Not being overly into shoegaze but by no means being a stranger to it either, I was automatically entranced by the heavy wall of sound UK five piece, Colour Of Spring have produced on their new single Echoes. Hailing from Leeds, the quintet have established a strong reputation as a live act and are steadily growing in popularity online; sporadically popping up on up and coming playlists that extend far beyond their home country.
With a spacey ominous introduction, Echoes slowly transforms into a solemn downtempo track that details the struggles associated with coming of age. While today’s Juice does not necessarily have any standout moments musically, Echoes maintains a smooth momentum fuelled by a relaxing, heavily distorted guitar hook and a rattling drum beat. What first drew me to Colour Of Spring was the subtleties they share with fellow shogazers Slowdive. Looking forward to see what 2017 holds for these dudes.
Now that Au.Ra are tracking towards to their second LP, it seems a redundant to say that these guys used to be in beloved Sydney act, Parades. But just in case this is your introduction, these dudes used to be in Parades. Okay, anyway, ‘Applause’ is the first taste from Au.Ra since 2015 (when they released the dreadfully underrated Jane’s Lament). I first listened to this one whilst staring out into Melbourne’s CBD from a tram on the way home from work, I’m not sure why, but it was weirdly the perfect soundtrack to the experience. As I slowly panned up and across the skyscraper sprawl, the spacey, whirling synths and the drawling vocals really set a dystopian scene for me. I must say this is a bit of a builder, and really takes it’s time to make an impact – but once you hit that 3 minute mark, everything changes. What felt like shoegaze inspired melancholia, quickly became a personal anthem. You can’t help and get swept up in the continuous motion of “no it doesn’t matter” and apply it to whatever shit is going on in your life. Depressing as hell, but oddly uplifting at the same time.
Au.Ra’s sophomore LP, Cultivations, is out June 30 via Felte.
I like to tell people that I think Melbourne’s Baro is one of the best hip-hop artists in the country*. He has a history of flipping his style continuously, and also has a truly impressive live show – one that seems to take shape as something more like a Jazz Quartet than a hip-hop show. His latest single flips it again, and for a solid percentage of the track (yep, that’s right, bringing MATHS into it), Baro is backed by a chugging, rock riff (wave goodbye to those lazy hip-hop beats, kids). The live instrumentation is a lovely touch, fluid and subtle, allowing Baro to move from ballad-esque, spoken word, R&B, pop and garage-y vocals. I can’t put my finger on each change up, so I’m just gonna give up at this point and let you listen to it. Sue me, whatever, I don’t own anything worth money anyway.
Baro’s new EP, ‘Problems’ is out May 19.
*Who am I to tell anyone anything, my opinion on most things doesn’t mean shit.
Back in January when Donald stumbled into the Oval Office, Secretly Group- which encompasses a collection of independent American labels- embarked on their ‘Our First 100 days’ project. The project sees a different artist debut a new track every day for the first 100 days of the Trump presidency via Bandcamp. Today marks the 91st day of the project but today’s Juicy tune came out earlier in the week as at number 88 and its a rough as guts cut from Nashville indie rockers Bully and the song is called Right.
Quiet is not necessarily a word that fits neatly into the same sentence as Bully, but it has been a little while since we’ve heard new music from the four piece. Packing all the familiar traits of a good Bully track, Right is a high octane head banger and is defiantly on the heavier end of the Bully spectrum. Kicking into gear early with punk paced drums and a whiny guitar hook, each member of Bully match each others intensity and maintain a fierce stride for the duration of the track. Not sure what Bully were up to in their two year spell but Alicia Bognnano’s voice sounds louder and better than ever. What I love about Right is how coarse Bognnano’s voice sounds. The vocals have been recorded and produced in such a way that makes Bognnano’s pipes sound like they’re too heavy for the speakers to handle. If you love Bully but hate bullies then give this track a hurl and subscribe to the ‘Our First 100 days’ project as all money raised “will go directly to handful of non-profit organisations fighting for inclusion and equality”.
Not sure if there if a sophomore album in tow but this will do for now.
Girlpool have been doing wonderful things since they emerged a few years back, think I first heard them after everyone loved their SXSW set. And although I thought their simple, and honest jams on their debut LP were really strong – they have nothing on their new stuff. ‘123’ has been rinsed across radio lately, but I also implore you to check out ‘It Gets More Blue’, it retains the deep and emotive songwriting that is typical of Girlpool – but it’s got an added depth instrumentally, which really only adds the ~feels~ of the track. It’s a damn feeler, and it’ll fit right into your emo-lo-fi-folk-Alex-G playlist.
The new Girlpool LP, ‘Powerplant,’ is out May 12th via Anti- Records.
Posted in Label News | Posted on: April 20th, 2017 | Posted by: Scott Armstrong
Green Buzzard today shared their official video for ‘Dream In/Out’, as featured on their recently released Space Man Rodeo EP. The clip was directed by debutant Rik Saunders in his apartment with a handheld VHS camera. Hope you enjoy.
Posted in Label News | Posted on: April 19th, 2017 | Posted by: Scott Armstrong
Brightness has today shared a brand new single/video for ‘Waltz’. Speaking of the song, Alex Knight aka Brightness said “Waltz is a song of love and gratitude. My friend Alex (Crosby) and I experimented using an old Akai 1/4″ Reel to Reel for this song. The Tape itself had just about had it and you can hear another song bleeding through from one of its other tracks. It’s made up of one uninterrupted take using a single microphone, along with a mellotron part of the choruses that I overdubbed later”.
Have you been going a little too ham on the XX’s new album? It’s ok, you’re not the only one. I have been too…. but who gives a fuck about me, so has Four Tet! Late last week the UK producer released a remix for A Violent Noise, which seems like an unlikely song to cover but man, does he make it work! The 20 year veteran is no stranger to an XX remix, in fact, today’s Fresh Juice complete’s the triangle as Four T has now remixed at least one track off all three of the XX albums.
Playing with different textures and moods, Four Tet takes A Violent Noise to new depths as he stretches out sections of the original track, creating a strong housy foundation. The XX are known for their space between beats; that cosmic dreaminess that really establishes the mood of the song, but Four Tet disrupts this template and fills all the empty space with a crunchy two- step- shuffle beat, hazy synths and distant vocal samples creating a whole new mood all together. What I really like about this track is the way Four Tet distorts those strange violent, siren-like, noises that are almost buried within the original version, and uses them, along with the catchy guitar hook, as a key effect in the climax of mix. This guy really murders any track he chooses to play around with. Cheers Four Tet.
Posted in Label News | Posted on: April 18th, 2017 | Posted by: Scott Armstrong
After acclaimed sold out concerts in 2014, the Brighton bass-and-drum duo are back to perform an exclusive one-off headline show at Sydney’s Metro Theatre on Thursday 20 July before sharing headline duties at this year’s epic and already sold out Splendour In The Grass. Tickets for Royal Blood’s only Australian headline show go on sale Friday 28 April.
Since forming in 2013, the two-man band of Mike Kerr (bass guitar/vocals) and Ben Thatcher (drums) have taken their unique bluesy-psychedelic rock sound across the globe playing iconic festival stages at SXSW, Coachella, Reading and Leeds, and T in The Park as well as support slots for rock legends Foo Fighters and Guns N’ Roses. Their 2014 self-titled debut became the fastest-selling British rock debut in three years and hit #1 in the UK and #3 in Australia, as well as top 20 in 12 countries, including the USA.
In November 2016, Kerr and drummer Ben Thatcher, along with producer Jolyon Thomas, spent six weeks in a studio in Brussels that was decked out like a New York diner and featured a warehouse of antique gear. The album’s first single ‘Lights Out’ (out now) ups the ante from their debut with a wrecking ball of a groove cemented by Thatcher’s thunderous rhythms, while Kerr wrangles the twisted invention of his bass riffs to a whole new level. How Did We Get So Dark? (out 16 June through Warner) was subsequently completed after a final session in London with their debut album’s co-producer Tom Dalgety.
Renowned for their unpredictable kinetic energy and captivating live chemistry, Sydney fans will need to get in fast to secure tickets for this night of glorious rock!
With special guest Concrete Surfers
Presented by Frontier Touring & I OH YOU
Frontier Members pre-sale via target=”_blank”>frontiertouring.com/royalblood
Wednesday 26 April (12noon AEST)
to Thursday 27 April (12noon AEST)
(or ends earlier if pre-sale allocation exhausted)
General public on sale from 10am local time, Friday 28 April
If there was a ever a more perfect match made in heaven situation, it’s this. Studio Ghibli meets trip-hop. Let’s say that again in a bit more detail: the refined, gorgeous, shimmering, emotive, relaxed, unbelievable soundtracks from Studio Ghibli films meet trip-hop re-imaginings. Of course, there’s a huge sense of dread when you hear this too right? What if it’s completely butchered… Well, the best bit is that the artist behind this whole project, ‘Ghosting’, is none other than Andrei Eremin. You’ll know him as the producer/engineer from every single local song you’ve fallen in love with over the last few years. As Ghosting he’ll be creating a mixtape using soundtracks from every major Hayao Miyazaki film, and the first cut, ‘One Summer’ – from Spirited Away – is just like crushing me with it’s beauty right now. It takes the minimalist soundscape and breathes an upbeat, hip-hop influenced life into it. The original soundtracks may never be beaten, but Ghosting is getting damn close with this.
The “Reimagining Hayao Miyazaki” Mixtape will be out ‘soon’ via Wondercore Island.