The Australian synth-rock outfit Hedge Fund released the single True Romance on the 16th.
Having regularly featured since their introduction in 2015, though not for over a year now, True Romance finds Hedge Fund in more introspective mood than music of theirs previously shared.
The gap in new material and the more sadcore reflection are due to the same reasons. A tumultuous year has seen the death of a father and the breakdown of a marriage for the lead singer Will Colvin, resulting in a lyric that contemplates the loss of the most important people in ones life and the associated frustration, sense of failure and feeling of desperate isolation, yet through the dour thoughts the music is of comforting embrace as the instruments pulse through the speakers as the synth floats listlessly, creating a cathartic moment of sadness.
The Australian gaze-rock quartet The Double Happiness released the LP City yesterday.
The Double Happiness
A soundtrack that minds of early Factory Records releases, The Double Happiness features gazey echoing delayed guitar which cocoons the brain in warm tones while a stippling percussion and quietly determined bass maintain progression with the second guitar forming drifting shapes of sound that allies with the subtle shifts in pacing, emphasis and tempo and the interchangeable trio of voices all enabling the quartet to deliver music which keeps the listener fully engaged.
The second of the six tracks on the album (which is available on bandcamp) being my pick of the release – Stalker.
The Australian alt-rock band Arcane Saints released the single Something Real on the 6th.
It has been over two years since they last featured and it comes as no surprise to discover the music has evolved.
Something Real finds the quartet in a fairly trippy mood in a song that has a retrospective feel and tangible warmth which emanates from the speakers leaving the audience with a becalming feeling of well-being.
The bending chords and notes of the guitars seemingly slow down time, while unhurried bass pulses below the surface and the elongated vocal adds to the sense of the psychedelia, with the percussion providing the only discernible sense of movement which allows the other elements to drift, as though in outer-space, without becoming lost travellers.
The Australian gritty-blues creator Angie McMahon released the single Missing Me on the 26th.
A sumptuous vocal is joined by a scratched guitar minding of gnarly wind blowing through a plain scattering tumbleweed over dust, leading the audience to take shelter in the nearby ramshackle saloon bar only to discover they have entered the most gracious hostelry they have ever wandered in to and after an afternoon of settling in comfort with the companionship reluctantly realising they do have to depart only to retain the memory forever in their mind.
I look forward to supping more whisky in a lonely spot with a sawdust floor somewhere on the road with Angie McMahon in the future – as correctly posited – I am already missing you.
An apology for getting to this a little late as I was first alerted to the five track EP Names (available on bandcamp) prior to its release on the 15th.
There is deft flow of hazy dual guitars which is combined with subtle electronica, centrifugal percussion and steadying bass, which in this release added to by Aimee Bridgman who adds in various spots Clarinet, Flute or Saxophone to add layered contextualisation to the songs set against a distinctly indie-pop vocal.
Rather than resulting in the potential disaster of spellbinding instrumentation colliding with abstract vocal the material works superbly with my pick of the release being the just over seven minutes closer – You’ve Got A Grip On Me – in which the voice is delivered through a vocoder in calmed synthesis.