JP Klipspringer emerged on the scene when he dropped his debut single ‘Bury Me’ earlier this year. The great news is that he has finally dropped his debut EP, ‘Drip Dry’, and it is full of the same stirring and intelligent indie that made us fall in love with his original single.
JP Klipspringers debut EP, Drip Dry, is not catchy music, as the obsession with the sound he produces goes much deeper than something as tangible as poppy beat. The four track EP, which includes ‘Bury Me’, is a wonderful collection of slow paced and emotional music produced near perfectly. Second track ‘Anastasia’, is a particular favourite with its steady pulsing beat and looping piano melody, combining with the eerieness of the vocals to create a song that just connects with me. Final track, ‘Bring You Home’ provided the real suprise number of the EP, mixing up the deft piano loops of previous numbers, towards a more poppy almost RUFUS like electro number. And it works, blurring the lines of dance music and brooding indie to create a sound that will definitely increase JP Klipspringer’s accessibility.
Put simply, Drip Dry is an abolutely stunning debut EP from JP Klispspringer.
Ex-Canberra, now Brisbane based Fox and Fowl are set to delight us all with the release of their latest self-titled EP.
There is so much to love about Fox and Fowl’s self titled debut, from the aptly named African-pop number ‘Jungle Punch’, to the scintillating guitars of debut single ‘Pilot’. ‘Neon Colours’ is my pick off the EP, with its slightly heavier vibe and differing pop structure giving it a very distinctive feel. It maintains the indie pop enthusiasm with the cascading guitars and pulsing drums, but the use of pauses with that extra structure just makes it hit the spot perfectly.
Sounding very much like The Jungle Giants, Two Door Cinema Club and The Griswolds, Fox and Fowl aren’t covering any new ground, but boy are they are making some addictively energetic tropical pop. The production by Yanto Browning, who is also responsible for the The Jungle Giants latest album, is top notch and perhaps an additional stroke of genius.
Distinctively in the indie pop persuasion, Fox and Fowl have unleashed a host of upbeat African and Carribean pop stylings to produce and EP that is fast, fun and so damn catchy.
Brisbane’s The Phoncurves have released their EP ‘Heartstrings’ on the world, and given us a collection of four songs to melt our ears too.
The Phoncurves create their music around the perpetually strong and stirring vocal combination of Abbie Roberts and Naomi Hodges. These two have voices just that just belong together, whether it be harmonising as in ‘Heartstrings’, bouncing off one another like in ‘Motionless’, you just cannot argue that the pair don’t make just ear-warmingly beautiful sounds.
Add the instrumental arrangement of delicate hi-hat drumming and soft acoustic guitars, and you get an EP that pushes folk pop to the far extremes of sweetness without being sickly so. Each of the four tracks, is well layered, makes a great use of pauses and silence, and just envelops an overall emotional and stirring vibe. The whole EP has this undercurrent of grunge and sadness characteristic of a bluesy rock number, but it is delivered so sweetly you wouldn’t even notice.
Having recently been a Triple J Unearthed ‘Feature Artist’, its safe to say the anticipation about The Phoncurves latest EP has not been unjust, with the pair delivering a delightful second tasting.
Puddinghead is the third album released by Brisbane five-piece Ball Park Music, and by far their most sonically exciting to date.
Puddinghead, a Shakespearing term essentially meaning to “fuck up the un-fuckable”, is a somewhat ironic title for an addictive album that pushes the boundaries BPM have previously established. Their quirkiest album yet, Puddinghead sees BPM embrace a host of unique sounds in order to deliver rapids of infectious, punchy indie pop. This ranges from the computer-ish synths and what is surely an accordion, to the staple soaring hooks and plentiful abundance of catchy high pitched keyboard melodies. This upbeat energy almost makes the intense emotional undercurrents of the lyrics go unnoticed in many tracks, including in lead single ‘She Only Loves Me When I’m There’.
Despite the quirky modern day indieness of it all, there are also some clear nods to 90s, with the Seinfield theme sounding ‘A Good Life Is the Best Revenge’ and the grungy almost Nirvana homage ‘Struggle Street’. Recording in their own studio has also led to an improvement in the quality of sound, with there being no weak points in the tapestry of sound. In this I mean there are no distracting, half notes, or scruffy atmospheric pieces. Everything is sharp and thick, and hits your ears firmly.
Personally, ‘The Next Life Already’ is the song that resonates with me the most on this record. Perhaps because it illustrates the effort, and anxieties that BPM incurred producing the album, or maybe because that message is just so easy to relate to. Nonetheless, BPM have produced an album that is an addiction for the ears, so catchy, so fun and in typical indie fashion so ironic.
MT Warning have just released their debut album ‘Midnight Set’, cementing themselves as one of the most interesting and unique bands on the Australian music scene.
The chance project of an American film-maker, Taylor Steele, and local singer-songwriter Mikey Bee, the pair aimed to produce music that uses instruments to tell a visual narrative. This unusual combination has produced an album that is starkly different to anything else being released at the moment.
In many ways, MT Warning’s debut ‘Midnight Set’, is a concept album at heart, but I think it achieves the aims the duo set out to accomplish. The album itself is an art piece in that the 11 tracks individually have nowhere near the power or impact, that a listen to the complete record offers. That is not to say the pair cannot write a single, but reflects more on the album being seen as story, or to use an analogy, a book. Thus, listening to a single song, is like reading a chapter out of context, which despite being enjoyable leaves this dirty feeling inside.
I love the soft, brooding folk music, and the naturalistic sounds this pair manage to produce. The lyrical strengths and visual imagery they conjure are second to none, and are sure to appeal to the naturist inside all of us. My only warning is that the album is one that must be listened to as a whole if you are to capture its true meaning and achieve the most enjoyment from it. Nonetheless, MT Warning have dropped what has definitely been one of the most unique and satisfying Australian debut’s of recent times.
Brisbane band Pigeon have just dropped EP number two called ‘Settle In’.
Having cited The Cat Empire as one of their favourite bands and referred to early days experimenting with hip hop beats via ‘how to’ Youtube guides, its easy to see where Pigeon are coming from on this latest record.
Lacking the ferociousness or intensity of The Cat Empire, Pigeon have opted for the more low-fi electro option, and boy have they nailed it. Underpinned by a range of processed hip hop beats, they have managed to produce an album that due to its multitude of influences is easily accessible to the listener, without compromising any quality.
The two released singles, ‘Curtain Call’ and ‘Two Moon Love’ are the major standout tracks, but the catchiness and stirring summery synth of ‘Climbing Trees’ may see that dropped as a single in the not too distant future.
Take nothing away from remaining tracks, ‘Settle In’ and ‘Crowhurst’, which deliver more suave indie electro but lack the punchiness or intensity of the others to have that same anthemic feel to them. Having said that, they are still quality enough to have you reaching for the iPod to check what songs playing when it shuffles on.
The self-proclaimed electro horn rock outfit have really delivered on the 5-track record with their infectious mix of brass, electro and indie rock shining through in an album that will have you dancing up a storm, coated in sweat, and absolutely loving it.