Album of the Week
September 18, 2017
Some five years in the making, Montreal-based producer Lunice has released his highly anticipated debut album, CCCLX (360). Off the back of an indefinite hiatus with his and labelmate Hudson Mohawke’s project, TNGHT, Lunice shows his flair for being an impressive collaborator, bringing artists such as Le1f, SOPHIE and Denzel Curry onto the record. Inspired no less by Puccini’s famous opera Madame Butterfly, his b-boy roots, and a keen interest in film, CCCLX is a neo-noir tinted record that experiments with tempo and space, boasting free-limbed and cinematic bass, trap and bubble-gum rap.
September 11, 2017
We first knew Corbin Smidzik as Spooky Black, the young teen who crooned lonely tunes in the forests of Minnesota back in 2014. Now going simply as Corbin, the internet enigma has re-emerged with ten soulful and bruising tracks that make up his debut album Mourn. As the title suggests, the nineteen-year-old continues to show an undeniable intuition for mediating deep sadness and youthful ennui. Produced by labelmates Shlomo and D33J of the cloudy electronic collective Wedidit, Mourn lands somewhere between RnB, post-punk, new wave and industrial noise and sounds like no one else out there. Sit amongst your feels in the dark shade of spring, with Corbin.
September 4, 2017
On his second album, Forced Witness, Alex Cameron pours one out for the loners, the heartbreakers and the misfits. Following the release of his impressive 2014 debut, Jumping The Shark, the Seekae frontman returns with a fever dream of a record that is at once danceable and deeply confessional. With the swagger and sounds of decades-gone-by, Forced Witness is elevated by band-member Roy Molloy’s soaring saxophone, as well as contributions from Angel Olsen, Brandon Flowers and Kirin J Callinan. From negotiating the exhaustion of self-doubt to finding hope in the age of digital love, Cameron’s songwriting is sardonic and shining, sharing with us vulnerable, sincere characters who navigate a world that feels very much real.
August 28, 2017
It’s been four years since their last record, but Cloud Control’s third album, Zone, has been worth the wait. This is their first self-produced album and their first as a trio since the departure of co-founder Jeremy Kelshaw. Charming us once again with those distinct euphoric hooks and the psych-infused pop that we have come to love from the band, Zone sees an emboldened Cloud Control at their most personal and cohesive. Brimming with energy and colour, the album delivers infectiously tight beats, playful synths and slick riffs. The record is an impressive exercise of rediscovery – a blissful embodiment of the band’s new sense of freedom and tenacity.
Who Told You To Think??!!?!?!?!
August 21, 2017
Who Told You To Think??!!?!?!?! is the third album from Milo and the follow up to his highly impressive second album So The Flies Don’t Come. Opening with the wisdom of author and social critic James Baldwin, Who Told You To Think??!!?!?!?! is a record blissfully unconcerned with current trends in hip-hop, aiming instead for a sound that recalls underground rap’s high points without ever feeling dated. Rapping introspective commentary and confessions over jazzy, experimental hip hop, Milo emphasises how critically important the Black poetic voice is, stretching his imagination beyond boundaries allowing him to flourish and nurture his philosophical spirit. Milo produced the bulk of the record himself under his Scallops Hotel alter ego, and the results demonstrate that he’s become as good a beat-maker as he is a rapper, recalling the work of his contemporaries Madlib, MF Doom and The Roots. Who Told You To Think??!!?!?!?! is masterful underground rap album from a voice that rings hopeful and intelligent in an unsteady social and political climate.
August 14, 2017
Drum is the bold second album from Gold Class, and the follow up to their 2015 career-defining debut It’s You. Produced by Gareth Liddiard of The Drones, Drum is a defiant album that sees Gold Class explore new territory in both songwriting and sonics. Emblematic of the album’s title, the immediacy of the bass drum is a stomp, spit and kick that tugs between submission, authority, heedless fun and heartbreak – distilling all the complexities and mess of life into a fateful, thumping pulse. With the crossfire of the personal and the political resting in his gaze, lead singer Adam Curley defiantly holds his torch out into the wind. His lyrics subvert queer histories of silence and evasion, negotiating the self in space and the soul in rage. Given Australia’s current political climate, this album couldn’t come at a more poignant time. Drum is a brash and incandescent Australian rock album, with a vulnerability and honesty that is worthy of deep admiration and repeated listens. It’s a love letter to anyone who not only can’t meet the standard, but doesn’t want to.
August 7, 2017
Melbourne DIY queen Jen Cloher has returned with her new self-titled album and the follow up to her critically acclaimed In Blood Memory. It’s an album of immense honesty, which weaves deeply personal tales that touch on everything from her relationship with a world-famous songwriter to same-sex marriage and the role of women in music. On the record, Cloher is joined by partner Courtney Barnett on guitar, drummer Jen Shloakis and bassist Bones Sloane, who all bring a sense of space, allowing Cloher’s poetic lyrics to breathe and transform. Recorded at Jeff Tweedy’s famous Loft Studios in Chicago, Jen Cloher is a classic rock album of tight, memorable songwriting that recalls the wry confidence and punk poetry of Patti Smith and PJ Harvey. As the title suggests, Jen Cloher is an intimate, world-weary affair that offers listeners an emotional glimpse into the life of one of Australia’s most celebrated songwriters.
Blast Off Through The Wicker
July 31, 2017
This week we’re taking you on a journey with Art Feynman’s psychedelic debut, Blast Off Through The Wicker. Art Feynman, the solo project of Here We Go Magic’s Luke Temple, has delivered an endearing collection of songs that capture the ear with warm cassette aesthetics and spot-on musicianship. With punctuations of lo-fi fuzz, krautrock haze and Nigerian Highlife groove, Feynman has crafted an album that is utterly psychedelic while avoiding clichéd 60s nostalgia. Not too concerned with getting any answers, Feynman’s soulful, though at times frenetic, falsetto reflects a subconscious enraptured with existential questions. Exploring the potential for life in the inanimate, and meditating on perfection as an illusion, Blast Off Through The Wicker is an intensely personal effort that seeks to find meaning in mundanity and celebrate the profound. Like a cool drink on a hot summer’s day, Blast Off Through The Wicker is exactly the album we need to see us through the last few weeks of winter. Sit back and enjoy the ride.
July 24, 2017
Legendary grime MC Dizzee Rascal is back with his first new album in four years, Raskit. Thematically speaking, Raskit could be thought of as a part two to his Mercury Prize winning and career making album, Boy In Da Corner. It’s taken a cool 14 years, but boy was it worth the wait. Gone are the awkward Robbie Williams collaborations and summer festival anthems. Raskit looks back on Dizzee’s youth from the other side and is a true reminder of his technical aptitude. At its core, it’s the same old Dizzee: angry, cheeky, lonely and confident. A spokesman, a teacher and an inspiration. The sonics are crisp and propulsive and the lyrics and poignant and timely. After more than a decade of being criticised, fetishised and written off, grime is more popular than at any point in its history. With a nod to the past and eyes set firmly on the future, Raskit sees Dizzee Rascal shoot past the competition to reclaim his rightful place at the top of grime’s pecking order.
Rest In Piss
July 17, 2017
Melbourne dirge-rockers Batpiss deliver some serious noise on their new record, Rest In Piss. On their third album, Batpiss teamed up with Gareth Liddiard of The Drones to help bring their ideas to life. The result is an album that rages against the deep, disconcerting apathy of modern Australia. Rest In Piss is an unrelenting sonic wasteland of raw, primal punk, tortured vocals, and lumbering noise-rock. Delivered with white-knuckled intensity and a pitch black sense of humour, Rest In Piss is a grimy slice of gritty, unapologetic Australian rock.