May. Details as follows:
08th May - Howler - Melbourne
10th May - Oxford Art Factory - Sydney
(Tickets are available here)

They're also playing at Groovin The Moo 2018.  

Written by Kate Carnell (@Kate_Carnell)

Album Review: Confidence Man – Confident Music for Confident People

Friday, April 13, 2018

With their debut album, it seems as if the powerful foursome of Confidence Man (Reggie Goodchild, Clarence McGuffie, Janet Planet and Sugar Bones), may have created a new genre of music perfect for strutting down the street. Confident Music for Confident People provides lively, strikingly daring music produced through the eyes of the self-assured individual. The album boasts eleven bold tracks, including four of Confidence Man’s earlier singles, 'Boyfriend (Repeat)', 'Bubblegum', 'Better Sit Down Boy' and 'Don’t You Know I’m In A Band'; which is the newest to the collection and an instant classic banger. The album manages to capture the inner-monologue of any young adult who has been caught thinking in the centre of a dance-pit.

The opening track 'Try Your Luck' has a fun pop feel and the lyrics are as confident an introduction to an album as one could wish for, with lyrics essentially telling people how good they are while proudly strutting their sound. 'Try Your Luck' provides a strong start to the album and a kick off before the fun begins.

The second track, 'Don’t You Know I’m in a Band', (which is Confidence Man’s most recent single) is a standout on the album. With low, yearning vocals by Sugar Bones and lyrics that describe the life of a young band member, the song is sharp and it's driven by a house bass kick and popping synth swells.

Not only can Confidence Man mix multiple genres into their sound (highlighting funk, dance and pop), the lead vocal duo of Sugar Bones and Clarence McGuffie, often switch vocal positions, and often involve spoken lyrics. The fourth track of the album 'C.O.O.L Party' takes the essence of this idea and skillfully expands on it. 'C.O.O.L Party' has Clarence McGuffie explaining how COOL the party of the year is. The track has a focus on spoken lyrics, with interjections from Sugar Bones voicing the word “cool”. The lyrics are the real focus of the recording but don’t detract from the boundless, dynamic dance soundscape occurring under them.

The album bounces through multiple contemporary dance genres with some songs having a particular throwback quality, with beat patterns reminiscent of early 2000s dance tracks. This includes 'Out The Window' and the centrepiece of the album, 'Let Me Catch My Breath'.

'Out The Window' focusses on the heavy bobbing bass. The high jubilant vocals are also wishing for “a good time”. The light keyboard chords help move it away from a sole dance track; especially in the back-end of the mix. On the other hand, 'Let Me Catch My Breath' feels like an early 2000s dance mix, with repetitive hooks and a solid rhythmic beat pattern working throughout the track. It’s the kind of track you could expect to hear at any house party playlist — it quickly lifts the mood wherever it’s played to new heights. The track also works in some grooving key lines and soaring synths to further build the track from a dance track to a fusion of electro-indie production.

'All The Way' brings the funk through Confidence Man’s strong use of bass guitar and driving Latin-inspired percussion section. It moves away from being solely a dance track, but still having sections that explode with energy — especially through the chorus’ group vocals and incumbent bridge, which swells with vitality.

The album closes on 'Fascination' — this track brings the album to a classically cool end. 'Fascination' showcases what has made all of their other tracks pop so well with their, bouncing funk bass lines. Percussive elements, such as the use of the tambourine, bongos, and the group vocals have a soul-like vibe. All of this works together perfectly in 'Fascination', with no sound overpowering the other, and ultimately helps the recording stand-out amongst the plethora of memorable tracks on the album.

Most of all, Confident Music For Confident People lets everyone have fun. The album should even have the most reserved individual getting up and having a dance. When the tracks come on, it’s almost hard not to move; whether you’re at home, in the car or just walking out in public. The album stands apart from a lot of other tracks in the electro-indie genre, as Confidence Man is able to fuse so much more into their sound. The focus generally sits on the dance beats and accompanying sounds to build the energy; but the vocals, occasional percussion and piercing relatable lyrics really help put Confidence Man’s album in a league of its own.

Written by Daniel Hanssen (@dangigman)

You can watch Confidence Man's video for 'Don't You Know I'm In A Band' below:

Confidence Man will be appearing at Groovin The Moo 2018. You can also catch them live at their own shows:
4th May – The Triffid, Brisbane
11th May – The Capitol, Perth
18th May – Metro Theatre, Sydney (all ages)
20th May - 170 Russell, Melbourne
Ticket info is available here

Feature: We Play 'What Song...' with ANH

Thursday, April 12, 2018

Gold Coast's ANH recently shared his new single 'All Night', which features dreamy vocals from Blair De Milo and a freestyle from Danny Dwyer. Before you jam it below, get to know ANH in our latest 'What Song...'

What song reminds you of your youth?
'Big Jet Plane' by Angus and Julia Stone
I feel like I’m still in my youth but definitely listened to a lot of indie and folk music when I was younger. Their Most memorable song would probably be 'Big Jet Plane' by Angus and Julia Stone.

What song would you love to sample?  
'Mystery' by Fabiana Palladino
I really like sampling niche songs that people might not be familiar with, there’s this song by Fabiana Palladino ('Mystery') produced by Jai Paul which has the most unique chord progression. can definitely imagine a dark R&B beat on it.

What song do you have on repeat right now?
'Make Luv' by Brent Faiyaz
Anything by Brent has been on repeat for quite some time now. Honourable mention would also be 'Freudian' by Daniel Caeser."

What song reminds you of your last holiday?
'Kung Fu Killer' by ESTA.
Last holidays I was in Vietnam, this was when I started getting into producing and the beat scene. 'Kung Fu Killer' by ESTA. is definitely one of the beats that inspired me.

What song do you wish you collaborated on? 
'River Tiber' ft Daniel Caeser by West
I wish I was a collaborator in West's 'River Tiber' ft Daniel Caeser. I’m a sucker for live instruments.

What song would you love to cover live?
'One Night Only' by Sonder
If and when I have the courage to sing, would definitely love to do a live cover of 'One Night Only' by Sonder.

Listen to 'All Night' by ANH below:

Now Playing: James Bay – 'Us'

Tuesday, April 10, 2018

'Us' is the latest single to be released from James Bay’s soon to be released second full-length record Electric Light, which will be available online 18th May via Republic Records.

Straying not too far away from the sound he presented in his debut album 'Chaos and the Calm', Bay presents a stripped back acoustic tune. There's a sense of confidence in this track that comes naturally to Bay. It is seemingly catchy at first with a glistening piano intro weaving you into the rhythm. The track then grows into a more impacting sound involving percussion that is completely infectious. You can't help but grasp onto the lyrics easily.

The use of his looping vocals is a sweet touch to help put forward his question ‘tell me?’. Listeners are then lead into a gospel-like sound that brings the song to life. With the release of Electric Light not too far away, these touches are giving subtle hints that he is refining his striped back, classically organic sound.

Written by Kristy Smolcic

(Photo via James Bay's FB)

Gig Review: The Jungle Giants | 170 Russell | Melbourne | 06.04.18

Monday, April 9, 2018

Since their inception, The Jungle Giants have become known for high spirit and exciting live performances — Friday night was no exception to this. Combining with their two openers, Evan Klar and Alice Ivy, there was something for everyone as the evening progressed.


Evan Klar was an exciting opening act for the night, using his indie-rock fused with percussive elements. Playing tracks from his recent album, Deepest Creatures, Evan Klar pumped up the crowd early to kick-start the evening of fun with his energetic tracks 'Sleep' and 'Shoulders'.

His song 'Deepest' had a real pull — moving away from the frenetic rhythm-driven tracks during his set. The mellowed sounds from the band in 'Deepest' and his softer vocals suited the mood of the song particularly well. It also allowed for a brief reprieve before he fired the power back up through
'Selfish' and his closing track 'Barefoot'.


Alice Ivy was the ultimate opening act for The Jungle Giants. She wowed everyone with her wild production and her boundless energy, which quickly transferred into the crowd.

She was the ever-gracious host, constantly asking if everyone in the speedily growing room were ready to for The Jungle Giants — amping everyone up to dance, sing and groove alongside her and the music.

She crashed through her near hour set, playing many of her fan favourites, including hits off of her most recent album I’m Dreaming, including 'Chasing Stars', 'Be Friends', 'Charlie' and 'Touch' before closing out her set with 'Get Me A Drink' causing the crowd to erupt into hysteria, belting the lyrics of the song back at her while she drove home a scintillating guitar solo.


The Jungle Giants made a strong impression, showcasing their particular energetic zest and whimsical style. They again reminded their mass following of fans why they are an exciting force as live performers. The stage set up was somewhat different from other shows the band has previously performed — featuring three large light up cubes, the symbol from their album forcing Keelan and Cesira up on to platforms on either side of the installation.

Coming off the back of their 2017 release Quiet Ferocity, The Jungle Giants rolled through a setlist containing the best fro, the album, jumping immediately into 'On Your Way Down' to start their set off at full charge. They then moved through 'She’s A Riot', 'Anywhere Else', 'Waiting For A Sign', 'You’ve Got Something' before the signature track of the album, 'Quiet Ferocity'.

'In The Garage' was the slowing moment of the set, and gave both Sam Hales and Cesira Aitken some breathing room. As the two leads left the stage for a few moments, the crowd were delighted and entertained by the rhythm section with Keelan Bijker’s drumming and Andrew Dooris creating smooth, funky bass lines that perfectly complimented the drumming alongside some fun solos.

They then rolled through 'I Am What You Want Me To Be', 'Bad Dream' and 'Used To Be In Love' to end the major part of their set. The intensity of the performance was electric within The Jungle Giant’s set, with the band’s cultivated sound of low bouncing bass, driving punchy drums, Cesira’s zippy guitar lines and Sam’s jubilant vocals, so well known from their recordings, coming alive on the stage. They were also accompanied by a light show that smoothly complimented the music of The Jungle Giants and help facilitate a mood to help people dance, sing and have fun with the band.

The Jungle Giants’ encore was a short one, made up of only two songs, but their selection of tracks made it worthwhile. They played both, 'People Always Say', a debut live performance, before the band tied up their set with an extended rendition of 'Feel The Way I Do'. The track was a perfect end to their set, bringing a high powered and exceptionally fun end to what Sam called one of the “most exciting” shows they had played.

It was a little disheartening to see the band have to walk off of the stage, much like a rollercoaster, as soon as the set begun it was over, but every individual who attended the event would have walked away cheerful after The Jungle Giants gave us all an awe-inspiring performance.

Written by Daniel Hanssen (@dangigman)

You can catch The Jungle Giants at their remaining shows:
Wed 11 April - Metro Theatre, Sydney [LIC/AA]
Fri 13 April - Metro Theatre, Sydney [LIC/AA] (SOLD OUT)
Sat 14 April - Uc Refectory, Canberra
Sun 15 April - 170 Russell, Melbourne - (SOLD OUT)
Wed 18 April - Croxton Bandroom, Melbourne - (SOLD OUT)
Thu 19 April - The Tivoli, Brisbane
Fri 20 April - The Tivoli, Brisbane - (SOLD OUT)
Sat 21 April - Sol Bar, Maroochydore - (SOLD OUT)
Sun 22 April - The Zoo, Brisbane [U18’s] – (SOLD OUT)
Tue 24 April - Astor Theatre, Perth [LIC/AA] (SOLD OUT)
Wed 25 April - HQ, Adelaide [LIC/AA]

Feature: We Play 'What Song...' with Donny Benét

Last Friday, Donny Benét released his new album The Don into the wild via Dot Dash. With shows fast approaching, Donny Benét takes us through some of the tunes that he loves the most.

What song would you love to sample?
'Love T.K.O.' by Teddy Pendergrass
Not really a sample guy tbh, but I'd be proud to rip off Teddy Pendergrass' 'Love T.K.O.' Everything is perfect - the little bass octave slides, the strings, the drums... Everything.

What song reminds you of your last holiday?
'Lovely Lady Of Arcadia' by Demis Roussos
My last holiday of note was in Milos, Greece. Demis does it for me. I drank so much tsipouro and ate so much octopus.

What song did you love in high school?
'Just Around the Corner' by Herbie Hancock
I grew up in the 90's and hated grunge... RHCP were my boys but I was really into jazz fusion. This Herbie track was my vibe. Freddie Washington on bass is king.

What song did you last play in the car? 
'Dancing with Tears in my Eyes' by Ultravox 
Such a beautiful and sad song. I'm really into this clip - makes me want a steinberger bass.

What song do you wish you collaborated on?
'Der Kommissar' by Falco
Fantastic use of the Linn lm-1. Such a cool guy.

What song was your favourite track of last year?
'Another Weekend' by Ariel Pink
He's one of my favourites and first inspirations. I gave him my demo cd back in early 2011. I don't think he listened to them.

You can catch Donny Benét on the below dates:
Sat 14 April - Howler, Melbourne
Sat 21 April - Black Bear Lodge, Brisbane
Fri 27 April - Oxford Art Factory, Sydney
Sat 28 April - Uow Uni Bar, Wollongong
(More information is available here)

Gig Review: Pseudo Mind Hive | The Evelyn Hotel | Melbourne

Hailing from Melbourne’s Western Suburbs, Pseudo Mind Hive (PMH) are killing it in the live music scene at the moment. After the release of their singles 'Highway to the Purple Sky', and 'Don’t look the Wizard in the Eye', PMH are settling in for a residency at The Evelyn Hotel for two more weeks in April.

The kick off to their residency was nothing short of huge, and I mean huge in the most literal sense I can possibly use it in. With the fuzzy crunch of their riffs, thrash and crash of the drums, and the reverb-laden vocals of a giant, PMH’s sound is forever going to be innovative. They crush up elements of the greats such as Black Sabbath, and Pink Floyd, and mix them up with some of the more recent artists to hit the scene such as ORB and Elder to create their own yummy mix of psychedelic granola for us to ingest.

Another thing the band has going for them is their ability to get you so lost in their music that you lose track of time. Through their very carefully crafted song structures that effortlessly turn a single riff into a 10-minute odyssey, they transport you from castle to forest, beach to underworld in seemingly no time at all. A 40-minute set turned into 5 minutes of bliss in the blink of an eye, only leaving me wanting more and feeling the need to return to the rest of their residency shows.

Every week at the residency they are housing different visual artists to fill the band room with their lovely art and eventually join the gang on stage to create pieces live. This week featured Martha Dawson, an abstract painter who uses patterns and colour to create beautiful artscapes that melt you into a different world as you get lost in the many little intricacies that hide in plain sight in her works. Also helping out the band was digital artist Robbie Broadstock who brought the music to life with his visuals gracing the stage, putting the perfect cherry on top of the most perfect performances.

If you have a big appetite for anything doom, sludge, psychedelic and anything in between then Pseudo Mind Hive are the band for you. They have two more nights left for the residency happening every Tuesday night at The Evelyn so do yourself a favour and head on down for some bevs, bands, and beautiful art.

Written by Jaspar Robinson

Pseudo Mind Hive's final two residency shows will take place on Tuesday 10th April and Tuesday 17th April. More information is available here.

To have a glimpse at Martha Dawson's art, click here.

You can find Pseudo Mind Hive online below:

(Photo by Daniella Petani)

Gig Review: BØRNS | Howler | Melbourne | 27.03.18

Sunday, April 8, 2018

Michiganian specimen BØRNS (Ultimatum), aka. Garrett “Gazza” Borns, abracadabra-ed his music on us in a snug room at an artsy North Melbourne bar Tuesday night – so snug that a front-rower could hug Gaz’s legs with 20/20 vision of his nostril hairs if they gazed up. A potent and lingering, woody, cardamom fragrance sealed inside a dark cologne bottle dusted with flecks of cigarette ash and broken glass can be said this gig’s bodily functions.

Fellow Melbournian Woodes welcomes the evening in a grandiose billowing Friar Tuck brown drapery of an outfit that looks utterly comfy with little to none prospects of mid-performance chafing. She sangz and bangz her way through her set lending Woodes to be a crowd positive opener. Her tribal-esque ‘animals running in the wild’ sound has the ability to transcend to a bigger venue and feature a variety of aiding jungle-ly Lion King the Musical visuals.

At this point, people are half tipsy judging by their boisterous slurs of excitement even further enhanced as BØRNS' struts on stage wearing racks-on-racks black-on-black blouse and trouser combo with ‘punch you in the face’ rings and eyes disguised behind yellow-tinted Bono shades.

“He would make an ideal vampire, or give him a wand and here we shall witness a magic show”

From a quick Wikipedia, ironically enough Garrett was, in fact, a professional working magician as a child back in humble days. Tonight, the musician’s entrance was first acknowledged more so by rows of millennial infants’ Snapchat lenses on the ready rather than actual eyeballs.

BØRNS metaphorically relates the upcoming set to a fruit and cheese platter. Three of his four-piece band is female, almost have to look twice seeing a woman on drums with a male front, a very refreshing sight. ‘American Money’ and Spotify most streamed ‘Electric Love’ are crowd favourites, but ‘Holy Ghost’ though...yum, has us groovin' like Barry Gibb in a pair of nice tight white flares. Not knowing much of BØRNS’ repertoire of music, hearing ‘Holy Ghost’ for the first time (and live) is farkin delicious, feel somewhat mad at myself for having not discovered this tune before. The bass riff is salivation-worthy.

Can't quite pinpoint why there is this oddly melancholy feeling in the air at times. Melancholy or just infatuated minds? Perhaps it was merely the alluring hypnotizing drug of music. Or dehydration. Fiddy bucks for around an hour and a half of non-stop music is pretty bang for your buck though.
BØRNS transports us to another dimension during his intimate show allowing the audience to zone out for a bit to escape the harsh realities of life only making us more intrigued to see what he has in store next on his creative agenda.

Written by Sally Hui (@Sally__hui)

(Photo via BØRNS' FB)

News: Gigs, Gigs, Gigs – 6.04.18

Friday, April 6, 2018

(Above - The Presets)

We've rounded up a bunch of tour announcements for you to get excited about. Check them out below.


SEPT 12TH - Forum, Melbourne
SEPT 14TH - Controller, Adelaide
SEPT 15TH - The Trivoli, Brisbane Festival (18+)
SEPT 16TH - Enmore Theatre, Sydney
SEPT 18TH - Badlands Bar, Perth

MAY 19TH - 256 Wickham, Brisbane - SOLD OUT
MAY 21ST - 170 Russell, Melbourne - NEW SHOW
MAY 22ND - 170 Russell, Melbourne - SOLD OUT
MAY 23RD - Enmore Theatre, Sydney - SOLD OUT
MAY 24TH - Enmore Theatre, Sydney- NEW SHOW

JUNE 13TH - Metropolis Fremantle, Perth 
JUNE 15TH - Thebarton Theatre, Adelaide
JUNE 16TH - Forum Theatre, Melbourne 
JUNE 21ST - Uc Refectory, Canberra 
JUNE 23RD - Enmore Theatre, Sydney 
JUNE 27TH - The Trivoli, Brisbane
JUNE 29TH - Nightquarter, Gold Coast