Now I’m going to preface this piece with the fact I’m going to mention Of Monsters and Men in this piece; but please, pleeeease don’t freak out. Okay. Great. Here we go. This kinnnnnnda a little bit sounds like an Of Monsters and Men track, but in a way that reminds me of a version of that band that isn’t truly terrible. This is Nilufer Yanya, a London based solo artist, who is bringing a nice mix of pop and folk elements together for her new cut, ‘The Florist’.
Here’s a few reasons why you should ignore my aforementioned comparison:
The insane opening guitar line that is reminiscent of a King Krule piece.
The way it slowly builds from the poetic and emotive jazz verses to the super catchy pop-folk chorus. Before you can turn around and say, ‘I’m not into this’, it’s way too late – you’ve been caught. A testament to really strong songwriting.
It retains it’s raw and unique soundscape the whole way through.
Anyway, this video involves gabber culture, and that’s always fun. Go watch/listen.
In case you haven’t noticed, Father John Misty is a peculiar dude. Misty is a truly enigmatic artist whose musicianship is as polarising as his personality. The rise and rise of the former Fleet Fox is pretty damn impressive when you think about it. I mean, it’s not all that often you see a drummer in a band like the Fleet Fox’s jump ship to pursue- and enjoy a very successful career in- a darker shade of Indie Folk music. Having admitted to exceeding his own expectations in terms of his solo success a long time ago, it’s comforting to see that he’s keeping the gas on with tracks like Smoochie, off his album that dropped late last week titled, Pure Comedy.
Putting the satirical/controversial nature of his lyricism aside, people often forget that Misty’s silky smooth voice alone is enough to grab your attention. Echoed by a barely audible demonic growl Misty shows off his pipes with the opening lines, “When my personal demons are screaming/ and when my door of madness is half open.” Resting beneath a faint slide- and acoustic- guitar, Misty expresses the weight of his inner angst and how the burden of his ‘personal demons’ and ‘concealment’ is made a little lighter by his partner’s love. A simple but powerful love song that sounds a little like Early Elton John.
Posted in Label News | Posted on: April 11th, 2017 | Posted by: Scott Armstrong
We’re so pleased to announce our expansion into management with a new arm of the company known as Converge Management to be responsible for the management of artists, producers and songwriters. It’s exciting to
begin our venture into territory beyond the record label, concert promotion and parties that I OH YOU company has become renowned for.
“I OH YOU has been something that has consumed the majority of my adult life and has allowed me to work with artists in a way that my teenage self used to dream of. I’m really psyched to see it now expand in a manner that will allow us to work with artists that we love in a way that we haven’t been able to thus far. I’m really excited about the artists we’re working with and what the future holds for them,” says Johann Ponniah.
With the announcement of Converge Management now out there, Johann and Scott are very happy to introduce you to the artists that the company are currently working with:
Melbourne band Rolling Blackout Coastal Fever who are signed to seminal Seattle label Sub Pop, along with Ivy League Recordings for releases within AU/NZ. The five-piece recently released their sophomore EP The French Press featuring the title track and wound up a hugely successful SXSW from which they garnered high praise from the NY Times and Pitchfork. The band have also announced a European run for September 2017 and sold out consecutive London headline shows within the space of a week.
Brisbane five-piece, The Belligerents, who have released a pair of EP’s as well as a Fatboy Slim approved triple J ‘Like A Version’, along with a handful of cracking singles including ‘Caroline’. The band have just signed a worldwide deal with Sony and are gearing up for the release of their highly anticipated debut LP Science Fiction later in the year.
Brisbane-based, German producer, mixer and sound engineer, Konstantin Kersting, who has worked with the likes of The Church, Big Scary, Kingswood, The Belligerents, Moses Gunn Collective, Mallrat, WAAX, Morning Harvey, The Furrs, Tia Gostelow, Ivey, The Vernons, The Jensens, Art Of Sleeping, Seja Vogel and Mosman Alder. He also has mixing and additional production credits on the latest record from The Jungle Giants.
Brisbane-based songwriter, Lewis Stephenson, member of both The Belligerents and Confidence Man. Stephenson has previously toured the world performing with bands such as The Jungle Giants and Morning Harvey.
Posted in Label News | Posted on: April 11th, 2017 | Posted by: Scott Armstrong
All female movement Electric Lady will make its debut as a band night at Sydney’s Metro Theatre on Friday, June 30 and Melbourne’s The Corner Hotel on Saturday, July 1.
Presented by The Hopeless Utopian and triple j, the night across both cities boasts a solid lineup with electric ladies Ali Barter, Alex Lahey, Jack River, Gretta Ray, Bec Sandridge, Rackett and Body Type.
Along with the multi-city band night, Electric Lady is launching an influencer platform set to feature interviews with Stephanie Gilmore (Surfer), Isabel Lucas (Activist/Actress), Tyler Wright (Surfer), Katie Mack (Astrophysicist), Belinda Pavlovic (Aeronautical Engineer, DASA), Molly Taylor (Rally Racing Champion) and more.
Electric Lady is inspired by the movement of women electrifying their voices, guitars and rights across the world. Australian Musician Holly Rankin (Jack River/Director of The Hopeless Utopian) developed the idea around conversations with fellow musicians Ali Barter, Alex Lahey, Montaigne, Lisa Mitchell, Kita Alexander and Gretta Ray (to name a few) about the incredible surge of women in music and how powerful it would be to join together to amplify this.
“The last year in music, politics and culture made me realise the time is now for this idea. Girls are ready to amplify their talent alongside each other, and the world is ready for diversity in female role models,” Holly said.
More than a band night, Electric Lady will be a platform to amplify the strength of women in music,
￼￼￼￼￼￼￼￼￼￼￼politics, science, sport and beyond.
Do not miss the inaugural Electric Lady events! Tickets go on sale Thursday, April 13, 9:00am AEST.
Let me start by admitting that yes, I’m definitely behind the eight-ball on this one. So let me get this over quickly. NYC based Alexander F already has a debut LP out, and this single has been around for a while also, but it is too ripping for me not to cover. ‘Call Me Pretty’ may begin with some very dark, industrial tones and oddly hypnotic vocals – but once it jumps into the chorus (with the help of Kimbra) it feels like a catchy as hell garage pop number. From there it’s impossible to not tap along to the upbeat rendition of “Yes, I’m running, obviously I’m running” that stuns you in the opening moments. It’s frantic, it’s dark and feels like it should be another post-punk jam, but the way Alexander and co. have managed to flip the book on it and take us into a different world – well now, it’s special. Everyone from your ‘I listen to Title Fight, but dabble in garage’ to the classic ‘I like bands who yell a lot’ will be able to get around this one.
Alexander F’s debut Self-Titled LP is out now via So Sensation Records.
(Sandy) Alex G is still the same artist that we frothed on a couple of weeks ago, except his sandier now. Granted, that statement is a little weird, but the Philly indie rocker (hate reducing him to a title), has added ‘Sandy’ in front of his name, presumably to avoid being mistaken for the US pop artist that also goes by Alex G. On that note, let me retract my opening sentence all together. Alex G is never really ‘the same artist’ from when we heard him last. Bobby, a song that we frothed on a while back, saw G exploring a unique take on alt-country, which felt like it could have slotted on to Billy Bragg and Wilco’s album, Mermaid Avenue (one of the best albums ever). Sorry for lagging but I love this guy! G’s latest single, Proud is our Friday froth and it’s hot stuff!
To put it plainly, Proud is a really beautiful love song. The subtle clanky bass that’s buried beneath the light acoustic guitar and shaky drum beat, provides some really nice structure to the song. With a dusty (or shall i say Sandy) piano melody that wanders throughout, G expresses his admiration for a special someone in a way that only he can. Linked by three plucks of an ascending bassline, each chorus is prolonged as G experiments with authentic lyrical structure giving a really cool edge to the third single off his forthcoming album, Rocket. Without trying to sound like a crazed fan, (Sandy) Alex G’s range as an artist and his ability to maintain momentum year after year, is something that needs a big shout out so get behind this dude!
(Sandy) Alex G’s forthcoming LP, Rocket, is out May 19.
There aren’t many people that really crush hip-hop remixes, especially those that already use a trap, bass heavy soundscape in the original. Off the top of my head, Ryan Hemsworth is the huge exception to the rule, but I think I’m ready to add one more producer to this extraordinarily short list – Lonelyspeck. The Adelaide based multi-talented legend is coming off the back of one of my favourite releases of 2017, the Lave EP – but is straight back into it with this legitimately HUGE remix of Canadian duo So Loki’s ‘Liquid Luck’. I probably use ‘huge’ way too often when describing tracks, but this remix genuinely sounds fucking huge, but it’s in a completely unorthodox way. Whilst the original is a fast, upbeat, powerful trap number – Lonelyspeck has slowed it down and replaced the production with just the murkiest, bass heavy beats. It’ll burn your ears when you hear the first drop of it. There are also these airy, yet haunting as fuck synths floating throughout – at times it feels like Linkin Park production circa 2004, and at others it feels like you’re listening to a track recorded in a abandoned hospital (so also, like most of Linkin Park’s old video clips?). The whole thing is chopped and screwed with, even though the vocals flow almost as per usual – how have you even done this Lonelyspeck??
I don’t even know how you get this track, hopefully it turns up on streaming services.
Liv Cartledge’s latest single You Got Me High, is as smooth as a Werther’s Original. A strange and irrelevant analogy for those of you who don’t enjoy the creamy goodness of Werther’s, but feel free to substitute it for any confectionary item that tickles your tastebuds. Hailing from small town Victoria, Cartledge has been honing her craft as a singer songwriter from the early age of 9; busking on the street and playing along side her old man in local pubs. Having released her debut single, Please Stop Messing Around back in 2015, Cartledge’s latest offering shows a natural progression in both her song writing and her approach to making music.
You Got Me High is easy listening. A song simple in structure that encourages you to switch off and forget that it’s Tuesday. Starting slow, Cartledge sets the mood with a soft hypnotic riff on guitar which carries through, with only slight variation, to the end of the ballad. Cartledge’s voice has the same velvety texture as Katy Steele or Abby Dobson. With her single launch selling out before a location was even announced, it’s safe to say Cartledge is set for a big year.
Keep up with Liv Cartledge here and don’t miss her debut EP, Timber, out later this year
Hands is the debut single of Kirsty Tickle’s new solo project Exhibitionist, and it’s pretty damn frothy if you ask me. Having featured in too many bands to mention in our short time together, Tickle’s resume boasts her versatility as an artist and her latest single, Hands, ads another unique element to her already illustrious repertoire.
Hands is a hard track to pigeonhole. The sharp and fast electronic sampling sets the pace early in the piece and is quickly joined by live drums and Tickle’s angelic pipes. The drum-heavy bridge is broken by a split second of silence, forcing the hazy synth to the centre of your attention. Tickle continues to add texture. Putting her multi-instrumental talents to use, she layers the track with a clarinet (or saxophone, she plays both!) before returning to the catchy groove we heard at the beginning… with the welcomed addition of sax/clazza*. Nice Symmetry. Having found a perfect match with co-producer Jonathan Boulet, Exhibitionist’s first track is is a scrupulous blend of different sounds that I refuse to try and put into a genre (electro-ambient alt-pop).
Posted in Things We Froth | Posted on: March 29th, 2017 | Posted by: Tom Hutchins
Here is some beautifully warped R&B from a relatively newcomer by the name of WWWater. She’s been making some waves across Europe recently (including some colab work with Soulwax), but with this, her first fully formed single, WWWater seems ready to move her truly smooth sound well further than her native Belgium. The single in question, of the same name, initally builds around haunting choral samples, vocal chants (that are whispered), heavy beats (makes me think of some of Kelela, FKA Twigs’ darker work tbh) and a really textured vocal line. It moves around juxtaposing tones and pitches, without making a mess of it. Slowly but surely, the track reveals its fully formed pop body, with powerfully, yet airy vocals – whirling around with warm synths. Its the kind of sound Blood Orange and Solange would get around. Will it make a mark somewhere like Aus? I reckon it could.
Expect a debut EP from WWWater midway through 2017.