New Music

Listen: Black Deity – Sly

I was hesitant to feature this song by Brisbane slop-metal outfit Black Deity at first. I liked it immediately but was concerned that it was a little too indebted. The singer pretty much sounds like Lemmy if he was stained with hardware store methylated spirits, but the fact that this is essentially DIY Motörhead eventually swayed me.

A lot of the ideas here are so far-fetched from what is considered acceptable that it becomes quite defiant in its scope. Tacky lead-lines participate in a call-and-response with grunted vocals, there are approximately three break-downs and the bass is soaked so thickly in effects that it distracts from everything around it. It’s immensely unfashionable even though the band seem to be finding good company.

Black Deity are one of a number of smaller punk and hardcore bands in Australia’s more remote capitals who are beginning to be adopted into a new fraternity of like-minded acts nationally. Bands like Black Deity, Adelaide’s Simfuckers, Helta Skelta from Perth and Byron Bay’s Gruel are all finding company with the major cities’ much loved punks like Gutter Gods, Dribble, Oily Boys, Low Life, et al. Someone will probably write an opinion piece connecting this revival of roughness to Australia’s political and cultural situation before the year is out.

‘Sly’ is from a 7 inch that’s out now on Sydney-based imprint Sexy Romance Records.

(Featured Photo: Jake Samways)

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New Music

Listen: The Backstabbers – 2002

From the Backstabbers – a duo of Dick Diver’s Rupert Edwards and School of Radiant Living’s Amy Hill – comes a band that creates hypnotic investigations of simple formulas. With the absence of a drum kit or protective coat of mid-song wig-outs that usually accompanies their songwriting in their respective bands, The Backstabbers brand of folk becomes quite stark and unforgiving. Despite this, they still deal with surface humour, labelling themselves “the king and queen of dole rave,” even though the winner of those titles hasn’t been announced yet.

‘2002’ is from The Backstabbers’ recent cassette ‘SHAME,’ released on tape label Hideotic. Some of the songs seem forgettable at first, but are almost always emotionally striking by their end. That’s not to say they’re inherently emotional though. On the embedded track ‘2002,’ Edwards doesn’t get around to saying anything at all really. You tend to fill the spaces with your own experiences. Other tracks on the tape like ‘Internet Friends’ dabble in a strange ’60s lounge vibe. They could just as easily accompany a lonely shot of Peter Falk considering his feelings on an episode of Columbo.

Acoustic/folk bands don’t seem to be on the agenda of most people interested in underground music (unless it’s written by reformed punks in the case of someone like Lower Plenty). Maybe because it’s not as blatantly confrontational or enjoyable as something with intended gusto. I feel like this straight-out expression of ‘feelings’ that The Backstabbers convey here is more confronting than having someone yell in my face for half an hour though. The Backstabbers sound more likely than anyone to play unsettlingly to an empty room.

The ‘SHAME’ cassette is out now on Hideotic and is available for purchase from the Eternal Soundcheck and Distort distros (and record stores as well.)

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Sydney synth-punks M.O.B. have just released an oddity of a record on RIP Society. It’s a record that warrants discussion, yet its heaviness and bleary scope is an unwelcome challenge to talk about at length. It’s easier to just feel it and remain stumped. The song embedded above doesn’t appear on their record and thus, it’s not an attempt at stirring interest with cleverly tied-in promo. M.O.B does not live in that realm.

The clip for ‘Second Coming of Australiens’ (hear an earlier demo / the first coming here) is a collage of eerie YouTube videos clashing with scenes of  normality, all interspersed with shots of the band members laying on pavement, drinking tea, etc. It evokes a sense of crack-pot mythology reminiscent of budget conspiracy theory docos claiming to hold the truth about sinister undergrounds that don’t exist: “or do they?”

M.O.B.’s self-titled LP is out now on RIP Society.

New Music

Watch: Scraps – Projections

Scraps is the long-time solo moniker for Brisbane’s Laura Hill. Recently returned from a tour of Europe, Scraps has released a clip for ‘Projections,’ one of the more playful cuts from her recent LP Electric Ocean which spends as much time in melancholic contemplation as it does forging this kind of electro anti-hit.

Electric Ocean was released to little local attention on UK label Fire Records in March, but that’s not for want of quality. The clip for ‘Projections’ features clipping analog shots of cemetaries, live crowds and constantly changing channels of a a CRT television. It’s appropriate visual company for Hill’s brand of colourful electro-pop, one that smears its slickness with a grounded modesty sourced from Scraps’ beginnings as a bedroom project.

Electric Ocean is out now on Fire Records, but copies seem to be strangely hard to come by.

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New Music

Listen: Dribble – High St Girl

Considering the murky mutant-punk vibe that soaked last year’s Dribble tape, it’s hard to imagine ‘High St Girl’ coming from the same band. For a brief moment in the intro, I almost detected some optimism lying in the depths of Dribble, until ‘Texas’ Tom begins a demented tirade revealing himself as some kind of manic stalker rather than a love-struck romantic.

‘High St Girl’ comes from a forthcoming 7 inch by the Melbourne band on Cool Death Records. A recent live set suggests this is a bubbly opposition to the more wounded punk the band are known for, rather than any foray into new territory, but it wouldn’t matter either way.

(Featured Photo: Sigourney Ormston)

 

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