From the scrappy side of the tracks to tracks about dead dads — presented at 'disco wakes' — this is our favourite new release songs and videos from local artists.
The first taste from the forthcoming, long-awaited debut album from Brisbane's Major Leagues (pictured) is "It Was Always You", a deliciously catchy combo of Dunedin clatter-along momentum and reflective, lo-fi garage pop harmonies.
Building from the sun-soaked, So-Cal-side-of-indie shown on early tracks "Teen Mums" and "Better Off", "It Was Always You" inserts a subtle sinister edge, with enough lyrical ambiguity to make lines about "drowning eventually" adaptable as either hopeful or hints of inevitable doom. The simple, accompanying clip plays off this same confessional charm, showing the band performing a pop-up, backyard show — complete with Hill's Hoist lighting effects — alongside diary-entry, home video scenes.
The quartet will introduce the new track at a short run of shows next month, playing Brisbane's The Foundry on April 20th and two Sydney gigs — at Golden Age Cinema on the 27th and the Rare Finds birthday party at Oxford Art Factory on the 29th.
Much like "Dream Catcher's Life", the previous effort from Melbourne indie-electro outfit, The Hiding, their latest, "Lost Kids Balloon", is pop music without the usual predictability. Effortlessly catchy (once more propelled by the soulful streches of guest vocalist, Stewart Winchester) the song spins between an unusual merge of acoustic plucks and the fuck-off-attitude of a teasing EDM drop.
The result is a song split, equally inwardly reflective and invitingly euphoric. And while the metaphorical title itself might immediately fit with the former — loss of our one true love, an air-filled vessel — the group themselves say they've aimed here for the "grass is always greener on the other side" perspective. The Hiding further explain that "Lost Kids Balloon" documents both sides of a specific forked-road situation, "the awakening when you realise you're no longer in your loved one's future."
The trio are set to launch the new single on April 1st at Horse Bazaar in Melbourne.
Stuck between tempos, stuck in the suburbs. The latest from Brisbane producer Max Byrne, aka Golden Vessel, partners a panicing rhythm-pattern with an equally skittish layer from vocalist Emerson Leif. He cuts through the clutter though, with Leif's crooning skats creating unexpected clearings of clarity amidst the chaos. The companion clip covers similar ground, taking us from the mundanity and bleakness of Any Suburb, Australia to the flash mob unpredictability of the Big Smoke.
Byrne launches the track tonight at an event entitled "GV Projections Show", hosted at Brisbane's Black Bear Lodge. The special audio-visual show has been in the works for six months, with Byrne explaining that himself and two collaborators have created a series of projections that aim to "add new context and are designed to move in sync with each new track." More details here.
Adelaide garage-grunge trio, Battlehounds, introduce their newest track, "Night Crawl", with a teasing, rough-edged riff. From which, there's only one way to go — this is full pelt, foot-to-the-floor stuff, as gritted-teeth rhetoricals ("why am I here, again?"), sharply shift to a Grohl-esque chorus eruption and squealing guitar solo.
The song leads the band's forthcoming Damn Demons EP, which vocalist Alex Rajkowski says take a "pretty introspective" focus, adding that "we've all battled through some shit but we all deal with it differently and this was my way. I've never denied that to myself in my writing."
Damn Demons is due April 28th, set to be following by a run of east coast launch shows, details here.
Always unpredictable, Sydney-based solo artist Dominic Price, aka Dead Language, earlier this month revealed his latest song, the bizarre, yet touching, yet still bleakly black-humoured tribute to his late father: "The Man Who Killed My Father".
While the song's heart-wrenching lyrics operate as a striking paradox to the pop melodies, the track's video — revealed this week — lands more on the light-hearted side of that ledger. Price, who initially pitched the idea of "a disco taking place at a wake" to director Rory Pearson, says the aim with the video was to create "a piece of Australiana-inspired art."
"The Man Who Killed My Father" is the first taste from Dead Language's new EP, Like Heart, set for release on April 26th.