Kingswood – Creepin
The first single off their forthcoming sophomore album, Creepin is an uplifting yet melancholic anthem. Featuring their signature gritty guitar riffs, slapping drumbeats, and captivating vocals, this is a bold return from the boys. The video itself is also weirdly enchanting, featuring a range of ballet dancers who are accompanied by a freakishly face-painted ‘creep’.
https://www.youtube.com/watch?v=qSDvchLmqnI
Torii Wolf – Body
Torii Wolf has released a seductive and meditative banger titled Body, produced by araabMUSIK. With her smooth and sultry vocals gliding through the track, the video builds upon these sentiments, but showcases the emptiness and longing one has for a past lover.
https://www.youtube.com/watch?time_continue=151&v=Ge1JUaXjULc
Danny Brown – Pneumonia
Detroit’s Danny Brown has released yet another visual accompaniment from his fourth studio album Atrocity Exhibition. This time with a haunting clip for Pneumonia, the kind of horrifying experimental track sees Danny tied up in chains and flailed through the air. While we don’t entirely get what’s going on, it definitely does a good job of keeping your eyes glued to the screen.
https://www.youtube.com/watch?v=Xs-Dc3_eiV8
Pusha T – H.G.T.V.
After teasing the tune just days ago, King Push has finally released the new track H.G.T.V alongside it’s new video. Shot entirely in portrait orientation (maybe grab your phone), the simplistic, sub bass centred beat sees Pusha T flexing his vocal skills to the max. Just goes to show, with over 20 years in the game, Pusha has still got it.
https://www.youtube.com/watch?v=7s63y_kfWt4
Kid Cudi – Frequency
Following the previously released All In, Cudi has returned with a new video for his upcoming project. An enchanting mix of auto-tune laced choruses and in-depth rap verses, catchy is an understatement. Frequency is actually directed by Cudi himself and follows him as he traverses through a mysterious and eerie jungle like setting.
https://www.youtube.com/watch?v=KzvywmVRWAo
Glass Animals – Season 2 Episode 3
Dropping the visual accompaniment to one of their recent album’s favourites, the video game inspired single has now gotten a video game inspired clip! Centring around a disinterested, couch-bound girl, she is soon pulled into a psychedelic video game world at the flip of a button. It’s an incredible interpretation of the video game sounds used within the tune, and if that couldn’t get any better, this game will soon be playable by fans!
https://www.youtube.com/watch?v=x2Kwos_oWSc
The Weeknd – False Alarm
For his second music video of the album, The Weeknd has certainly gone all out. Matching the fast paced and intense nature that the single presented, the clip follows a group of bank robbers as they make their heist and getaway. It’s an incredibly violent and cinematic film for something as simple as a music video, but the result is something utterly unique and head turning in every way.
https://www.youtube.com/watch?v=CW5oGRx9CLM
The Lumineers – Cleopatra
Is there anything more pure than a classic On Tour style music video? Probably not. There’s just something about them that’s both exciting and nostalgic and Denver outfit The Lumineers have just unveiled their version. Filled with behind the scenes footage from stadiums through through the front window of a van en-route to a show, to shots of fans and crowds, Cleopatra’s got a bit of everything and gives a glimpse into the day to day touring life of a band during the a whirlwind that is a World Tour.
https://www.youtube.com/watch?v=ClvG58Igo9o
Hayley Kiyoko – One Bad Night
Content Warning: transmisogynistic violence
Disney-actor turned singer Hayley Kyioko has never shied away from representation of people and experiences. Her new video for the synthy and guitar driven pop-centric One Bad Night is no exception. The clip sees Donald (played by Birth of a Nation actor Kelvin Harrison Jr.) and Amber (played by trans YouTube activist Erin Armstrong) each go through a particularly rough night. After stealing a car from his valet parking job, Donald witnesses an attack on Amber and intervenes, the two strangers ending up their night together in a diner. Like her previous videos, One Bad Night is directed by Kyioko and places her LGBT+ activism at the forefront of her art.
https://www.youtube.com/watch?v=L_wXWFnTjxU
Archivist – Everything is Wanted
Ahead of the release of their upcoming EP Memo, London electro-indie act Archivist have unveiled the video for their song Everything is Wanted. Cutting between colour and black and white, the jumpy nature of the clip fits perfectly with the song as frontman Ed Begley journeys through city and forest in an almost escapist nature. Particularly good are the slow shots of a gently wild sea, slowing things down for contemplation before urgently restarting.
https://www.youtube.com/watch?v=u15NmuWnBtE&feature=youtu.be
Seekae – Turbine Blue
If the location for the latest video from Sydney trio Seekae seems super familiar, that’s probably because you’ve watched Grease and/orTerminator 2 a few too many times. Directed by Kris Moyes, the video was the last to be shot at the iconic location before it was demolished and follows seven people with very different dancing styles. It’s a somewhat unexpected approach a fresh vibe and lots of super pleasing, crisp blue tones.
https://www.youtube.com/watch?v=2klcVENrEnQ&feature=youtu.be
Words by Ruby-Rose Pivet-Marsh and Martin McConnell
Image: Supplied
Sydney trio Seekae have returned to the fore, and I couldn’t be more excited. Turbine Blue is Seekae’s first new tune since The Worry came out in 2014.
I caught the band live much earlier this year, during which they performed a couple of new tracks. They promised new music soon, but months went by, frontman Alex Cameron’s been busy with his lush solo project, and we hadn’t heard anything more. Until now.
The atmosphere is completely different to what I expected, although many of Seekae’s most identifiable instrumental and effects elements still make it undeniably Seekae. While the downtempo pace is nothing new for the band, overall there’s a softness, an openness and vulnerability that feels different. Emotionally revealing lyrics, plucky flickers and sparkling synths might catch some Seekae devotees off guard at first, but it’ll no doubt draw in new fans who may have found some of their weirder, more challenging stuff a little hard to digest.
As an aside, it’s interesting to consider the fact that a band more known for its more obscure, often experimental output, is taking a risk by releasing a softer song like Turbine Blue; typically the risk would occur the other way around.
I love this track; it certainly signifies the next chapter for the Sydney trio and I’m excited to see where this will go. Presumably, this is the first track from their next album – will it be gentler overall? Could this track be the reflective end of a dramatic story arc? Or perhaps the beginning?
The track was written and recorded in Berlin. According to a press release, the vocals were recorded “after eating pizza microwaves at a petrol station and carried back to the studio through the rain.” Now, I’m not sure if there’s any scientific correlation between petrol station pizza and soulful electronic tunes, but regardless of causation, the result is damn beautiful.
Turbine Blue is out now via Future Classic.
Image: Supplied
It’s happened. The summer is well and truly over. With a bunch of festivals, sideshows and tours over the New Year absolutely blowing our minds, it’s with a heavy heart that we say goodbye as it all drifts further and further back into our memory. However, before it leaves completely, there’s still some time to bring the heat.
Future Classic’s series of MCA shows have over the last few months seen some absolutely legendary performances. Kenton Slash Demon, Roland Tings, Harvey Sutherland, Tornado Wallace, Sampa The Great, Wafia, Anthony Naples, Pelvis and Kenji Takimi have all graced the MCA’s Sculpture Terrace with their presence, and crazy fun shows. So it’s only fitting that the mega-label is seeing it off with a bang, putting on a final show this Sunday packed full of Future Classic Allstars. They’re being super secretive about the lineup and not giving any hints until it’s actually happening, so we’re here to speculate and myth-bust as to who may be jumping behind the decks.
Our little dog friend is barking all over the northern hemisphere at the moment. He’s just done a bunch of shows in the U.S. and Paris, and his Saturday night is taking place in London. That’ll be the 9th of April, which, with time differences, is almost exactly when the FC Allstars show will be going on. We can sit on his latest track Chroma, to make him feel a little bit closer, but we won’t be able to see him do his thing at the MCA.
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Since the release of Built on Glass in 2014, Chet’s been all over the world playing shows, and even making an appearance on Ellen. Towards the end of last year though, he released Work, an EP he produced alongside London’s Marcus Marr. It’s 4 tracks of beautiful house, which would be phenomenal to see played live. He’s proven himself to be very comfortable behind the decks, having a slap at the Ray Ban x Boiler Room show in Melbourne late last year, so we can hope we get to see it go down again.
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His show alongside Cyril Hahn in late February is still fresh in our minds, and sadly, leads us to believe that he won’t be back to play so soon.
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Though it’s been a while since we’ve heard from LA duo Classixx, their last album releasing all the way back in 2013, it’d make sense to get a surprise appearance from them on the Sculpture Terrace. They’ve just released their latest single Grecian Summer from their second album Faraway Ranch, and been announced as part of that absolutely mammoth Lollapalooza lineup, we imagine to tie in with its release. So, maybe to kick off what is to be an absolutely massive year for them, we’ll see them Sydney-side this weekend? Fingers crossed.
https://www.youtube.com/watch?v=Z3q_Pr9hYzo
Though we’re on the precipice of the release of Skin, Flume’s second album, and yes it would make sense for a huge hometown show before it releases – it’s super unlikely. He’s playing Ceremonia Festival in Mexico on Saturday, so we can live in the hope that maybe his set is early and he could make a flight, but let’s not get them up.
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Side-project of beatmakers Ta-Ku and Kit Pop, HWLS’ most recent release was two months ago with Ty Dolla $ign as part of Adidas’ #songsfromscratch series. They’ve played a few shows here and there, their last one in Sydney being the Laneway Festival afterparty with Hudson Mohawke. With them going quite for a while, it’d make sense to have them as part of the allstar lineup, but Ta-Ku is doing so much at the moment that he legit may not have the time. He’s debuting his live show with Wafia (who just released her own EP) at VIVID LIVE, and has a residency at the MCA starting next week – though maybe that’s in our favour set-wise?
https://www.youtube.com/watch?v=-UQ3WHMfcD8
It’s been quite a long time since we’ve heard anything from these two boys from Sydney. They’re playing quite a few shows in Europe over the next three months, starting in May, but haven’t done a Sydney show in quite some time. Reading between the lines though, Future Classic call specific attention to the fact that the Allstars are “jumping behind the decks”, and so we may not be able to get the full Jagwar Ma experience if they are to make an appearance. Maybe a lil DJ set though? Time will tell.
https://www.youtube.com/watch?v=pP8k6fmxWe4
Not much is known about Midnight To Monaco, the project of Donnie Sloan, co-producer for Empire Of The Sun, and Ricky Ducati, but their sound speaks for itself. 50’s doo wop flung far into the future, Midnight To Monaco are set for big things the world over. Their latest single One In A Million was released on the latest Future Classic compilation, also called One In A Million, so we can clutch at straws and hope that they’re on the lineup, but would we consider them allstars yet? No doubt they will be eventually, but so far they’ve only been around a minute.
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Panama have just come home from a tour across Asia, though their last release was a while ago with Jungle just last year. Unless they do a DJ set, we imagine they won’t be gracing the MCA stage due to the fact that they use live drums.
https://www.youtube.com/watch?v=T1m0mceKkx4
The boys are doing a bunch of European shows in September, and just last week did a DJ set in Berlin. They seem to be spending more and more time overseas at the moment, so it wouldn’t be a surprise if they were still kicking it European style, but they are definitely one of Future Classic’s most allstar teams, so it’s very possible they’ll come home to pay a visit.
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Melbourne producer Thrupence has been flying under the radar for a while now, releasing New Light, his only track since Lessons all the way back in 2014, in September of last year. Though his lush and textured sounds would fit right at home at the MCA, if you follow his Instagram you’ll know that he’s been much more busy working in his design and art scheme of things.
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Off the back of his remix of Flume’s Never Be Like You, Wavey is unfortunately, for those of us at home, also on tour. Taking his Flash Drive tour across North America, Saturday night sees him play Madison, Wisconsin, alongside Promnite. This Sunday won’t be as wavey as we’d hoped in Sydney, take care of him Wisconsin.
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They’ve just wrapped up their Avocado Galaxy tour to promote their EP of the same name, but it’s unlikely we’ll be travelling through the Avocado Galaxy come this Sunday. Why? Instruments.
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OTHERS
Now though everyone else has gotten their own section on why they might or might not play, there’s some very simple explanations for the ones in this section. Though we’d love to see them again, Kenton Slash Demon and Perth singer songwriter Wafia have already played as part of this round of FC x MCA shows, so we’re banking on them not making a return just to give others a red hot go. Sidenote: Wafia could maybe come back, but it’d probably only be to accompany Ta-ku like she will be as a part of VIVID Live. Now, you may have also noticed that Charles Murdoch, Flight Facilities, Hayden James and Touch Sensitive haven’t been mentioned till now. Though all these artists are phenomenal in their own rights, and definitely all a part of Future Classic’s Allstar roster – these boys are the real allstars. Allstars are the players who come back and play in the game day after day, or in this case, rock the house again and again. They’re our best bets for Sunday’s show, but we can’t wait to found out properly.
The annual Spectrum Now Festival made its way through Sydney throughout the first half of March, livening up the city, predominantly from its flagship location at The Domain. It’s a really cool idea for a festival, with food trucks, bars, a fun area for kids and so much more, making it an all-encompassing experience that appeals to the whole family. The musical lineup was diverse and excellently obscure, and I was particularly excited to catch two acts I’ve loved for a very long time – The Jesus And Mary Chain, and Godspeed You! Black Emperor. On top of the music, which also featured artists including local staples Birds of Tokyo, Something for Kate and Missy Higgins, the festival also boasted a stellar theatrical lineup, most notably including comedy trio Workaholics.
Jesus And Mary Chain – March 5
The Big Top at the Domain is a really gorgeous temporary gig spot, and one that could do well to become a regular staple for Sydney nightlife. The cavernous interior had plenty of room for a large crowd, including an internal bar to the side, and a really large stage, immediately making everything feel that much more dramatic. Particularly with the wonderful acoustics that come along with the tarp, it was a really ideal location for The Jesus and Mary Chain to perform their classic album Psychocandy.
Ahead of JAMC were local electro-indie trio Seekae, who I have absolutely adored for a really, really long time. Fronted by vocalist and percussionist Alex Cameron, it looked strange to see the three-piece spread out on such a massive stage, but that was probably because I’m just more accustomed to witnessing their shows in smaller, sweatier venues. Marred by a delay caused by technical issues, the set unfortunately ran really short – but it was no less sweet, and included many favourite Seekae tracks.
The trio also debuted a melodic new track, noted for Cameron’s falsetto vocals – a hop, skip and a jump away from his typically deep tone, probably most similar to 2013’s Another. Most excitingly, they announced that more new music would be on its way within a couple of months.
Following an intermission, Jesus And Mary Chain arrived on stage to thunderous applause. Many had been waiting years, if not decades to catch the five-piece in the flesh, and it was interesting to see the audience, wildly varied in age, come together for this really special one off show.
As though working hard to dispel their once-held notoriety for being too wasted to perform for long periods of time, the band first launched into an extended “best of set,” before launching into Psychocandy. Opening on April Skies, the tone was immediately set: richly melodic, with an air of darkness, even ominousness at times. Sombre at times, stompy at others, it’s clear that the audience were enjoying themselves.
After a brief moment of crowd interaction, the moment everyone had been waiting for was upon us. it was incredible to be in that audience for those opening moments of Just Like Honey, and from there on in, it was pure magic. The band, who were joined on stage by Molly Rankin of Alvvays on backing vocals, tore through the 40-odd minutes, performing the album back to back in its original sequence.
Time has of course taken its toll on the Reid brothers (Jim and William on vocals and guitar respectively), and while those who wanted a wild and energetic set were likely let down, I doubt that’s why people showed up. It was a really satisfyingly nostalgic performance, from a band who I’ve waited many years to see.
Godspeed You! Black Emperor – March 8
Godspeed You! Black Emperor are beasts. Absolute musical beasts, unique and powerful, equal parts obscure drone and stunningly melodic. It’s been a very long time since they performed in Sydney, and the crowd, albeit some of the weirdest folk you’ll find out and about in the music scene, were visibly excited. Last year, the Canadian band released their fifth studio album Asunder, Sweet and Other Distress. The entire album was performed on the night, peppered between a few other tracks from their catalogue – but of course, a GY!BE live song can go for twenty or more minutes, so it’s not exactly jam packed.
It’s not the kind of band you need to necessarily know all of their songs to see and enjoy, but it is the kind of band where you need to have a real appreciation for ambience, for improvisation, for slow progressions and for incredibly unique, beautiful and intense music. With that in mind, this was a breathtaking performance, both as a long time fan as for its sheer musicianship. The kind of show where you close your eyes and let the music carry you away; the kind of show that has a tangible emotional impact on you, in between the soft and slow progressions, the huge climactic peaks, and back again.
An interesting point to note is how well they filled the gigantic stage – and no, I’m not just talking about their immense backline and pedal boards. Mostly sitting on chairs in a crescent moon shape, facing the audience, it feels as though we were peering in on a late night improvisation session – and that’s largely what it was. I’ve seen the band in an almost identical incarnation about four years ago, at a really tiny venue over in Louisville, Kentucky. The venue must have fitted 200 people at its maximum capacity, and I was so close that I got a really intimate look at the pedal boards and everything else going on in front of me. This stage couldn’t have been more different – vast and distant, the band felt separated from the crowd, united by sound, not physical proximity. And yet, armed by their lush, immensely powerfully music, they filled the two stages – enormous and tiny – equally well, and that’s no easy feat.
This was one of the best live performances I’ve seen in a very, very long time. One that had an affect on more levels than just your average live show, their music is designed to be explorative, to induce contemplation, and at times, to rock you to your very core.
Image: SMH
The details for Sydney Morning Herald’s Spectrum NOW Festival have recently been announced, with the series set to feature a phenomenal range of live music and more across 11 days in March 2016. Between March 3 to 13, The Domain in Sydney will be home to a full series of events, featuring music, art, food, drink and plenty more.
The event has been curated by Paul Piticco and Jessica Ducrou, the names behind Splendour in the Grass and Falls Festival, so you can guarantee it’s gonna be a lot of fun.
The diverse and eclectic musical selection is incredible. From post-punk legends The Jesus and Mary Chain to Canadian postrock/experimental group Godspeed You! Black Emperor, to local legends Seekae and beyond, it’s already looking to be one of the most exciting events on the 2016 musical calendar.
There’s even more than music, food and art to explore: feel like getting some ink? LDF Tattoo’s Les Rice will be on ground delivering fresh tatts, while Tony Vacher from Sterling Hairdressing Parlour & Barbershop will be shaving and cutting hair for those who perhaps want a less-permanent change to their appearance.
Tickets are on sale NOW, you can grab them and more info here.
Details
Music lineup:
The Jesus and Mary Chain
Birds of Tokyo
Calexico
Augie March
Rockwiz LIVE
Godspeed You! Black Emperor
Seekae
US Girls
Alvvays
Jonathan Boulet
Key dates:
Thursday 3 March: Opening Night
Saturday 5 March: Divine Times featuring Jesus & Mary Chain, Seekae, US Girls, Alvvays, Jonathan Boulet. Tickets $99.90 + BF
Sunday 6 March: Calexico w/ Augie March. Tickets $69.90 + BF
Tuesday 8 March: Godspeed You! Black Emperor. Tickets $69.90 + BF
Thursday 10 March: Rockwiz Live. Tickets $89.90 + BF
Friday 11 March: Birds of Tokyo. Tickets $69.890 + BF
More TBA!
https://www.youtube.com/watch?v=X5JRfxAqbI0&feature=youtu.be
Electronic music trio Seekae have dropped a new digital remix package of their song, and title of their last album, The Worry. The collection features the musical fingerprints from likes of Melburnian garage-house maestro András, as well as German deep house producers Henrik Schwarz and Prins Thomas’ label Internasjonal’s own Roland Tings.
The Worry Remix Package is out now on via Future Classic. Buy it here.
Tracklist:
- The Worry
- The Worry (Henrik Schwarz Remix)
- The Worry (Roland Tings Remix)
- The Worry (András Dub)
[youtube http://www.youtube.com/watch?v=ehs6vQTFPoA]
The critically acclaimed Australian-English trio have scored a huge and loyal fanbase over the past six years. Their beautiful debut album The Sounds of Trees Falling On People was declared one of the ‘albums of the decade’ by FBi Radio, and their sophomore album +DOME bagged Mojo Magazine’s Album of the Month in the UK (and scored no less than four nominations from the Australian Independent Music Awards.
The LP of the same name, The Worry, has won them further critical acclaim for its unique brand of ambient, electronic-pop, featuring album spots at FBi Radio and 2SER, Album Packet at triple j, Herald Sun’s #1 Australia Album of the Year and a SMAC Award for Song of the Year for single Test & Recognise.
The release comes as a time where trio are picking up more and more momentum for their music, playing at Future Classic’s highly anticipated FCX: 10 Years of Future Classic, featuring other FC heavyweights like Flume, Flight Facilities, Hayden James & Touch Sensitive. They will also play at this year’s Splendour in the Grass Festival.
Check out the dates below to see where you can catch Seekae playing.
DATES
Friday 29 May – FCX: 10 Years of Future Classic @ Sydney Opera House – SOLD OUT
Friday 10 July @ Howler, Melbourne
Tickets on sale Tuesday 12 May, 9 AM: moshtix.com.au
July 24-26 – Splendour in the Grass @ Byron Bay – SOLD OUT
What a smorgasbord of tunes today! Lots of lovely melodic electronica, with touches of house, R&B, soul and jazz, finished up by some straight up rock ‘n roll. Enjoy!
- Hiatus Kaiyote, Breathing Underwater
Hooray, new Hiatus Kaiyote! The masters of genre-mashing, their songs are always so damn complicated, and so very good. Opening in a subtle, soft manner, it’s not long before their gorgeous jazzy R&B comes in and just blows me away. The kind of track you need to listen to at least five times, and it only gets better each time. - Deutsch Duke, Battleground
Probably my favourite song on the playlist this week. There’s a lot of music that combines a deep, bubbly bass with soulful falsetto, but they don’t all do it well. This one does it really fucking well though. Having collaborated with Elizabeth Rose, Flight Facilities, Cassian and more, we’ve got a lot to look forward to from Deutsch Duke. - Lupa J, Waiting For Her
This is a really special one. It starts off strange and jarring – to the point where you kind of feel a little anxious until the melody comes in. Suddenly, something intimate, delicate and really, really beautiful happens. With an almost trip-hop vibe throughout, this song has me completely mesmerised. - Thandi Phoenix, Judgement ft. B Wise
I love the classic R&B vibe of this track, blended so fluidly with percussive flutters and atmospheric synths. It’s no surprise that there’s so much hype around this rising star – not many people can mesh a nostalgic sound with something so fresh, and come out with a result this strong. - George Maple, Where You End And I Begin ft. Grande Marshall
George Maple can do no wrong. With a title that refers to a brilliant Radiohead song and a now-signature feel to her electro-soul, this track is understated, sensual and utterly sublime. I adore the delicate vocals, particularly when they’re contrasted against that big beat and heavy bass. - Lisa Mitchell, Wah Ha (Seekae Remix)
I’ll be honest – I really didn’t enjoy the original version of this track (sorry,) but Sydney’s electro-wunderkinds Seekae have twisted and turned it around, adding eerie synths and a late-night house beat that has really elevated it to a whole new level. Bleeps and bloops and a driving bass + overly soft folk = something REALLY good. - Midnight Pool Party, Stay
Flickery beats, a swift yet deep bass and a comfortable house rhythm? The perfect track to kick off the weekend. The vocals definitely make this track: rich and velvety smooth, the melody flows above the many instrumental layers, bringing together a track that’s totally perfect for any dancefloor. - Paul Conrad, Records
This is a really interesting track. If you like Lana Del Ray, you’ll like this. Exploring all kinds of dark themes, this track has admittedly questionable lyrics (“Dancing is to art what rape is to romance,” ) but I just love it. Equally powerful and vulnerable, there’s something really amazing about this track. - Du Blonde, Black Flag
I can’t go past a riff that satisfyingly heavy, and not write about it. Produced by Jim Sclavunos (Grinderman, The Black Seeds,) this is a powerful track with sublime vocals courtesy of Beth Jeans Houghton and a seriously great bassline. It’s really exciting to hear rock of this calibre coming out in 2015. Bring on the full album! - Bonjah, Burn
Bonjah are back! This is a simple and straight up, with Bonjah’s signature husky vocals and catchy riffs. It’s nothing groundbreaking, but like Du Blonde, I”m really enjoying the fact that great rock is still coming out – especially when it’s from Australia.
Here are some finnnnne new video clips for you to enjoy!
1. Ghostface Killah & Kandace Springs: Love Don’t Live Here No More
Member of the legendary Wu-Tang Clan (who released a decent album this month, read our review here) has not only been spending his time rapping with Paralympic gold medallists, but releasing sick new tunes, and a video clip too! If you’re in Sydney, catch this man in action tomorrow night at the Metro alongside Pharoahe Monch and The Tongue! The video, from recent solo album 36 Seasons, features Michael K Williams, who you may recognise from Boardwalk Empire and The Wire.
2. St Vincent, Birth In Reverse
It took me a while to get on the St Vincent bandwagon, but I’m so glad I have. Her new video, like her and her music, is quirky, smart, fun and immensely good. The track is frantic and punchy, a total punk sentimentality shot through a hipster frame. The clip starts off simple and a little strange, progressively growing more intense, more fluid, more smoke filled and generally excellent. Did I mention she’s probably the best female guitarist around these days?
3. Seekae, The Stars Below
This clip freaks me out. I’m not sure why. I think it’s the weird angles, the beady eyes, the sweaty faces, the empty scenery and the unnerving serenity of it all. It’s interesting, considering that this is one of the more ‘normal’ tracks on the Sydney trio’s recent, excellent album The Worry (read our review here). I’ve been a big Seekae fan for ages and this has been a massive year for them (read our interview here to learn more) – hopefully 2015 will be even bigger. It finally seems like they’re starting to get the recognition they’ve deserved for a long time.
4. POND, Sitting Up On Our Crane
Perth’s psych heroes are at it again. The track is a washed up slow burner, a heavenly lo-fi dream of gentle beats and twangy guitars, slowly building up to a glorious peak with a syncopated rhythm and oh-so-catchy chorus. The video is weird, as you might expect. I’m probably not even going to describe it. It’s animated and trippy. If you stare at it for too long you’ll probably have an acid flashback. I love it – both the song and the clip.
5. Electric Mantis, Flips and Flops (Ego’s ‘Where The Wild Things Are AV Edit)
This one’s a little different as it’s not really a video clip per se, more an updated video edit of another tune. Ego has taken Electric Mantis’ neo-disco electro track, and added all sorts of strangeness from classic children’s story ‘Where The Wild Things Are.’ Fun, trippy and completely wacky. The track itself manages to stay fairly low key – in between the huge beats and blaring brass synths, that is – with a catchy sampled melody and plinky plonky synth flickers topping it all off.
6. Maples, Stars
Upcoming artist Maples has just released the video for her hit single Stars. The track is ethereal and seemingly innocent, driving and emotional, while the video is made up of gorgeously lit close ups, stunning landscape shots and all kinds of wholesome, beautiful scenarios. A really fitting clip for the ethereal tune, it really just makes me want to head straight to the countryside and dance around a sun-drenched field with a horse by my side.
7. Rosie Lowe, How’d You Like It
Electronic artist Rosie Lowe (who shared some her favourite tracks with us recently!) has just released this incredible film clip for new single How’d You Like It. It’s simple but haunting, to a point where it’s almost frightening. Naked bodies joined by what seems like huge silky strings or spider webs, distorting themselves, stretching and pulling their way through an empty house. The perfect complement to a dark, delicate and wonderful new track.
Seekae have released a record this year that, in my opinion, is in the running for best of the year. The addition of vocals to an otherwise instrumental group was somewhat surprising to the devout Seekae fans, but whatever concern we had quickly slipped away after hearing first single, Another. Their already intense live show has stepped up in precision and captivating sequencing, and now-singer Alex Cameron has come into his own as a vocalist. It’s no coincidence that they’ve been booked on the lineup for OutsideIn Festival in Sydney later this month; a considered and extremely well put together lineup curated by ASTRAL PEOPLE. Playing alongside Pantha Du Prince, The Pharcyde and so many others, OutsideIn is guaranteed to be not only a gamechanger in boutique festivals that it’s known for after last year’s success, but proof that it’s quality over quantity.
We recently chatted with Alex Cameron ahead of what is looking like a pretty huge 12 months next year!
You’ve recently finished a string of Australian shows as well as a BIGSOUND appearance, which I saw and it was incredible! Your set was my favourite!
Oh, thank you very much!
How do you think this new material is being received, especially because it’s been a while since you last toured Australia?
It’s a little surprising. When we release records, we kind of always change our style so much that we always anticipate backlash! Maybe it’s like a personal thing, I don’t know. Maybe I’ve got some insecurity, but it’s been so nice to have such a warm response! It’s been pretty overwhelmingly warm, and I think that’s really positive. I’m excited by the fact that people are willing to let us explore and find new things that excite us, and if that excites anyone then obviously that’s a bonus. It’s been really warm so far though, and that’s a surprise. Maybe I’m just being self-deprecating but we change so much, and we do weird and odd things that excite us, and it seems to be exciting other people so that’s been positive.
It was kind of unconventional touring with just two singles from a then unreleased album – was that a deliberate decision or just coincidental timing?
It was a little bit coincidental, and it was a little bit “stab in the dark” but, at the same time, we wanted to give people a chance to hear the songs live first and see how powerful the songs could be and see if they could make a connection. It was nice for us to play three or four tracks nobody had heard before.
Was The Worry a long time coming? In between your previous album and The Worry, there were a few side projects and a fair bit of time in between the releases too – was that time spent working on the new material, or was there a bit of time to rejuvenate?
Yeah there was a little break, and then there was maybe two years of writing. Some of those songs have changed three or four times. It was a long time coming, but there were some breaks – tours and stuff. We ended up doing like four national tours off that one record in two years. We were really surprised we could keep selling our shows and packing people in. By the end of it, we were like “Let’s make sure we nail this next one. Let’s do something that really means something to people, because everyone has been so kind.” That was one of the goals.
You would have been asked about this a million times by now – but I’m curious: with the introduction of lyrics and vocals, was it a natural progression to that point for you? Was that something you were always interested in doing with Seekae?
Yeah, to me, I love songs. I mean, I love instrumental and I love tunes – but I really, really love songs. I always have, all of us do. There is something about the freedom of an instrumental track that’s really beautiful, and there’s this space and it can be super emotive because it’s quite broad.
More open to your own interpretation…
Exactly! I think the same goes for songs with lyrics, but there is just something about a strong lyric that actually moves things for me. It shifts the way I see something. It’s just this magical thing. When you want to really try and express something, the highest form is to sing it and I think I always wanted to explore that. We all have. So yeah, it was completely natural, but something I’ve wanted to do for a while. It just sort of happened – I just wrote a couple of songs and showed them to the guys, and they were right behind it.
I find that Seekae songs prior to this were always quite full and complete with the absence of vocals, so has that now changed the songwriting process?
There were some times where we would have the song finished, and we’d try to fit the synthesiser parts on there, or new leads, and we’d have to stop ourselves and think, “Well, there’s lyrics now, so there’s no need to add in this synth part!” It’s a certain step back; it’s a little bit of restraint I suppose, but it’s also something entirely new. There wasn’t really a process to it, it was more just like, “Oh, that’s finished now!” It was a bit like unchartered territory.
There are some pretty heavy themes in The Worry, and it’s quite dark and mysterious I find – especially Test & Recognise which has quite an eerie feeling… Was there any specific inspirations or influences for these songs? Are you okay?!
*laughs* I guess it’s just about the life we’ve been thrust into and trying to find moments of beauty. I feel like a decrepitly imperfect being, and I compare myself to a flat screen TV or a tablet: these things are designed for perfection. We expect them to be perfect even though they’re obsolete, or they’re designed to be obsolete eventually, and so are we. We’re so fragile, and we die, and that’s a concern. I think the main influence was trying to create something as concerning as our own mortality, in a world filled with what is sold to us as being perfect technology. Trying to find something as concerning as that, but trying to let it free, and for the sounds to be an exploration almost, and to see if we could find something beautiful about it. To see if we could write a record about an overwhelming concern that defines closure and beauty.
That’s beautiful! You’ve now got yourselves a slot on the OutsideIn Festival – how do you see your music in the now burgeoning electronic scene? I feel like it’s still quite different to the “Australian Sound” going around at the moment – would you attribute that to your move away from Sydney prior to that really taking off?
No, I don’t think so. Oh, maybe, I don’t know. We were never part of any scenes – that’s kind of why we didn’t make indie rock or garage rock when we started. That’s why we’re not doing big hip hop instrumental music. We almost went there; we were listening to a lot of that years and years ago, but once it’s everywhere it can’t possibly be exciting anymore. Once it’s hugely successful, how can you be turned on by it? It’s the small things – and I don’t mean that in a snobbish way because we love pop music and successful pop music – but to make it ourselves would be a step back for us. I think we’re always trying to make something twisted. Whether or not we’re successful in that is irrelevant, our intention is always to do something that’s a bit “new” to us.
I was completely hypnotized when I saw you perform at BIGSOUND – how do you guys recreate your sound live? It looks like a lot goes on, and that would certainly evolve and develop as each tour occurs.
Thanks for saying that! For us, it’s making sure we can sequence everything; so it’s grooves, rhythms and basslines, and it’s making sure we can have this clarity in the sound. George does a lot of the percussion sequencing, and John handles the melody with his samples and percussion, and he plays a lot of keyboard so he’s quite busy. Then I am doing some sequencing with a drum pattern and playing grooves, and making sure I’m trying to sing as clear as possible. For us, that sound is the reason people are there. That’s our concern. What we do is we have a really strong crew that we love working with. We’ve gone over it and rehearsed it and we know what to expect from them. There are more members than what you can see. We just want to make sure the music comes across because it’s become this big monster that’s in front of people and we want to try and make it as overwhelming as possible in a really positive way.
Yeah, I was standing next to the lighting guy at BIGSOUND and he was as captivating as you guys were the way he was working!
Yeah he’s great, he’s really fantastic. He doesn’t like to be harped on, but we’ve been working with him for a while and the most important thing about working with him is he’s evolved with us. It’s not the same thing; he’s clearly an artist himself. That’s what really hits it home for us – I want to see people change, I want to see evolution.
The album art for The Worry is quite stunning, with all your faces morphed into one – can you tell me a bit about that?
We wanted to do something that was a bit “foul” I suppose; something that was so delicately ugly but beautiful at the same time. We found this artist in China that was doing bizarrely earnest portraits, so we got in touch with them and they painted it for us. We just wanted something earnest and off-putting. It was trying to explore a bad idea, and seeing if we can make a bad idea work. A lot of the record is, I think, concerning ideas or bad ideas that we’re trying to turn into a good thing. That was one of the challenges of this record: is it such a good idea for us to be singing? Well, it feels right so we will. We were exploring those challenges and there was zero safety with any decisions made on the record. It’s all risk taking. It’s kind of maybe given me an anxiety disorder, but it was also a bit of fun. That’s what it’s all been about.
What’s next for Seekae after OutsideIn?
Well, we’ve got a really busy 2015 already. It’s nice to have work coming in and to be able to play the music live. I do a lot of travelling and a lot fo tours around the world. 2015 is going to be pretty jam-packed, so right now I’m trying to get healthy so I’m ready to do it. I think we’ll be playing a lot of shows in Australia and overseas as well!
Seekae perform at OutsideIn Festival November 29th at Manning House, Sydney University. Get one of the few remaining tickets HERE.