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Melbourne-based singer/songwriter INDI just dropped her newest track Alive today. Hot on the heels of her previous releases Should‘ve Known Better, Take It Or Leave it and Aftershock, the 22 year-old INDI’s latest offering is an epic synthpop power ballad.

INDI says of Alive:  “This is THE song that I’ve tried and tried again to write. I was so excited with the demo; it’s a cooler spin on teenage romance and the intensity that goes along with it. Every time I hear it, it takes me back to my wilder days in high school when I first met my now fiancé, and all the mischief we got ourselves into. We thought we were the coolest kids ever and we were absolutely obsessed with each other. The two of us always knew we were going to be together forever despite how young and stupid everyone thought we were back then. We proved them all wrong. 

“Even now I still relate to Alive because it’s about casting fear and feelings of self-doubt aside and never allowing them to stand in the way of anything that makes you happy. It’s about daring to take a risk. I’ve always dreamed of living and performing in the UK ever since I was a kid, and this December, I’m dropping everything that I love here in Australia (my family, my teaching job, my gigs) to finally DO IT. I am so excited to see what life has in store for me there!”

Good luck INDI!

Influences: Charlie XCX, Avril Lavigne

Why we love it: Pulsating synths are life

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By Charlotte

[newandbrave]

Dropping tomorrow, Valerie’s new track “Love Like That” continues the feel-good, summery pop that Valérie loves, a sound that embodies her tropical background and takes her home to warm evenings on the beach with her family. In time for summer in the southern hemisphere, this vibe is perfect for hot summer night playlists.

Valerie told us she always loved playing this one at her live shows. Always a big crowd favourite, she is super excited to have this out in the world after being asked so many times by fans when they’d be able to get their hands on it. Finally, by popular demand here it is.

Why we love it: you can’t not dance to this!

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By Charlotte

Behind the scenes Valerie recording “Love Like That”

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Australian singer/songwriter INDI just dropped her latest single with independent label Damasta Recordings. Hot on the heels of her previous releases Should‘ve Known Better and Take it or Leave it, the 21 year-old INDI’s latest offering Aftershock is a throwback pop confection with wall-of-sound pulsating synths. Drawing inspiration from punky electro-pop artists like Charli XCX and Robyn, Aftershock gives a big nod to the pure pop hooks of the 80s. In appropriate retro convention Aftershock comes with an epic b-side Madness – apparently equal contender for the single even in the last weeks before the release date – and since it was nearly too hard to choose between the 2 tracks INDI and her label simply released both.

“Aftershock came as a pleasant surprise for me – at first I wasn’t quite sure how to make it work to complement my style and my other recent songs – the original demo we had recorded was more of a disco/house vibe – but we managed to totally transform it into pure 80’s synthpop magic and I couldn’t be more ecstatic with the finished product”. 

Madness INDI explains “is a deeply personal one for me and it literally flowed out of me in the space of about 45 minutes. I was in the midst of a huge conflict of the head and heart and I was still searching for every possible reason I could find to remain in a situation that I was probably better off walking away from at the time, because I knew I would never find anything quite like it again.”

Influences: Charli XCX, Robyn, 80s

Why we love it: super catchy ear-worm with 80s vibe

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By Charlotte

[newandbrave]

Der Nagel, founder of Chum 313 is back with his first ever visuals and it is fun, fast and flat out rad. This raw trap track encompasses everything the Chum crew epitomises; surviving, dealing and family. Nothing is more important to Nagel than being loyal, sticking together through adversity, mateship and just living free of social constraints, which comes alive in his music. The boys and girls of the Chum party hard, and his catchy track, Chum Kno What I’m Sayin, (produced by Arcade Era) is a sublime illustration of him in his element.

Since I interviewed Nagel, he and his boy Webby have been riding a vicious wave through the scene, crushing anyone willing to step in their way. Catching up with him on the few occasions since and just kicking back with him, I’ve been able to experience the authenticity in his persona. You won’t meet an artist who backs up what he preaches like Der Nagel, and the glory and growing masses around his music is nothing short of evidence that what he is doing is top shelf quality.

His new single and its entertaining film clip is a must see. Not only does it have a likeable flow that is great on the ear and easy for the average listener to bop along too, it’s genius lyrics and contrastingly bright sound gets caught in your head in a good way. It lyrically makes for one tough track, and his message is loud and clear, reiterating what he stands for. It’s a song that isn’t just a good sound, this sonic representation of who he is and what he’s about showcases the profound meaning behind his passionate art. It doesn’t have any low moments and with a few catchy hooks and lyrics to echo yourself, this song is worth every second of your time. The crazy thing to contemplate when indulging in this song and its film clip is that this is only the beginning for him and the whole Chum. I’ve got it on repeat as you read this, and so should you. This song won’t be one to miss, and neither is Der Nagel, so remember the name.

Why we love it: genuine outlaw rap with great visuals which begs for a repeat upon first listen

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By Mitch

[newandbrave]

Around since 2008, San Francisco based act Bigelow’s Treehouse like to stretch the boundaries of traditional roots rock and Americana, with none other than hard-edged shuffles, deep funk, blues and some occasional twang. Having shared the stage with Bay Area legends like Tia Carrol and Little Wolf and the Hellcats, these guys are appropriately organic, locally grown and cage free (and reassuringly cheaper than a trip to the farmer’s market).

We spoke to the tremendously funny Andrew Balmat; a little about the new single Odd Man Out, but mostly about other stuff.

Q: Hey Andrew, thanks for talking with us. So Bigelow’s Treehouse – I know there’s an interesting story to this name. Is the awesome photo on the cover related to it – its so nostalgic!

A: My pleasure! Naturally, people ask about the name a lot. It came from friend of mine who’s a writer, and he sent me a few band names that all referenced things and places from our childhood. I really liked the sound of Bigelow’s Treehouse—it’s just fun to say—so it stuck.

And it’s a real thing. That’s David Bigelow in the picture from 1969, sliding down the pole and looking a bit scared. I’m maybe 10 years younger than Dave & his brother, so they had no interest in hanging out with me, and I rarely got to go up there. The treehouse, which was made about as well as a real house, took on this mythical status. To me, anyway.

Sadly, David’s not with us anymore, and the neighborhood doesn’t look like it did in that picture. Our song ‘Mr. Leonard’ was inspired partly by a thousand conversations with the family who lived in the house poking out in the top left of the photo. Mr. Leonard passed away this year, too.

I do write songs about other things than my neighbours and their houses. Our new EP will be about my old cat, for example, and then there’s the Bicycle Trilogy…

Q: People aren’t using chords like this any more, which is a shame (the chorus is just a perfect relief to these verses) and I can certainly hear 90’s brit-pop in this track. Who are your influences?

A: Oh, thanks! The song is definitely Brit-influenced, but probably more 60s in my case. I always gravitated toward that older stuff. Kinks, Beatles, and Harry Nilsson, who was American but like a fifth Beatle.

I don’t think of the chords as too weird, but I get what you mean. Things are more layered today and less intricately structured. But I guess it’s not entirely new. James Brown and the later John Coltrane & Miles Davis stuff seemed to sit on one chord a lot. It makes for a dreamy mood.

I love chords, and lately I’ve been noticing how powerful they really are. Use fewer and they can have more power. There’s a Prince song called Hot Thing that is pretty much just one chord, but towards the middle of the song the chord finally changes and it’s an explosion of energy. He also discovered that if you slide across the stage, through the dancer’s legs, tearing her skirt off along the way, that it can really accentuate a chord change. So we’re working on that.

Q: Jay Z is now doing “dad-rap” and you have joked about your music being “dad-rock” but you’re not a dad yourself yet, right? What makes music “dad-rock” is it being a dad, or making music dads might listen to?

A: Well, if Jay Z is ‘dad-rap,’ it looks like I will be pioneering ‘grandpa rock.’

I suppose I always thought of the dads as the ones listening. I think of the dads as older guys who still really care about music and are trying to force their tastes on their kids. But if Wilco and Talking Heads are how your dads try to embarrass you, then you’re doing pretty well. It begs the question, though…what’s ‘mom rock?’

Anyway, I don’t think it’s really about age, it’s just about maturity. When I was a kid, I didn’t want to listen to kids sing. I looked for some kind of wisdom in my music, so I wanted to hear an adult perspective. Not adult like “study hard in school,” but some wisdom like “laughing and crying, you know it’s the same release.” You don’t have to be old, though. Lorde sounded fairly wise at 16. The Beatles weren’t even 30 when they broke up, but by 1966 they were wise. I’m older than them, but it doesn’t feel that way.

Q: I know Bigelow’s Treehouse previously teamed up with Emily Zisman and Ryan Avery (from Chance’s End, who we reviewed last week) on your track “The Herd” a long-time favourite of mine. How did you end up working with those guys?

A: They are great, right? I met Emily years ago. We did some shows together and became friends. She sings on Odd Man Out, too, if you listen closely. Our producer was so excited when she did her part that he told me he was just going to mix my voice out of the song. Super funny guy. He’s dead to me, now.

They say San Francisco is kind of the home of free love, and I think we’re pretty musically promiscuous here, too. We all have our own things going on, but the musicians all get to know each other. I’m very lucky to get to play with Ryan and Emily and so many others – and of course Kitt, Boris, and Adam, who made the songs what they are.

Q. You’re the guitarist and vocalist for the group, and the songwriter too. Where do you draw your inspiration?

A. It’s more or less therapy for me. I write whatever I’m thinking about and I write (or I try to write) the music I would like to hear. My themes tend to be criticism of modern society or of myself, which means there’s no chance of ever running out of material.

But being in my head can be a trap, so I have to be careful. I thought of writing a song called “It’s So Sad to Be Depressed,” because so many of songwriters and artists get caught up in thinking that anyone actually cares about our life’s drama. But really, I think they just want a good soundtrack to their own misery! Music is ultimately entertainment, and once you get to that place, then it can be more. But you have to make someone care first; you can’t just be depressed and call it great art.

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By Charlotte

[newandbrave]

Back in March New and Brave discovered up-coming hip-hop artist Kayjen and we had good things to say about his exciting first single Cautious. The 24-year old LA-based rapper has since teamed up with an Australian independent label to release “Alive + Numb (feat. Valerie)” out today, a hip-hop/pop hybrid of a track with shimmering harmonies provided by another one of our favourites, Valerie (whose latest single Fierce – also released with Damasta Recordings – we wrote up in May). We had a chance to speak Kayjen this week about his new track.

Q: Congratulations on the new single! How does it feel?

A:  It's a comforting feeling knowing I have a solid, collaborative pop track to put out, along with a solid rap track on the B-side. I am hopeful that this song will reach a larger audience than I am used to. There's potential and many possibilities that can come from each track and I am excited to see what this one does.

Q: A lot has happened since our review of your single “Cautious”. The track “Alive + Numb (feat. Valerie)” is really an evolution of the side of you that caught our attention even back then. It’s pretty pop. You’ve said before that people have told you that you have a “pop voice”. It’s sublime, if you ask me. I could listen to you all day.

A:  Thank you for those words, and again, for the Cautious review. That review really helped me motor forward hearing what you thought about it. Yes, I've heard it many times that I have a "pop voice" which I can appreciate and see to some extent. Being a rapper as well, I don't want to be categorised too heavily into pop, but I also enjoy pop a lot so it is a bittersweet thing for me. I have just started to figure out my voice, so I am curious what people have to say a year from now.

Q: The single comes with a B-side, "Tan Chant", can you tell us a bit about that track? It’s very different to “Alive + Numb”, but they complement each other in a way. Were they written around the same time?

A: Tan Chant was written about a few months before Alive + Numb and went through pretty big changes. I am glad to have a finished product with that song, and I am happy with the turnout. I decided to keep it simple and relatively short, so that I could really showcase what I can do as a rapper.

Q: You’re a 'strike while the iron is hot' kind of guy, and you never seem to sleep, haha. You must be churning out a tonne of songs every week? I’ve seen that screen-cap in your Instagram where you have a heap of song ideas in your voice memo app at any one time. Where are you getting all that energy?

A:  I have never been so busy with music in my life and I LOVE it! I am constantly checking emails, contacting promoters, messaging with Damasta Recordings, writing and the list goes on. Being able to take on multiple projects at one time keeps me refreshed. If I'm stuck on one song at a time, I will overthink it and make a bad decision along the line. Jumping from song to song, acoustic to pop to rap, I have so much fun and can make music all day and night.  

Q: I heard a rumour that you lived in your car for a bit during a tough time. The term poor struggling artist is obviously one you can relate to?

A:   Yes, I don't like to go too in depth into this subject because it stresses my mom out, haha! But I did what I had to do to keep the dream alive, and I had no problem doing so. I like to say "It is part of the process." If you want something bad enough, you're gonna do what it takes to get it; and because the cause is so great, the experiences you go through turn out to not be as nearly bad as you would think. It almost feels right and rewarding to struggle at that point. My good friend, John Gotto, always emphasised that when I got down and discouraged. A really big thanks to him for keeping my head level throughout these years.

Q: If you had to take the journey to this point (the beginning of what looks like a pretty promising career) again, is there anything you might have done differently?

A:  I believe everything happened for a reason. I have learned so many things the hard way, and because of it, I think it helped me become a stronger artist than I would have been if I didn't go through it all. I would not change anything.

Q: Lastly, what advice do you have to someone with a big dream like yours? How do you keep that fire burning?

A:  Chase what you truly love. That undeniable love is all you need in order to be successful at what you want to do.  

Why we love it: hip-hop with an island vibe

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By Charlotte

[newandbrave]

Conventional modern electronic downtempo doesn’t have time for violins. Pop-punk always had scope for it (think 80s/90s Swedish string supergroup Flesh Quartet), and current indie-pop has its darling violin-king in Kishi Bashi, so arguably that’s a big mistake, and the next big thing in electronica will be a return to virtuosity (here’s hoping!).

In the meantime, San Francisco violin-electronica duo Chance’s End – following in the footsteps of pioneering electro-string acts like Groove Armada, Hybrid or Beats Antique – have produced a minimal, yet lush, track in Rich Girl. Stripped bare of all embellishment (save for a deep tuned kick, fingersnaps and Ryan Avery’s delay-laden violin textures), the arrangement lets Emily Zisman’s understated and smooth vocal shine through, in what could be very much be a conventional pop song in any other incarnation, but here is gorgeous, hypnotic beast of a track with a stark and striking earworm of a chorus.

From the EP of the same name released last November, Rich Girl’s music video just released last week, is as mesmerising as the track itself. A black light and body paint creation with undulating human forms, lips and the unnerving form of a striped Avery with black holes for eyes, it left me wondering how hard it might have been to get that paint off the violin, and judging by the photos on I spied on Facebook of Zisman scrubbing it off her face in the bath, it couldn't have been easy.

Influences: Groove Armada, Hybrid, Beats Antique

Why we love it: dark and brooding, minimalist but lush downtempo

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By Charlotte

Photo: Kingmond Young

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Emerging out of Melbourne (even if they sound Scandinavian) is duo Haxx and Rromarin with “Water Baby,” an eclectic track that follows their debut “Get Up Boy.” This track may have been heard by listeners on Unearthed, Double J or FBi or recognised by these same listeners on the genuinely generous outlets The 405, Indie Shuffle, Kick Kick Snare, credit should also go toward their rework of “This Boy’s In Love,” which was supported by The Preset’s themselves. Once hearing “Water Baby” the anticipation for the Kult Kyss’ EP and future dramatically rises, as listeners cannot deny that this duo stand out profoundly in the blended world of future, electronic pop.  

“Water Baby” is a viciously entertaining song, the music varies to the sweet point where it is not sporadic nor rigid. The song opens with a water stream, so that without checking your music device, you can guess what song it is – as well as indicating purification. Before this sound effect hits irony, the electronic drum kit powerfully charges in to let listeners know that the song has begun. It is beautiful how Kult Kyss pull back the music to focus on vocals (so the vocals do not become overbearing or the lyrics too difficult to decipher) and the instrumentation becomes mystical to symbolise a refreshing new life, but slowly builds up with this excitement. This build up cuts so the ever so important vocals can still be heard, yet power is still emphasised, in demonstrating to let go of the past. The multiple vocal parts in the final chorus not only show’s off the skill of vocalists but adds an extra hook to this melodic and catchy electronic song, a feat that can be missed by dance producers. The change in beat for the outro again prove show this track is nothing but stale and affirms the lyrical point.

As there is still a grey area surrounding Kult Kyss, New and Brave were very pleased to learn about this intriguing, Melbourne duo and gain more insight and information into the act.  

1. It’s great to hear that you are Melbourne residents, where are you from?

Rromarin (Claire) is has lived in Melbourne her whole life, whereas Haxx (Jack) is originally from Adelaide

2. Other than Kult Kyss, what else do you do with yourselves (work, study)?

Together we run a music studio and rooftop space called Joyluck Studio. Through this we produce and mix various Australian and OS artists. Outside of that we love spending time with our 3-legged cat Sprocket, playing video games and exploring forests and wild places.

3. What is the origin of the name Kult Kyss?

It is Swedish and translates as cool kiss or cult kiss. The project is quite conceptual and esoteric so we thought Kult Kyss suited it well.

4. What are your musical backgrounds and what other roles do you hold in the creative process (design, mixing, video, etc)?

Rromarin is classically trained and studied music at the Melbourne Uni Conservatorium. Haxx is a computer geek and obsessed with production, and is self-taught.

Kult Kyss is very DIY - we write, record, produce and mix all of the music. We create a lot of the visual content ourselves, and are also fortunate to work with some great collaborators (such as Ines “Alpha” Marzatand Zachary McSweeney).

5. Describe your performance style.

We haven’t started performing live yet, but are hoping that it will be dark, magical, experimental and visually engaging.

6. Would you consider The Presets one of your biggest influences?

They are a huge influence and have inspired us for many years. We’re so happy to have been able to pay tribute to one of their tracks. The Presets have always maintained a strong, unique vision and are uncompromising in their art ~ which we love.

7. Amongst the acclaim Kult Kyss has received from blogs, radio stations and other artists, what has been your greatest achievement?

Probably just staying true to our vision and really committing to what we wanted the project to be. I know that doesn’t sound like much of an achievement but to us it is.  

8. If you could play or record with anyone dead or alive who would it be?

Probably Radiohead, Royksopp, Fever Ray / The Knife, Robyn, Bjork…we could go on forever…

9. What can we expect from your next EP and the future of Kult Kyss?

You can expect us to keep taking you on a journey into our weird other-world through the music, visuals and our live show. The upcoming singles are quite dark compared to Get Up Boy and Water Baby.

10. Tell us about the process and production of Water Baby. What inspired this track and the sounds that were used?

We tried hard not to overthink or overwork the track so that it could keep a little life and wildness of its own. Quite a lot of the vocals are improvised demo vox from the very first takes Rromarin did - they had an energy and life that we loved and wanted to preserve. The themes of the song are rebirth, transformation, and letting go of pain, anger, negative emotions etc. Because of this we wanted the track to be very visual, primal, ritualistic and free. Water has always represented these themes both literally and metaphorically (the spirit, the subconscious, cleansing, purity, creativity, emotions etc). Our goal was to try and capture these ideas and themes through the production and vocals.

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By Josh

[newandbrave]

Belle Haven – Selfmade

Belle Haven’s desire to impact their faithful is embedded in the sweat and blood dispensed from the backbreaking work that has helped them reach the platform that they have now reached. This 5-piece melodic post hardcore band encompasses the genre’s aggressive guitars and do it yourself attitude but with some external influences of noiserock and pop punk. With their devilish lyrics embedded in the gorgeous clean vocals that intertwine with the heavy growls that deliver their emotive messages, this band has created a space of safety and empathy for their fans through their messages. This band is a great example of how contemporary post hardcore is more experimental and less idealistic and rule focused compared to the 80’s, being evident in their painstaking attitude.

Recently in an interview with Beat Magazine, Lead singer David De La Hoz further commented on the story behind their lyrics, stating that their newest instalment You, Me and Everything Inbetween, encompasses the contention that a plethora of people in the world right now or in the past ‘feel used, betrayed and manipulated on a daily basis’. He went on to state that they hope this new album much like their debut album and hit single ‘The Carving Knife’ can help aid and teach their listeners that there is a time to ‘burn bridges’ and that it’s hard to do but its ok to make that scary leap.

This young hardcore act unleashed their sophomore album upon the world last month, and upon first listen I was blown away. Similarly, around the internet, reviews of this new album have been above average and downright exceptional, which is a testament to the hours, days, months and years they’ve put into their craft since their debut. The unfathomable effort that has been put into this record truly defines them and is a lexicon of what they want to be. With wicked guitars, bone crushing mix of drums and bass, a transference from raw hardcore to polished metal, somewhere in between clean vocals and powerful screams, this beautiful creation of tunes has found themselves a home in a passionate and loyal crowd.

Their loyal following mirrors the bands motto, that they are more than just musicians, and that Belle Haven is not just a tangible creation but is a space, an idea. Their spearhead single from the new album, Selfmade, is a song that is a prime example of all of this.

Selfmade is powerful. Starting out with a crafty bassline and a bouncy riff with metal undertones, head banging is a must. Then suddenly David’s voice rises from behind, adding to the brutal rockage occurring. The song which is as charged lyrically as it is sonically, possess an orbit that will continually catch new listeners upon the first 30 seconds. Begging for answers that come too late, this song is an anthem of being trapped in something for too long and uncovering an ugly truth about an unforgiving friend/foe/lover once it’s too late. Something that personally hit hard with me. As the song comes to fruition, the screamed howls and increased speed of the metal guitar licks rip apart all the emotions that have been building with each verse of lyrical agony. This song takes you on an emotional power trip that will leave you vibrating with cravings for more of their music and is a manifestation of how hard they have worked. Yet another fantastic local act that will hopefully get the recognition they need off this hit single, and overwhelming album.

Why we love it: a true emotive hardcore journey by a band who are creating a special space for their loyal fans

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By Mitch

[newandbrave]

Ani Lou – Ascend

Kate Southorn is a talent that New and Brave have been fortunate to discover in the artists early stages, but has a future in this industry written all over her. In this future however, she will be known (and currently is known) as Ani Lou and her public journey starts with “Ascend,” the first single off the debut EP Eralda. The Tasmanian, singer songwriter recorded her EP with her four-piece band at Reel to Reel studios with Zarven Kara.

The most unique feature of Ascend, before further description is written, is the artist’s ability to musically convey the lyrics and meaning of her song, which more artists should be able to do. Ani Lou’s song about her battle with Chronic Fatigue Syndrome (which includes themes and words of isolation, entrapment and melancholy) is all translated into her music and genuinely encapsulated with her sweet voice. Lou’s voice does not have the whining nature of many female, Australian artists, making it that extra bit pleasurable to the ear and has avoided the acoustic status quo of emotional songs with the use of electric guitars. Sadness is conveyed through the minimalistic, Swedish inspired guitar parts and subtle vocal echoes yet creates greater atmosphere with the large drums headed by the explosive cymbals, which symbolise a potential, dramatic escape from the artists current situation and how not everything is down tempo.

As New and Brave felt that there was so much to learn about Ani Lou, curiosity kicked in and the creatively, gifted girl from Tasmania decided to join us decided to join us and freely some questions.

1. So you are from Hobart, Tasmania, are you currently living there and how old are you?

I was born in Hobart. I've come and gone from Yamba in NSW throughout my life but I'm currently living back in Hobart in the Suburb of Mount Stuart. Oh, and I'm 26 years old (but I look 15).

2. How have you found the music scene in Tasmania?

What I've experienced of the Tassie scene so far has been really nice and close knit. I've genuinely felt pretty supported in what I do. It's a fairly small community and so you get to know a nice amount of the people who are playing alongside you. Then, in a lot of cases, we help each other out in the ways that we can.

3. Other than Ani Lou, what else do you do with yourself (work, study)?

Well, honestly, I'm still having to rest a lot with my condition (CFS) and so music is the main thing I do! I kind of make sure I have enough down time to play a show every couple of weeks and to practise at home/record. It's kind of been perfect for my lifestyle because I get to reach for the laptop when I am feeling up to it and I can have breaks in between. Work in the general sense is hard for me at the moment because every day is different in terms of lacking energy/ache.

4. What is the origin of the name Ani Lou?

I always feel that my answer to this is a bit of a let down, but it's just my middle name (Anne) shortened in a way that I like and my Mum's and Sister's middle name (Louise) shortened. Fam first.

5. Kate you are a woman of many talents, you are a songwriter, producer, singer, multi–instrumentalist and you directed the video for “Ascend,” is there anything I am forgetting or are there other fields that you are aiming to master?

I'm giggling because I'm so unpractised in some of these areas, but, I guess would call myself a dabbler! I'm definitely into learning new things in all mentioned fields and I have been lucky enough to meet talented friends in film and music that help me when I'm feeling like I want to make something new. I've always had really strong imagery that comes with my music making which has been really nice to being to life. Perhaps next I might learn more about filmmaking. I shot a few a clips for the 'Ascend' clip whilst visiting my family in Yamba (so much sparkly water) and I really enjoyed that. To project film at shows and create new atmospheres would also be a goal.

6. Describe your performance style.

My performances are definitely in their infancy (speaking for me, not my band). I'm pretty awkward. But a couple of performances ago I began being able to talk to the audience a little. My aim is to become more open with storytelling and perhaps move around a little. I suppose it takes time. I like telling stories about my own illness/experiences of mental illness because it's a common thing for people to go through. Even if not those specific challenges, the feelings associated with them are; confinement and disconnection. Feeling stuck in your body or mind is such a heavy weight to bear - I don't like the thought of people going through it alone.

7. If you could play or record with anyone dead or alive who would it be?

Hmmm, I'd say Julianna Barwick and Agnes Obel! They have inspired me greatly.

8. Your EP centres around an isolating experience accompanied by a melancholic sound, would you care to explain the inspiration behind this EP?

Yeah sure, it's really an extension of what I have touched on above. I've been living with Chronic Fatigue Syndrome since being diagnosed in 2011. It's kind of the umbrella topic that colours everything else. There are other ideas too; love, life & death, anxiety, but the main challenge for me most recently has been dealing with the separation and quiet discomfort that goes along with being ill, so that shows itself predominantly. Music has been a massive help for me, a great outlet. Performing and recording has brought me a lot of fulfilment which I was without for a long time. And even with the fact that I usually am recovering for a while after a show, I need to do it for me, to try and express and give to other in a way that gives me meaning.

9. What is your song writing process?

In the beginning, I usually wrote songs based on a guitar/piano line; the lyrics were more stream of consciousness. Now, I mostly have the lyrics already written. I think that's because writing and expression has always meant a lot to me. I am usually trying to express something specific that I want to feel through poetry before I add any sound.

10. You have covered Cigarettes After Sex song Nothing’s Gonna Hurt You Baby as well as Cosmic Love by Florence and the Machine, what drew you to performing and publicly uploading these tracks? Have either of these artists been influences of yours?

I'm not sure if these two are artists that influence my sound directly, at least for this EP, but I have always appreciated Florence's vocal registry though and enjoy singing her melodies. I find them challenging and I like pushing my voice; I think she allows that. As well in recent times I have been loving Cigarettes After Sex, such dreamy, calming listening. Perhaps they will be more of an influence in my next musical venture?

11. What’s been your greatest achievement and what is next for Ani Lou?

Musically, and just generally in recent times, I would say the EP. It really meant a lot for me, coming from a place where I was just dreaming about music for so long and I got to make my work a reality. I had so many people helping me along the way and I'm just so thankful it was possible!

And yes good question, what's next!? I would say, more writing (learning) and pushing my sounds further. More film-making and more warm and fuzzy show stories (fingers crossed). X

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By Josh

[newandbrave]

Bridge The Border – Spears

Punk rock music was probably at its best in Melbourne during the mid and late 90’s. Due to the popularity of American bands such as Blink 182 and Green Day, Melbourne based bands like The Living End and Body Jar found a lot of success, and music lovers from Melbourne could enjoy the energy and atmosphere of punk rock. Since then there hasn’t been many Melbourne punk bands that have managed to establish themselves, that is until recently when bands such as The Smith Street Band and Clowns have announced themselves as some acts to watch. Another up and coming punk rock band that is looking to break in to the Melbourne based music scene is Bridge The Border. With their developing punk sound and a memorable live show to go with it, these guys are quickly becoming a fan favourite around Melbourne and the outer parts of Victoria.

Bridge The Border are a three-piece pop punk band that originated from Gippsland Victoria in 2015, and are now based in Melbourne. The band is made up of Harley Nobelius, (Vocals and Guitar.) Jake Van Roy (Guitar.) and Darcey Handley (Drums and Vocals.)  The boys originally got together to work on a recording project which would end up being their debut album. Following a few sessions in the studio together they would form Bridge The Border, and then began putting on local shows around Warragul with some other Melbourne based bands they could get in contact with. Together the trio find a way to mix their loose behaviour with their heavy punk music to create an explosive experience for their fans and listeners.  In terms of influences the trio list quite a few ranging from Skate Punk bands such as Blink 182 and Sum 41 to Iron Maiden and Metallica. They have also played shows at Melbourne’s own Cherry Bar, along with supporting bands such Deez Nutz and Ocean Sleeper. They have also managed to play the occasional show in their home town of Warragul.

Their debut album titled ‘A World Apart’ was released in 2015. In March, they released their single G.O.O.N where the boys collaborated with Melbourne musician Cassie Sutton. Made up of pacey guitar riffs and heavy drums the song captured the fear and pain of relationship that was falling apart. The single received some attention from SYN’S Punk Hour as well as air time on some of Melbourne’s community radio stations. Following these releases Bridge The Border have just released their second single of 2017 which is titled ‘Spears’. The band has said that it is a step in a heavier direction for them, but they have still managed to stick to some of the original aspects of their pop-punk sound. They are set to launch their latest single on the 5th of July at The Village Green Hotel. On top of their latest single they have hinted at a possible EP release which could be due out later in the year, along with an East Coast tour which they are planning for December.

Written, Engineered and mixed alongside Chris Vernon at Perception Studios ‘Spears’ offers a new angle to recent music from Bridge The Border. The song was written and created amongst the group themselves with each member contributing to the heavier beats and lyrics. The heavier sound is shown at its best by the combination of loud punk based guitar riffs and booming drums. At times, it sounds similar to the same sort of heavy combination that Sum 41 used as the backbone of their punk music in the early - mid 2000’s. The vocals though give a contrast to the rest of the song which I think works rather well. You can hear the emotion coming from Nobelius, and combined with the louder sub vocals it actually creates quite a unique effect. For me the vocals are really close to those of Mark Hoppus from Blink 182.

Similar bands to Bridge The Border include Neck Deep, Tasmanian band Luca Brasi and most notably Blink 182. But, if ‘Spears’ is the first song that you are hearing from them then I can guarantee you will hear a heavier punk sound used by bands such as Sum 41 and New Found Glory.

2 years as a band isn’t really that long, and the progress that Bridge The Border have made since 2015 is outstanding. ‘Spears’ is a perfect example of how they are still growing as a band, and it is a catchy song as well so I think that they may be onto something with it. With a new EP on the way soon and an upcoming single launch they will have a busy few months ahead of them, and I can guarantee they will be loving every minute of it.

LISTEN HERE

Influences: Blink 182, Sum 41, Metallica and Iron Maiden

Why we love it: Heavy punk sound with some fiery guitar riffs and vocals which give a great contrast to the rest of the song

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By Kieren

Photo by: Natalie Parham Design & Photography

[newandbrave]

Mayfield – Mr Right Now

Just imagine; a martini (shaken, not stirred obviously) in one hand, a light cigar in the other with one foot slowly tapping to the cool, sensual beats of not just any song; but the fabulous soulful, catchy tune; Mr Right Now by the funky and flared band; Mayfield.

A very smooth and sexy song, that automatically takes us on an intriguing drive with its clever harmonies and perfect pitches with lyrics that can relate to everyday relationships. The main question behind this song is, is it just convenience or is it real love?

A band formed three years ago with a few long-time friends merged together with new blood. They’re mainly based in Melbourne playing gigs in places such as St Kilda Festival, Melbourne Music Week, First Crush Festival, End of the Line Festival, Panacea Festival and headliners of the Stonington Jazz Festival. It’s a six-piece band which sometimes turns into ten for the big band songs. The members include; Carla Troiano - Vocals, Justin "Kenny" Hall - Saxophone and backing vocals, Benny M. Oastler - Guitar, Benny 'Hoos' Huisman - Keys, Jesse Chin-Quan – Bass and last but not least; Ivan "CHoi" Khatchoyan-Drums.

The song starts off with just a few instruments which slowly builds in its numbers. There are definitely moments in life where less is more but not with this song. The more the better really! Even just at the beginning with the bass guitar, electric guitar, drums and voice. They work brilliantly together and yet when the brass instruments enter; it just builds the song to be even bigger and better. Not only the instruments flow together well, but the extremely powerful voice of Carla Troiano. She effortlessly reaches the high pitches whist easily making her way back down to the low melodies. Her voice mixes so naturally with the harmonies. It’s not over done but the little melodies here and there really have an impact on the feel of the song.

Mayfield have written 13 other creative songs. They all have a jazz sass to them, a slow R&B feeling with a droplet of funk and a raindrop of soul. One of their funkiest songs is ‘My Apartment’ and yet they can branch out and create slower songs such as ‘Weapon Down’ which you can hear such soft and delicate harmonies. All of their tracks really makes me want to move every bone in my body and whilst writing this review; I can’t help but casually nod my head to their music. Definitely the boogie sort of song, wherever you may be, it will just make you want to get up and dance.

It’s interesting how the words used in this song could not be more relevant to everyday relationships. You have to ask yourself; how are we meant to know if they’re the perfect fit forever or just for that moment in time? It’s a chance we all have to take at some point in our lives, but do you go with your heart or your head?

Mayfield will be celebrating the release of their album at The Gasometer Hotel, Collingwood as part of the Leaps & Bounds Music Festival on TONIGHT Saturday 15th July with support from Chelsea Wilson and Zoe K (with band).

Why We Love It: A delicious combination of soulful beats with dynamic and captivating rhythms

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By Libby

[newandbrave]

Zoe K – Put It Down (ft. Mister Goldfinger)

Soul and Jazz music are two of those genres which have the ability to relax you and allow you to enjoy the simplicity of the real music and pure vocals. Except if you go against the tradition of sticking to the one genre and merge the two together you get an incredibly unique result. Talented vocalist Zoe K certainly has that ability to combine the two and uses her heart-warming vocals to put a smile on the face of her listeners.

Zoe K is a singer originally from Newcastle NSW. Growing up she spent many hours in her room playing the records of Patsy Cline, Etta James and Ruth Brown while practicing her vocals. The outspoken independent artist has become known for her sense of humour, incredible stage presence as well as a modern take on the genres of Soul, Blues and Jazz. A former Maitland Grossman High student Zoe did not receive any support from a label, so to support her music career she would end up working three jobs. After years of hard work she burst on to the music scene in 2010 when she was named 1233 ABC’s female vocalist of the year. Following this she went to perform at the Woodford Festival, and also supported a number of artists including Jon Cleary, Imelda May and Australian Soul songstress Renee Geyer. Her self-titled debut album was released in 2011 which featured her backing band The Shadow Katz.

Her second album ‘It’s Just What I Like ‘was released in April and was recorded in both New Orleans and Melbourne. it is packed with Zoe’s colourful personality and some soulful ballads and spine tingling RNB. She began recording it in 2015, but it was when she met bass player Mike Bass at a Blues Fest show in Melbourne. After a few emails back and forward she took the opportunity to record the rest of the album at the Parlor Recording Studio in New Orleans. The song ‘Wedding Ring (Get it off)’ also features the vocals of New Orleans vocalist Nika Revader. Zoe has said that the name of the album came from the idea that she wanted to make the style of jazz and blues music that she liked, not the type of music that people would want to hear from her. Since recording the album Zoe has been invited to perform at the 50 Shades Of Grey Australian Film Premiere at Fox Studios, Sydney as well as open for International Grammy award winning artist Jon Cleary and His Absolute Gentlemen's Bluesfest Sideshows. On top of all of this she has performed her headline shows at the Rockwood Music Hall in NYC and The Howlin Wolf in New Orleans.

While growing up she has cited some of her major influences as Etta James and Ottis Redding. Being a self-supported artist just shows how hard-working Zoe is, and she also has the talent to back up all the hard work she has put in to her career. So, can you really blame her for her bubbly personality and onstage antics? Not at all. Zoe has definitely earnt the right to enjoy her successful career along with the rest of her fans.

Her latest single ‘Put It Down’ features a collaboration with Mister Goldfinger. It was written by Zoe K herself, and it also features Mike ‘Bass’ Ballard, Raja Kassis, Terrence Houston and it was mastered in Melbourne by Tony ‘Jack The Bear’ Mantz. Since its premier on TheMusic.com it has also received airtime on RRR, PBS and New Orleans main soul station WWOZ. The song itself almost has a smooth early 90’s RNB sound, but Zoe K’s voice is definitely the star attraction in this track. Zoe’s vocals in this song are filled with some vintage Soul and Blues which is hard to find in music. Although her modern take on the genres combined with her luscious vocals make for quite the listening experience. As an artist, she has that ability to draw you in and simply make focus on her voice so you can forget all the troubles that you may have come across during the day.

Zoe’s soul infused vocals and melancholic lyrics are very similar to those of Amy Winehouse. Both artists have a similar image, and like Zoe Winehouse was also known for her love Jazz and Blues.

The song itself is about how we engage with others and even though we are able to make progress with some forms of communication it can cause us to miss out on making the most of opportunities. Zoe has also said that the song came to her on a tram while she was trying to flirt with a stranger. It also explores Zoe K’s self-confessed show pony nature where she would prefer people take notice of her rather than be glued to their mobile phone.

Zoe K’s musical career has grown to new heights over the past few years. New Orleans was the perfect location for her to work on her second album and align herself with some other famous Jazz and Blues musicians. The album though is a reflection of all the hard work that she has put it into over a number of years, and it well worth a listen. If you get the chance to see her live it will be well worth it, and of course go out and buy her new album.

Influences: Etta James, Ottis Redding and Patsy Cline

Why we love it: A nice cross over between Jazz and Soul and some smooth vocals

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By Kieren

[newandbrave]

Webby ft. Nagel – Beams

The echoes of ‘313’ can be heard from miles away, the call travelling from the eastern suburbs to the CBD. ‘Chum’, ‘313’, the street term for the hood of the Melbourne suburb Mitcham, is the calling card for lyrical geniuses Nagel and Webby. This artistic duo, both talented in their own rights are carrying the local scene of their immediate area on their back. With the support of honoured friends and family, these two young lads are creating trap tunes that are fast growing anthems for the misunderstood and misplaced youth. Both Webby and Nagel have produced and released their own individual works, yet since combining their abilities to create new music, they have found success and recognition, even getting their first gig at Melbourne’s well-known rap hub, the Laundry Bar in Fitzroy.

Some call them rappers, some say poets. To the majority that know them personally, they are fun loving dudes who are working hard to live out a dream as influential trap artists in a country that is starting to catch wind of the fan favourite trap scene of the US. From humble beginnings spinning records and jotting lines in their bedrooms, to creating the ‘Chum’ enigma, these two are diligent in their work and are catching some serious heat by fans of the movement.

Unfortunately, I only speaking to half of the crew, but Nagel, the artist who features on Webby’s track, Beams, gave me some of his time. Although he features, the two feel like their work is equal and each other’s input is essential, ‘feature’ is just a word put on the track title. Nagel has a significant history of playing guitar in bands, and listening to all type of music from ‘Leonard Cohen’ to ‘My Chemical Romance & Slipknot’. He is a talented musician who shouldn’t be pigeon-holed based on his current musical creations, he has a plethora of musical history and perception that has helped him personally grow and define his own tune. That is a testament to him not falsifying what he preaches musically. Although he has a history that isn’t all rap and hip-hop, his current influences are ‘Retchy P and Da$h’. Elaborting on the scenes influence on him he praised a few others, saying ‘Lil Uzi is amazing and Rich Homie Quan is one of the best to do it’. Feeling his vibe, I could tell that even when he made big statements, he wasn’t speaking incoherently just too make hype, he stood by his comments such as ‘KERSER is Australia’s best rapper ima say that’. He wasn’t shy from firing shots at ‘Tupac n Biggie’ either, knowing the ‘old head’s’ wouldn’t like his words even though he believes that their music is ‘boring’. The rapper didn’t stop there, stating that the Australian scene needs a refresher from the ‘hilltop hoods’ etc and that it’s ‘trash’.

The end game for Nagel is to educate people that the ‘lifestyles’ of trap artists, ‘drug dealing’ for example, isn’t much different to a ‘shitload of suburban kids’ here in Australia. He thinks it isn’t right that they are considered ‘criminals n bad people’. Stating that this music scene gives him unprecedented ‘freedom’ that his lifestyle of ‘smoking weed’ and doing what he can to get by abides by. He wants to stand up as an icon for the people, not above them, but striving with ‘313’ to create music. He wants to break through the rhetoric that dabbling in recreational use, doing small dishonest acts to get by is a way of life for more people than you’d think, and that it’s not just ‘bad people’ who carry out these behaviours. It isn’t easy on the streets by any means.

The single Beams, is a smooth trap song that is a mirror image of the pairs morals and standing. Clever lyrics and fantastic production by Zukuu ties in a moving anthem that is easy to sit down and bop a long too with a drink in hand. The song is authentic, and the inspiration behind righting an anthem of finding a way up through the destruction of society and the government is behind the duos recent adversities. Nagel mentions he has struggled to’ scrape money together’ and Webby had recently suffered ‘hectic car accident’ over New Year’s which was serious enough for him to be placed in ICU, Nagel believing he ‘should be dead’. The two wanted to create a track that was a memoir of them and the people, using their platform as pioneers of the ‘Melbourne burbs’ to acknowledge that there are plenty of suburban boy’s girls like him struggling to make ways. This song is just the begging of prodigious music coming our way courtesy of Webby and Nagel. Watch this space because these two are fire.

Why we love it: catchy and authentic trap that is real as the streets it was created on.

Influences: Lil Uzi Vert, Famous Dex, $ha Hef

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By Mitch

[newandbrave]

Khalid – Young, Dumb & Broke

With the number of artists looking to break in to the music industry, it takes a lot for one to differentiate from others so that people will take notice of them and remember their name. Along with the social media outlets such as Sound Cloud and YouTube it has never been easier for a budding artist to put themselves out there, but again it can often come down to a lucky break or sudden event which gets them recognised. This is what happened with young singer Khalid. Already a highly talented singer he just needed people to take notice of what he was creating, and it was thanks to a Kylie Jenner Snapchat that he quickly became an artist that everyone was talking about. However, his story as an artist goes a lot deeper than uploading a song to Sound Cloud and receiving attention through social media.

Khalid Robinson (Or simply Khalid.) is a 19-year-old RNB singer from El Paso Texas who is currently signed to an independent record label. Growing up Khalid was brought raised in a military family where his mother was a military singer. This meant he lived in a number of places from New York to Germany and was immersed in an abundance of music and theatre. His family would eventually settle in El Paso Texas while Khalid was in his senior year of high school. It was there that he would compete with is high school choir and involve himself in musical theatre. Khalid has said that he felt a connection to El Paso because he was an outsider in a state which in a way was an outsider in itself, and he has also gone on to mention the state in his music and even filmed some of his music videos there.

He was first inspired by his mother to make music who was a fan of 90’s RNB, so in 2015 he began making music incorporating a number of influences such as Frank Ocean, Father John and Alt J in the songs that he would upload online. Although he was unsure about sharing the music with his fellow peers at first, he would eventually upload one of his songs to Soundcloud. It was heavily criticised by one of his peers at first, but Khalid said this only motivated him more to keep releasing music and to prove that he would make it as an artist.

A short time later he would get in touch the producer Syk Sense who with the help of Tunji Ige and Smash David worked on Khalid’s debut single ‘Location’ which was released in the middle of 2016. The song would shoot to fame when it appeared on Kylie Jenner’s Snapchat and reached a wider audience. It would also break in to the top 10 of the Billboard RNB charts and clock up over 5 million views online. Following a number of other single releases tour dates across North America Khalid eventually released his debut album ‘American Teen’ in March.

He has become known for his warm/soulful vocals and raw lyrics which are contrasted by some heavy bass lines and electronic based beats which are often found in Hip-Hop music. Although he is still young and feels insecure about his performances and dealing with the prospect of fame from time to time Khalid’s music shows off his maturity as well as an ability to tell very personal but relatable stories. In a way, he is a voice for the younger generation of today who are dealing with the ups and downs of love and life.

‘Young, Dumb & Broke’ is one of the latest singles released of Khalid’s debut album ‘American Teen.’ The thing that really drew me towards the track was the light synth sound combined with a slow burning bass line as well as Khalid’s incredibly raw lyrics. The sound is soothing at first but it allows you to really pay attention to the lyrics, which for a lot of young people like myself will hit really close to home. I think that it started off well with just the synth with Khalid’s vocals and the bass following it up, and all three of these aspects shine through during the chorus. The focus for the majority of this song really is on Khalid’s voice, and it is easy to imagine him performing a smooth RNB song during the 90’s or a slow Motown song during the late 60’s and early 70’s.

Khalid’s personal approach to his music draws a few comparisons to different recording artists. As Frank Ocean is one of his major influences in his music, it is fairly easy to hear a bit of Ocean within some of his songs. I also think he has some similarities to Lana Del Ray and Lorde who both use an electronic/synth based beat to drive their thought provoking lyrics.

‘Young, Dumb & Broke’ is about the positives and negatives of being young in today’s society, and it touches on a lot of issues such as insecurity and hopefulness. The lyrics which capture this the best are ‘I’m so high at the moment, I’m so caught up in this, yeah we’re just young, dumb and broke but we still got love to give.’

Few 19 year- old singers have as much of a mature approach to their music than Khalid. In a way, this comes down to his vast amount of life experiences that he has experienced in such a short period of time. The talent is definitely there though, and he has done a really good job voicing what it is like being a young person in today’s modern society. Even though he is just 19 years old, Khalid belongs in the music industry. He is going to continue to grow as an artist, and it will be exciting to see his career rise as the next few years pass by.

Influences: Frank Ocean, Alt J and Father John

Why we love it: Some soft synth which guides a heart-felt voice, raw lyrics that explore the complexities of today’s society from a young person’s perspective

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By Kieren

[newandbrave]

Green Buzzard – Dream In/Out

In most cases it will take years for a new band to make a name for themselves and sign to a record label. The process of creating a distinctive sound, playing countless live shows and experimenting can drag on for quite some time, and in cases a band may not earn recognition for their music until much later. This doesn’t seem to be the case with Green Buzzard though. It was easy to see that they had talent from the very start, and that their majestic indie pop sound could take their listeners on a journey to somewhere they could have never dreamt of going.

Green Buzzard are an indie pop band that formed in the town of Oberon NSW in 2015. The members include front man Patrick Harrowsmith, James West, Huw Feral, Micky Grossman and Dave Constable. Coming from humble beginnings as a small band just starting out in the music industry, Melbourne based indie record label I Oh You decided to add them to their roster filled with big Australian bands such as Violent Soho and DZ Deathrays. Before they signed they hadn’t released a single song, had no presence online and hadn’t even played a live show, but in 2015 they burst on to the scene with their debut single ‘Zoo Fly,’ which received praise from multiple sources including The Guardian. Shortly after its release they began building up their online profile and uploaded their hot new single to Soundcloud. Their sound has become known for its 90’s indie pop guitar riffs as well as some moving synth and indie/90’ inspired music videos. Similar artists and some of their major influences include indie bands Pavement, Dinosaur JR along with Robert Pollard.

They released their first EP ‘Easy Queezy Squeezy’ in Early 2016. The self-produced debut EP was made alongside Producer/Engineer Ryan Hazel and the completed track list was mixed by Burke Reid. Their second album ‘Space Man Rodeo’ was released earlier this year, and the 10 songs take listeners on an incredible space adventure which follows the journey of Dewey Everglow (Pat Harrowsmith.) as he sets out on a journey from his home planet of Mars to find another habitable planet for mankind.

‘Dream In/Out’ is the last song off Green Buzzard’s much anticipated second album, and one of the thing that stand out about it is its 90’s Brit Pop sound which is led by some shimmery guitar riffs and pleasing keyboards, while the low-key vocals capture the feeling behind the song. The result is some dreamy indie pop which offers a glimpse in to the vibrant colours of indie music during the 90’s. While the indie guitar riffs and keyboard are good by themselves in this song, it is when they work together that really captures that mid to late 90’s Brit pop sound that was enjoyed by so many music lovers. The opening of the song and the chorus show this very well as both instruments are perfectly in sync and it makes for a really catchy combination that leaves the listener wanting more. The track also provides the ending to the album, which sees fictional character Dewey Everglow looking back on his childhood dream of finding something more and being proud of what he has accomplished by journeying into space. This can also be heard towards the last few minutes of the song where a slow and soothing electronic sound gives a feeling of serenity and content, and it is easy to imagine Dewey happily floating in space while looking back on his life.

Going by this song alone Green Buzzard could be compared to Robert Pollard based on their shared love of solid guitar riffs, and also Wollongong based indie rock band Hockey Dad who may not use synth in their music but they also stick to a nice 90’s indie rock sound.

The music video for ‘Dream In/Out’ was directed by up and coming director Rik Saunders in his apartment with nothing more than a VHS camera. The result in a nostalgic vision of 90’s indie music videos complete with fairy lights and fascinating shots of one of the members singing lead vocals. The song is more or less about feeling the need to escape from the life that you lead today and searching for something new when you know what you have now isn’t enough. The lyrics which show this the best are ‘When I was young, all I needed, all I wanted was enough, now I'm searching without a clue But I can, put aside, try to hide. All I know is my days here are going slow.’

When they were first starting out Green Buzzard couldn’t have anticipated being signed to a label so early in their musical careers, but I Oh You saw something in them and it seem like the investment is paying off. Their second album is a lot more than 10 songs, it is 10 parts to an intriguing story about self-discovery and identity. The band is currently touring the admirable album, and it is safe to say that their fans are looking forward to sharing the special experience with them as well as hearing some new music from them very soon.

Influences: Dinosaur JR, Pavement and Robert Pollard

Why we love it: Pleasing combination of some shimmery guitar riffs and driving synth, nostalgic 90’s indie pop sound and a great hand-made music video to go along with it

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By Kieren

[newandbrave]

Bad//Dreems – Gutful

From the rubble of some of Australia’s iconic punk and rock bands such as The Saints, The Scientists and Australian Crawl, comes a hybrid garage rock/punk band known as Bad//Dreems. Rising above majority of its peers this fashionable band from the city of churches has created a powerful rock assembly that is stand alone in its sound, appearance and inspiration. A throwback to the pub era of modernity in Australian rock, this band lives for the red dirt that covers their feet when they wallow through country towns and their home in the north of Adelaide, weathering terrible hangovers and wrecked bodies after scintillating crowds with their performance both on and off the stage. Born in 2012, this band has been forming their musical persona through early publications and time on the road, but nothing has set the bar for them more so than their newest instalment, their 2017 album, Gutful, which as you read this is being toured across Australia. Bad//Dreems are a band for both the pub veterans and the new rising crowd of Australian local rock, and they are oh so far away from slowing down anytime soon.

The album Gutful has a diverse track list, songs ranging from those very Australian pub anthems to the quicker onslaughts of slurred aussie punk. Yet, it begins with song Johnny Irony which comes out firing on all cylinders, with groovy quick riffs, and quiet drums that leave space for lead singer Ben’s yelled verses to hit the limelight. The song slows towards the end, setting the pace and captivating audiences before launching into a finale of head banging. Off the curtails of this track, Mob Rule enters with quickly spoken words with grit about ‘bellies full of black snakes’ and people who have yet to learn for the past. The catchy chorus echoes their original musical layout with aggressive verses and a sing-a-long chorus. Followed is the couple, Blood Love and Gutful which are seemingly similar at first play but are both intrinsically different, yet all continue the rhetoric of the boys being fed up with right winged politics, ‘coward punches’ and just unwelcomed behaviour by those who marginalize others. After the first four punk songs, we enter the distinction of their diversity, By My Side, a song about love and support that is more rock then punk and is also slower and more charming. This song is a pure indication of their different inspirations as both musicians and young adults. The next few songs follow the same path that the hit By My Side takes, slowing and talking about love, romance, relationships, partnerships and is matched beautifully with more sung lyrics and gorgeous guitar riffs that are indicative of INXS spurs. Then we are stung with the hit single from this album, Feeling Remains, which fuels our desire for the aggressive lexicon that we miss as we were treated to their enchanting side. The hit song that encompasses everything we feel as hard working, middle-lower class rock lovers is exceptional in every sense of the word and puts us in great stead for the last few tracks. The hit single lives up to its standard and delivers play after play with so many ques to jump up and down and spill a couple of cold ones. The pace stays until we reach the bookend of this diverse album, Million Times Alone, a favourite of ours here at New and Brave which once again slows down to the tune of gorgeous acoustics and lyrics that fill our holes of loneliness whilst it plays on all our emotions. Underrated in its position on the album, it is a perfect example of how far this band has come and how capable they’re of producing powerful music that we can all relate to. This album should be a mainstay on your road trip playlist’s, as it is full of songs to match sunsets and contrastingly encompass dark remote roads whilst silent companions rest beside you.

Why we love it: from beginning to end it encompasses what we loved about 70-90’s Australian pub rock and contemporary punk.

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By Mitch