An eleven track album (available on bandcamp) that injects itself in to the veins as the multi-textured songs appear in the room.
An LP that reflects on self-analysis of personal relationships, the cultural conservatism of much of Australia and wider political thought which holds the audience transfixed from start to end of the roughly fifty one minutes run time.
The Australian dreamwave creator Shyguy is currently finalising details for an EP.
From the forthcoming release Had It I’m Hiding is a shadowy track that holds references to derivations of rock which are couched in a dreamy-electronic flow which is steeped in a melancholic soundtrack.
To paraphrase Winston Churchill – the music ‘… is a riddle, wrapped in a mystery, inside an enigma; but perhaps there is a key…’. and therein lays the allure of Had It I’m Hiding.
The Australian dark-hop creator Clifford Carpenter releases the LP Trust in September.
Clifford Carpenter – Photo by Jonno Révanche
With an eye to societal malaise the music created by Clifford Carpenter isn’t intended to be an easy ride, rather, pointed commentary on the realities be they self-inflicted, unavoidable circumstance or imposed of 21st Century life for far too many around the world.
In advance of the album Work was released as a stand alone single on the 21st and is available on bandcamp.
The Australian melancholic-rocker Alex Cameron releases the LP Forced Witness on the 8th of September.
A ten track album (available on bandcamp) which contemplates, in damning indictment, of a world where far too many want to merely capture things to share with their disconnected silos of connectivity in pursuit of ‘likes’ of what they are witnessing, rather than becoming involved in anything at all other than a passive commentator of dissociation whilst bemoaning of their own self-perceived undeserved paucity of life.
The first track to surface and the opener on Forced Witness is Candy May.
There is a luscious darkness to the undertow of the latest track to surface – Strange Wasteland – as the stunning vocals soar through the room to the surrounding compression and expansion of keys and strings which enmesh the listener in barbed wire in a composition that reflects on the detritus that soils the globe, whilst others spout glib words pretexting of ‘environmental concerns’.
ZERRIN, in Strange Wastelands, offers both a challenge and invective that casts scathing pall through the room in an aural descriptor of the reality of good intent and lax personal responsibility.