From 80's video-game psychedelia, to funk-inflicted post-yacht hybrid and soulful electronica, here's five of our favourite songs from this week.
By Lucy Shanahan and Cleo Harrington.
"Get Money" is the uber-catchy title track off E^ST's freshly-released EP Get Money, and features Brisbane peer Mallrat, whose EP also dropped today. A slowed-down, atmospheric chorus is chased up by the drop of a seriously dance-inducing beat, striking the perfect balance between contemplative and downright fun. The video — directed by Nima Nabili Rad who has also worked with Allday and LDRU — showcasing a hipster teen squad of hipster teens who embody the young and free nature the song represents ("just wanna get high as high as I can"), while the track itself flirts with bigger themes, such as abandoning materialism ("We're not made for money / They can take it back").
Following the EP release, E^ST (pictured above) will be supporting Japanese Wallpaper on his upcoming national tour. [C.H.]
Former Faker frontman, Nathan Hudson, is embarking on an ambitious new project where he'll visit 12 cities over the next 12 months, writing and recording two songs in each location. The excursion — entitled Maps of Stars — was introduced this week via the Los Angeles-inspired "Getaway Car", a stripped-back guitar track that's primarily led by Hudson's distinct melodic presence, with his sun-chasing, wanderlust lyrics ("We'll find a place to sleep / get in the Getaway Car") illuminating a statement of urgency and ephemerality. [L.S.]
Jay Watson, aka GUM, charges headfirst into a visual cacophony of 80's video-game graphics, lurid colours and optical illusions, in his new video for "Elafonissi Blue". Written on holiday after a packed touring schedule with current projects Tame Impala and POND, the multi-instrumentalist paints a electric, all-consuming psychedelia. Dizzily dazzling visuals (designed by Alex Aulson) eventually become trancelike, transforming the song's uninhibited energy into slow-moving swells. The music follows suit — white-noise percussion and muted electric guitar blend with wavering synths and echoing backing vocals, only then to be spliced, as Watson cuts through the clutter to deliver luring hooks. [L.S.]
Bending genres between disco, synth-pop and hints of early-80s funk, The John Steel Singers are back from a two year hiatus with the title track from their forthcoming third album, Midnight At The Plutonium. Vocalist Tim Morrissey's floating falsetto, paired with thin-sounding keys and stinging bass lines, transform the band's signature sound into a post-yacht hybrid. After building Brisbane recording studio The Plutonium (which would later house Tame Impala, Blank Realm and Crowd Control), and touring their previous album Everything's A Thread in the UK and Europe, the John Steel Singers are expanding their skills, clearly with a newfound experimental edge. [L.S.]
Robbie Miller's "Road" is a brooding track that hums with tension, reconciling temporally-fluid synths with snapping, rhythmic movement. The song is the first release from the Brisbane-based artist this year and follows up his 2015 debut EP, The Faster the Blood Slows. Soulful, raw and self-restrained, Miller has collaborated with bandmate Nathan Morrison on "Road" to bring an electronic component to his refined folky roots. [L.S.]