Food Court

The garage rock band Food Court comprising Cristian Campano (Vocals/ Guitar), Lewis McKeown (Bass / Vocals), Dan De Santis (Guitar) and Nic Puertolas (Drums) is based in Glebe in Australia.

Food Court - Garage Rock from Australia

Food Court

Somewhat appropriately named as Food Court considering their home-base of Glebe, part of Sydney, is best known for its international diversity and concentration of restaurants though I am sure you wanted to know more than a good food guide. Some-days as a music reviewer it is difficult to settle down with enthusiasm, flicking through bands and putting them on either the ‘listen again another day’ or ‘Kudos for doing what you do but never will be for me’ lists – After four hours of this increasingly depressing process I happened upon Food Court and suddenly all was back in balance.


String sagging bass is harried by percussion that whips around the room like a hamster in a wheel, accompanied by twanging guitars and a vocal which matches the mood as a smile wraps itself from ear to ear. The quartet play with various speeds to inject the moods of the tracks as the slightly slurred sound of Food Court drifts around the room.

I would highly recommend spending some time with these guys who know how to turn a tune, disseminate it and bring it all back together in a delightful soundtrack which reminds of the past, whilst having relevance for today.

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A Lonely Crowd

A Lonely Crowd is Luke Ancell (Guitar), Scott Ancell (Drums), David Morkunas (Bass / Keys) and Xen Havales (Vocals / Flute /Percussion) a progressive rock band from Melbourne in Australia.

A Lonely Crowd - Progressive Rock from Australia

A Lonely Crowd

Melting textures extrude from the speakers as the quartet combine a standard rock line-up with additional electronics and wind instrument to deliver music which explores much territory. With a slightly experimental theatrical flavour to the sound A Lonely Crowd provides music to take the listener away from the everyday mundane to the exotic.


Whilst comprehensive there is enough approachability for philistines such as myself to find a welcoming entrance and from there to spend much time, as underlaying the flourishes sits structured rock compositions to which A Lonely Crowd add engrossing twists and turns.

A successful debut LP User Hostile was launched in 2011 and the follow-up LP the even more extravagant 13 track three quarters of an hour Transients set for release on the 1st February.  Not having had the opportunity to see the band live, where by all accounts they are a well received performance act, I would be intrigued to ascertain how the electronic weaves are delivered in a live format.

A Lonely Crowd is able to take a basic construct, add some bells and whistles, yet retain a cohesive and believable sound and for that they deserve much credit.

When the LP is made available, my advice, definitely worth spending time to get to know as the quartet take the listener on a fantastical journey of compositions.

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Mamaku

Mamaku from Auckland in New Zealand is an earth-rock outfit centred around Tui Mamaki and Monsieur Escargot.

Mamaku - earth rock from New Zealand

Mamaku

Formerly known as The Mamaku Project they have taken sounds from around the world to extrapolate a sense of serenity with which they embalm the listener. There is a theatrical resonance to the performances which is ideally spotted within Burning Man. Mamaku proffer cohesiveness on a global scale as tracks rumble out of the speakers shaking the very foundations as they seek, like a bolt of lightening, to earth.

Resonating of traditions of ancestors Mamaku deliver a sound of the present day with their extensive use of electronics, 21st Century Tribal roots, perhaps would be a better description. Wrestling with the pretentious the music stays on the right side of the line and it is best when listening to allow the musicians to do all the thinking and as a member of the audience to revel in the mystical presentations.

Well received in previous releases, I have had the opportunity to listen to the eleven track, fifty five minute release, Twigs Of Gold, coming out on the 24th. This release takes Mamaku to a different level altogether and well worth grasping hold of when available.

Once again, thanks to Monkey Records for a fine introduction.

In my view one of the weakest tracks on the forthcoming release, but I don’t have permission to share the best of them, sadly…..

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Twigs of Gold – Mamaku is available on iTunes*.

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Yard Duty

Yard Duty from Sydney in Australia is the garage rock trio of John, Zacc and Max.

Yard Duty - Garage Rock from Australia

Yard Duty

Painting their pictures by music, Yard Duty deliver Jackson Pollock with splashes of guitar that spray across the compositions, giving the music something of a freehand style. They are also able to turn up the volume and deliver distorted rock derived sounds. The unmistakeable vocal, half-spoken, plaintively calling out as though from the depths of the speakers works well, giving the lyric far more poignancy for the story being told.


The trio use the instrumentation intelligently with the percussion and guitars adding greatly to the atmosphere of the tracks enabling Yard Duty to deliver a sense of the poetic, providing barbs and context. Probably one of the most figurative garage rock sounds doing the rounds and it is a delight to come across the combinations, giving the trio a platform raised far above the general.

It is always a pleasure to come across a band who take a genre and turn it on it’s head to deliver something far better. Their début LP the eight track Mixed Business came out in September and I look forward to hearing a follow-up as Yard Duty potentially have much more to add to the world of music.

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Cull

Cull, a dreamgaze outfit from Sydney in Australia is Chumpy (Guitar / Vocals), Solwat (Guitar/ Keys), Fraser (Bass / Vocals) and Julian (Drums).

Cull - dreamgaze from Australia

Cull

Ambient distortion would also probably define the sounds of Cull who deliver dreamy textures which leave the listener unaware of the passage of time. Like a slow-motion reel the out-put equally slows down the brain to synchronize with the sounds. The floating half-distortion adds to the sense of the ambient surreal as guitars shimmer inside a veil of synths to beguile the mind to wander with the elegiac compositions.

Don’t anticipate being in a mood to set out on a run after spending time with Cull as the dreamy trance remains long after the music has stopped. The layering of phrases blending midway one into another gives the material something of a psychedelic touch, without it ever journeying into the overly hallucinogenic.

The craft of the quartet is to deliver fairly busy pieces which give the impression of being languid, which they achieve through the calm pacing of the tracks.

A début EP – the four track  Bà Nội (available on iTunes*) which came out in mid-November, should see Cull start the new year in fine style.

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