Bandcamp Wrap-up #2

A mix of free, pay-what-you-want and fixed price releases this time. They're all good, so have a listen to what grabs your fancy. Click through on the respective album art to see the full Bandcamp page with a nicer tracklisting.


Jordan Marson from Paint Your Golden Face / oceans, in his experimental indie pop guise. $5.

Moe Grizzly, noisy blues/rock trio. Really good. Fuzzy & Drones-eqsue. FREE.

Fantastic debut album from Naked. Lo-fi pop. Everett True wrote a few words about it. FREE.

A beautiful release from Transcription Of Organ Music. Pay what you want.

Ambient doom metal EP from M.0.1.0. on American label Sonoptik. $5.

Latest lounge-pop album from Anthony Rochester. Twee as anything. $5.

Slow, alternative-folk. 7-track debut album from bunny on digital and CD. $6 / $12.

Fan gushing on "Process Praise" by The Native Cats

Remember the Liverpool Street Bomb scare from last year? On that day I was walking through Elizabeth Street, earphones playing The Native Cats' Always On. There was this small moment where, approaching the corner of Liverpool, I was half-way through absent-mindedly singing 'Game Of Numbers' to myself. In particular, en route to Liverpool Street, I sung aloud: “have you ever seen an unexploded bomb before / how do you know / this isn't what it looks like?” I hope nobody heard me.

If you've followed this blog from its beginnings (and all its encompassing words and things and shit), or know me personally, then you've probably come to the conclusion that The Native Cats are one of my favourite bands. Call me a fan. The Native Cats is made up of two of my favourite Hobart artists, Julian Teakle (of Bad Luck Charms, The Frustrations) and Peter Escott (of... Peter Escott), but that isn't the reason they hold such an esteemed place in my mind/heart/ears. I don't think I even explored either the Frustrations or Peter Escott's solo guise until after discovering the Cats.

I think there is a definable reason for it, though. It's more than the hypnotic bass lines and propelling drum machine, or the lo-fi DS-10 squeals or whatever other musicals components. My admiration for the Cats can largely be attributed to front-man Peter Escott's lyrics and delivery. Escott's lyrics have always appeared as vague monuments; unsolved mysteries with these various clues hinting at something more. You can always feel the intention – in specific words and those sharp emphasises – but you can never unravel the full story. It's like there's venom pulsating below the surface, but the fangs are too short to reach whatever its reaching for. Probably for your throat. Ride the snake, baby.

The Native Cats - Dani Dani by Noise, Etc.

Process Praise is a step above the duo's debut. If Always On was the short-statured/high-reaching schizophrenic First child, then Process Praise is the moody art-school Second, dripping blood onto a canvas before hiding their wrists in a royal blue cotton jumper.

Some/most of the songs on Process Praise could be autobiographical, but you'd be darned to unpack it without all the little Escott-branded puzzle pieces, none of which you'll find in the package. Everything is so purposely cryptic. So obscured as to allow Escott to tell you his life stories, minus all the details, minus all the things that makes it his life story. It's what every private writer aspires to, isn't it? To give you the mood, the theme, the idea; without forfeiting a sense of safety? Interpretation can be more powerful than direct statement. Words guide, the music narrows the possible interpretations.

All throughout are scattered allusions to a past love; a terrible love. This is best seen in 'Dani Dani', a sequel of sorts to 7" single 'Catspaw'. On the knife's edge between brutal revenge and reserved spite, its the tale of a soured, oppressive romance. In parallel to these references to a past lover, this track could also been seen as a sketch of Escott's growth as both a person and a performer. At first he appears the sheepish victim of a tumultuous relationship, but the song traces his development into the confident, competent, vengeful character. Not a wrecking-ball of a man, but an intelligent and matured one. “No leathers,” Escott sings, “no colours / no tatts / no quiffs / just checked shirts and neat jeans / with worn knees / old time / 1993 / Australian suburban exoticness.”

The Liverpool Street bomb turned out to be a hoax. Unexploded because it never could explode. The Native Cats are always edging at something unexploded; poking an abstract mass of shrapnel. They're smart enough not to set it off. The Liverpool Street hoax turned out to be just a small orange and yellow box holding dud wiring and AA batteries, probably a cheap plastic nothing. Parts of Always On were this cheap Casiotone plastic – the extended indie-pop of “The Image Of Annie & Ivan” never did a whole lot for me. But Process Praise? There's a live, ticking bomb at its heart, thumping away in the drum patterns.

Conclusion: Sharp lyrical witticisms set to real minimalist/moodist electronic beauty. Treasure it. It sounds really good on vinyl.

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The Native Cats are launching Process Praise at the Grand Poobah in Hobart this Friday September 9, and at Skinny Geans #11 in Launceston this Saturday September 10. Both shows are a dual LP launch with the fantastic Adelaide via NZ trio Batrider, who launch Piles Of Lies. Listen to the title track below.

Process Praise is available from Tommy Gun Records in Hobart, select record stores around Australia and direct from Ride The Snake.


Batrider - Piles of Lies by Mess+Noise
 

Videos: Peter Escott / Carl Higgs / Splash Mountain

A fortnight ago was the 'first' Noise Etc Live show. I was pretty nervous but excessively excited at the same time. I'd never organised a group of musicians to play at a venue before. Turns out its pretty easy, so I'll probably organise more in the future if I can find suitable performers to prod and pester. The vague idea of a Noise Etc Live series was to promote and feature musicians who might not play live as often as I'd hope. So, for August 17, I asked Peter Escott to debut his electronic experiments; Carl Higgs to make his once-a-year solo appearance (though, he did play a few days later as a duo with Charles Du Cane); and Splash Mountain to try and make a proper debut.

Most of the night went according to plan (Splash Mountain were still a little unprepared, but they did clear the 10-minute mark as I awkwardly claimed in promo), and the turnout was decent enough for a Wednesday night local show. It was fun and I fully plan on organising more every few months if I can find performers willing to participate. If anyone has any hidden solo/side/bedroom-projects that they want to present to little Hobart town, do get in touch.

Below are three videos from the night, click through at the bottom to watch a few more, including Peter cover Morrissey and Carl cover Chris Isaak. Covers.

Peter wrote this song on the night, about the night. The first minute or so didn't get filmed but I'll spoil it for you - it's about his work shirt that he didn't get the chance to change out of.

Carl's upbeat Italo Disco track. Fun, fun, fun.

Splash Mountain's first song of their 12 minute set.

Moe Grizzly & Drunk Elk in a house

Did everyone have a good past week? Hobart Music, right? Right!

Last Saturday afternoon, Moe Grizzly and Drunk Elk played a house show before the Broken Social Thylascene show that happened. Walking distance to both beers and the next show made it pretty ideal, it sounded decent and the house was full of good people/conversation. Moe Grizzly are sounding really good with the addition of Phoebe on trombone, it kind of highlights the melody a little more, particularly in older songs. Drunk Elk made a few mistakes at the end of a couple of songs - nerves - but they otherwise played a good set. They might have played a few newer songs, which sounded similar in vein to the songs they've been playing for the past year, maybe a touch heavier.

Drunk Elk

Moe Grizzly

Two more Elk videos and another Moe Grizzly song (with trombone) through the break. If anyone knows the names of these songs, feel free to leave a comment. I have a couple more Drunk Elk songs on tape if anyone is interested.

Videos from last week: No Action / Treehouse / Driftwood

Crappy videos from an all ages show last weekend with No Action, Bears, Treehouse and Driftwood at the Brisbane Hotel. My video of Bears stuffed up sorry.

Driftwood

These guys were alright, they're a young Rosny College band. The singer has a nice New Zealand-ish voice which gives them a bit of identity already (this was only their second show). The drummer shouldn't sing though; it doesn't compliment the lead vocals at all, nor contrast with it in any interesting way. More annoying than anything.

Treehouse

Treehouse played some new songs, this one is called "Drunk Elk". They've recorded this plus a bunch of others for an upcoming cassette/release which should be fun. Their set was mostly new songs - less lo-fi punkish and more like the song above. They still played "Party", though.

No Action

No Action are from Adelaide and they make emo music, I think? I don't know these genres very well. They went down pretty well with the small crowd and sold a few 7"s.

The Lucky Dips - Obsession / Assistance

Here's two tracks from Hobart power pop trio The Lucky Dips, who are launching their debut 7" this Saturday at the Grand Poobah. Brief, guitar-based Buzzcockian punk. "Obsession" is the A-side, while "Assistance" is their inclusion to the upcoming Community 2 compilation.

Obsession by The Lucky Dips

Assistance by The Lucky Dips


The Lucky Dips launch their 7" at the Grand Poobah tomorrow (Saturday 13th August), with support from Mess O' Reds and The Crunch. $5 entry, doors at 9:30pm, Facebook event here.

Edit: This was good. The Crunch were pretty boring but had lots of 30somethings dancing; Mess O' Reds played some really good songs; and The Lucky Dips played a good set with an added rhythm guitarist. Fun time. You can now buy their 7" at Tommy Gun Records for $10.

A certain vintage: Sea Scouts / Hammering The Cramps

Sea Scouts were a Tasmanian noise-rock band in the 90s. If you've every hung around Hobart music circles, you've probably heard their name referenced a few times, usually reverently. While the legend of the Sea Scouts does get played up a lot (Melbourne thirty-somethings seem to be particularly fond of the group), its not without reason. They're good. Here's 'War As A Weapon', a song they released on Zum Records when they toured America in 1999. You can even still buy that same 7" from the label directly - $3 US plus shipping. It comes with B-side 'Burn Down Your Local McDonalds'.

   Sea Scouts - Word as a Weapon by Noise, Etc.

 

-&-

Hammering The Cramps were a Hobart band circa 2006. Their unreleased debut recording will be released through Wormwood Grasshopper Records on vinyl next year, if all goes according to plan. It features musicians who went on to play in bands like Drunk Elk, Wendy In The Mountains, etc.

Bandcamp Wrap-up #1 - Free Hobart music

Because everyone loves free stuff.

I figure with Bandcamp being pretty popular with Hobart bands/musicians, it'd be nice to collect a bunch of this newly released digitalia and present it in a blog post every now and again. There is already a whole slew of Hobart releases on Bandcamp - it's pretty easy to track with their tagging system (just explore Hobart -> new releases) - so here is 10 local releases you can download for free. Click on the band name to get to their page and find more releases/information:

Moe Grizzly - Eye Sore / myblackson - Jam

Moe Grizzly are so fucking good.

I mean, they're better live, but whatever, isn't that always the case? Here's a great track found on last year's Clones And Clones: Hobart + Melbourne compilation. It's called 'Eye Sore'. It was probably meant for some completed-but-never-released album that's still sitting around in some Hobart house.

Edit: "Eyesore was recorded exclusively for the C&C comp - no other material exists from this session. The other, older, lying-around-a-house session is being worked on constantly and will see a release well before the end of 2011." More details in comment section below.

If you haven't heard Moe Grizzly before, think a fuzzier, less intelligible Drones. But really, just listen to the song already:

   Moe Grizzly - Eye Sore by Noise, Etc.


Being myblackson's 'final' show - which was one of their best ever, let the record be known - it feels fitting to feature something from them here. You can already listen to most of their back catalogue on Bandcamp (and download the majority of that for free), but here's a song from the limited single they released at their final gig on 22 July 2011. It's titled 'Jam', which is the same name as one of their old songs, but whatever. Punk.

They'll be back, just you watch 'em. And they'll play Pop Song, too.

In the meantime, while we all pretend they're dead forever - R.I.P. myblackson. You were good to us. Really, really good. To my favourite Tasmanian punk band: thank you.

   myblackson - Jam by Noise, Etc.

Noise, Etc. Live #1 with Peter Escott, Carl Higgs, Splash Mountain

I'm happy to present the inaugural Noise, Etc. Live show, featuring the talents of...

Peter Escott
Carl Higgs
Splash Mountain  

Noise, Etc. Live #1 is on Wednesday August 17th at the Brisbane Hotel from 8pm. $5 entry. Be there. Facebook event here. Poster, wanky bios and mission statement below: