The quintet of Willy, Alec, Dan, Lee and Jake from Perth in Australia form the new-wave band Regular Boys.
Reflective of the world in which they live, where opportunities are scarce and the future looks bleak – Regular Boys remind me of the complexities of the quintet Division 4, also from Perth who were around in the early ’80s (not to be confused with the current Sydney based Division 4 born out of the ashes of The Bland) as the quintet contemplate both being ignored in their locale, whilst compounding this by living in a City which the rest of the Country also ignores.
Rather than asking the listener to reach for razor-blades in sympathy, much like Joy Division, Regular Boys are able to create beauty from the landscape which surrounds them.
A sublime vocal mewls its way out of the speakers whilst, like a cat treading through treacle, the guitars evoke of discordance whilst gracefully striding towards the foe as the battalion of drum pierces the room and a sloped bass drawls of an inevitable showdown.
A début five track EP Newcastle St Deli arose in October (available on bandcamp) and just this week a new single surfaced – Hunt which foretells of a new EP in the wings.
I look forward to following the development of Regular Boys over the coming years and urge you to get behind them before they become constipated.
First introduced in 2012, Glass Vaults, have ever sought to develop with their reflection of self-flagellating brooding commentary which as each iteration surfaces, so, the duo stretch the concept to more philosophical status.
From the LP Sojourn, the second of the eleven tracks – Life Is The Show, inveigles its way into the minds eye of the audience as the approaching seven minute journey grows ever more melancholic with each passing bar.
The luscious velvety textures of sound draw the listener into the washes of synthetics as the video for Life Is The Show commentates on the continued, alarmingly, high suicide rates of those faced by the rampant homophobia that still persist in 2016 – in a world that likes to blinker itself and pretend the issue is non-existent.
The Australian metal quartet Envenomed were initially introduced in 2014.
Since the initial article there has been one change in the line-up with Dave Lowes now playing Bass.
Slave No More, the middle of the five tracks on the EP Reckoning (available on bandcamp) is a decent example of the ability of Envenomed to produce music that is simultaneously punchy and silken as the quartet allow the strong melodies plenty of space to flood the room.
The New Zealand melancholic-electronica creator Sharn Te Pou performs under the name Sharn.
Due for official release on the 8th of April – Born was made available a few hours ago.
The just over three and a half minute track fills the room with a dampening despondency which has an intangible beauty as the slowly revolving electronics uncurl into the room and the listener is reminded of an aural fractal as the loops thread inside one another, whilst a dark vocal delivers an isolationist commentary.
Despite the down-tempo nature of Born, or perhaps because of it, this is a track to play whilst silently holding a partner close in a slow romantic dance with the lights dimmed.
Not having featured music previously by Sharn, I took a moment to listen to the back catalogue and there is much to enjoy through the three years of songs. I am certain I will be coming back to Sharn Te Pou in the future with more news.
Mayhem & Me is the dark-folk trio of Majella Eales, Jeff Reeve and Paul Carwana from Hobart in Tasmania.
Mayhem & Me
Mayhem & Me have the ability to fill the room with a wet sandbag of acoustic led material. An eponymous four track EP surfaced in August (available on bandcamp) and I look forward to news of future material by a trio who are able to take a straight forward idea and turn it into an introspective soliloquy, which finds audience gripped in the ensnaring embrace of the vice-hold of drying leather bondage-straps.
The thickly stringed acoustic guitar is given reign to flight, whilst the electric guitar lays subdued in harmony as it meets a deeply resounding bass which tethers the material with reverberating strings that darken the room as the vocal, like a hawk spotting prey, dives to the foreground garnering travel and sight to which the instrumentation gathers in flock.
Mayhem & Me are able to cloak the audience with weighty contemplation through the measured pace which they intransigently refuse to hurry, leaving the listener in enraptured desire, as the music gradually unfurls itself in the ears.
Light the candles and bring out the scarlet ties to join Mayhem & Me in their exploration of inner turmoil.