Melbourne queens of indie-noir Kelly Day and Jane Hendry are Broads. Haunting, narcotic and deceptively sweet, their songs are laced with acerbic criticism of the culture from which they stem.
‘If we die tomorrow, we die better for having had Day and Hendry sing to us’
(The Metal Dad)
"hauntingly beautiful, perfectly soothing"
Yeevs are a band out of the Blue Mountains via Sydney who don’t just play music- they wring catharsis out of their instruments with a deep and instinctual need that will make you feel the dissonance as much as hear it.
Combining lo fi punk, new-wave power pop and emotional storytelling, Bradley Cork, Sean Lees and Tom Bamford came together from different genre backgrounds and bonded over a mutual love of music and creating to fuse these elements into their own music; interlocking energetically and sonically to create something whole and real.
From the cathartic heft of How To Harken Back, to the sombre introspection of Bellow Of A Cheer, Yeevsknow how to affect a killer hook or well-timed word.
‘Moving Magnets’ is the first listen from the forthcoming debut album, and their most inspired release to date. With producer Dan Holdsworth, the band were challenged to try new and complex arrangements, strengthening and further energising the material they had worked on throughout 2018. The result is a startling clarity to be found within gritty indie rock, as can be seen in the striking lead single, ‘Moving Magnets’.
Singer/songwriter Paul Mbenna is a successful and well known artist from Tanzania with a long list of credits including three chart topping Swahili releases and many television appearances. He moved to Australia in 2007, settled in Sydney, and has teamed up with the Okapi Guitar Band to create a live show direct from the nightclubs of Dar Es Salaam.
The Okapi Guitar Band started performing in 1986, making them Australia’s longest surviving Afropop group. They’ve been described as “an amazing group”, “proving that music has no frontiers” for their deep knowledge of African guitar band styles. Their repertoire ranges from Zimbabwean chimurenga to Kenyan danceband classics, and from Tuareg desert blues to West African hi-life and afrobeat.
They have shared the stage with bands from the classic era of African pop: the Bhundu Boys, the Mahotella Queens, Abdul TJ, Tchico Tchicaya, and Oliver Mtukudzi.
Now, in a new phase of collaboration with Paul Mbenna, the band are enthusiastically returning to their first love, the guitar-driven dance music of east Africa.
Join Sunfruits (Melb) and Noodle House (Syd) as they take their split 7" on the road to each others states and cities. The split 7" release is about bringing two bands and friends together, to collaborate and compliment each other's musical visions.
The 7" is available for order over on Third Eye Stimuli's bandcamp: https://thirdeyestimuli.bandcamp.com/album/friendly-split-single
OR bring cash and get your copy on the day!
The Sunfruits sound is akin to other Australian psych groovers, such as The Babe Rainbow, Nice Biscuit and Parsnip, with elements of earlier Nuggets-era bands, like Count Five, The Seeds and The Electric Prunes. With both trippy and poppy melodies shifting in and out of focus, Sunfruits weave danceable psychedelia that is both relaxed and punchy.
Noodle House are currently making waves across Sydney's inner west with their authentic 70s rock revival, in the vein of Drugdealer, Mild High Club and even George Harrison (post-Beatles).
Joining them will be local south coast garage dudes, Frank Zimmer.
This show will be Free Entry and All Ages *, come and support local independent Record stores!
* under 18s must be accompanied by an adult
80s New Wave and Psychedelic Rock just had an illegitimate love child. Born out of
wedlock, Doko entered this world in late 2015 as a band trying to find their feet in a post
lockout law Sydney. The band have gigged up and down the East Coast searching for an
identity and sound of their own. From playing full capacity headline shows to three people in
a rural pub, the band has quickly become a force to be reckoned with.
Jess Ribeiro is a shape-shifting musical enigma. The near-untouchable quality of her recorded output is astonishingly consistent and the wait for new music is always worthwhile. Ribeiro's 2012 debut album My Little River was an award-winning folk-country masterpiece while her second album (2015’s Kill It Yourself) was a slow-burning indie-noire masterpiece which left reviewers scrambling for superlatives.
Now, with new album LOVE HATE, Ribeiro has kissed the swampy humidity of the Australian Music Prize-nominated Kill It Yourself goodbye, and embraced the precise down-strokes and valve-amp hum of a very New York lineage, from the Velvets through to Blondie and Talking Heads. Produced by Ben Edwards (Aldous Harding/Marlon Williams), it’s capped by those lethally cool vocals for which Ribeiro is revered.
Melodically vivid songs, riddled with unexpected angular pop-hooks. Hengeveld's distinctively sylvan voice rides personal experience with a wry lyrical candour.
Nominated for an Age Music Victoria Award for 2014’s The Daylight Express, Tobias Hengeveld returns with his anticipated third solo release Naughts & Ones - A triumphant mirror-maze of snappy pop tunes, set in a hinterland of darker rock ballads.
The strange fruits of collaboration with producer Rohan Sforcina (Head Gap/Oh Mercy/Dune Rats), rife with experimentation and gut-instinct, brought to the fore Hengeveld’s musical stamp; formative experiences of pop music in his childhood, in particular the weirder radio hits diffused throughout the 1980’s. His often bent, jangling guitars, esoteric synths and rich sense of melody trace influences like XTC, Split Enz, Roxy Music and David Bowie to name a few.
Matthew Colin brings with him the philosophy of history’s great songwriters “a song and a friend for every mile behind”. It’ll only take listening to one or two lines to find a writer of considered craft, values nested in a time of country folk music when all that mattered was the song itself.
Since releasing her first bedroom recording in 2017, Hedy Blaazer has been busy. She’s released two EP’s and a studio single, formed a duo with her good mate Marcella on the fiddle, moved away from her hometown Canberra and made a new home in Sydney, changed her name (RIP h.), and kept playing her unique brand of alternative folk, on stages big and small, from Sydney to Melbourne, to anyone who will listen. This winter she returns to her roots with the release of a self-recorded two-song cassette tape, and a mini tour to celebrate this release. Third stop of the tour will be Thirroul on the 30th of June at Franks Wild Years. Opening the night will be folk/blues duo Ghostgum followed by electronic/folk fusion from Emily Duncan.
Melbourne indie outfit Majak Door have announced their first tour and will be hitting up Frank's Wild Years on the 23rd of June!
As well as launching their new single 'Daisies', Majak Door will be taking their psychedelic exploration of wavy guitars, laid-back yet pulsating rhythms and dreamy choruses to Thirroul, see you there.
Jade Imagine, Melbourne’s dream-pop, synthwave art-rock band, were destined for greatness from the beginning. Jade McInally, Jade Imagine’s front-person and key songwriter, has been a stalwart of the indie scene for more than a decade. After winding her way to Melbourne from somewhere consistently sunny, McInally cut her live-performer teeth with her own electronic project Tantrums, before playing in the bands of local favourites Jess Cornelius (Teeth and Tongue) and Jess Ribeiro. Picking up a loaner guitar from Dan Kelly, McInally set about writing all of the tunes for Jade Imagine’s six-track debut EP What the Fuck Was I Thinking, which was released by Milk! Records in April 2017. Jade Imagine is signed to Milk! Records for AU/NZ and Marathon Artists for Rest of World. They have just released Jade Imagine's first new music in 2 years, single Big Old House. Big Old House has been received incredibly well internationally, having been picked up by Brooklyn Vegan (USA), and Clash Magazine and Far Out Magazine (UK).
Tuffence Meringue, the solo project of front woman of Body Type, Sophie McComish will be supporting.
Liam Gale is a writer, musician and collaborator from Sydney. While his music vaguely fits the mould of country, blues and roots he borrows heavily from less traditional mediums: namely rnb, Motown, 70's prog and psych. The Ponytails are a collective that layer and arrange his work, currently featuring tenor sax and bass clarinet of Cameron Barnett (aka Charcoal); the magnetic harmonies of Anja Leszinsky and Rosie Jackson; and the electric guitars of Jack Perry, all bound together by the drums and bass of Neel Shukla and Jimmy Moore.
2019 will see the release of the Desire Lines, a concept album inspired by countless journeys between urban and rural New South Wales. From this collection two singles have been released: the jazz blues of 'It's Alright, Speak Nice' and the country chug of 'Mountain Man, Lake Lady.' Other works in progress include the Flood and Fire, Liam Gale's solo album, and another as of yet untitled Ponytails album.
Sali Bracewell is a Welsh/Australian singer-songwriter-pianist. Currently based in Byron Bay, she performs regularly throughout Australia and performs in the UK. She has shared the lineup at festivals and conferences with the likes of The Dalai Lama, Tash Sultana, Eileen Jewell, Julien Baker, Olympia and Lior.
Her debut album, Kismet, is set for release in November 2018. For this, she has been working alongside Melbourne based producer, Greg O’Shae. Amongst his many successes are his productions of platinum-selling Albums Joyful Rebellion (2004) and Atlantis: Hymns for Disco (2006) by k-os.
Happy Axe is multi-instrumentalist and musical polymath Emma Kelly. Happy Axe weaves layers of vocals, violin and musical saw into a vibrant fever dream of ambient pop music. Watching a performance by Happy Axe is a hypnotic experience. Deft melodies and atmospheric loops cascade and fold themselves around you. Entrancing patterns form and then dissolve.
Inspired equally by the organic sonic landscapes of artists like Björk and Kaitlyn Aurelia Smith, and the brooding string-laden film scores of David Lynch and Hollywood noir, Happy Axe builds sound-worlds filled with both light and shadow.
"You're an alternate reality Happy Axe. The strings consume this with drama, it'll leave you feeling unsettled and wanting more to explore. This is next level." - Claire Mooney, Triple J
"...she crafts an experimental electronic soundscape that feels intangible in its pristine, strange beauty, similar to a Paul Thomas Anderson film or BJÖRK’s work on Homogenic." - Kyle Fensom, Purple Sneakers
Julia Johnson plays the same menagerie of traditional folk instruments she has played since she was a child. But the past few years have seen her explode her usual approach to making music and then sew it back together with threads of sonic experimentation. Her voice has been compared to Florence Welch, Joni Mitchell and even a 'treacherous mountain river'. Julia is a TripleJ Unearthed awarded songwriter who has supported iconic Australian artists including Courtney Barnett, Tim Rogers, Jen Cloher, Bob Evans, and Pete Murray as well as performing at folk and contemporary music festivals such as National Folk Festival and Groovin The Moo.
“Love the playful guitar plucking and that lilt of Julia’s voice” – Zan Rowe, DoubleJ
“This confidently straddles the lines between slightly folk-tinged, rustic sounds and a bright-eyed pop sensibility, with good lyrics to boot.” Al Newstead, TripleJ
A mainstay of the Canberra scene through his work in Cracked Actor, Burrows and Julia and the Deep Sea Sirens, Sebastian Field joins Julia Johnson and Happy Axe to launch his second single 'Liberty Bell' with an intimate show at the Petersham Bowlo.
Ruminating on romantic disillusionment, 'Liberty Bell' is a stunning showcase of Field's delicate songwriting and remarkable falsetto, beautifully complimented by acclaimed musician Luke Sweeting on piano.
Sebastian Field will take the stage with a set of songs and renditions that cover his past and look forward to his upcoming album 'Picture Stone' as he continues his journey from one time band leader to captivating solo singer-songwriter.
Obscura Hail is the nightly routine of song writing with hast, driven by an irrational fear of memory loss, and enabled by access to a plethora of ad-hoc recording equipment. The somewhat serious themes of ontology, existentialism, love and loss are framed with sincerity by the lush, but gentle classical guitar work, and the motif of almost whispered, though richly layered vocal harmonies, giving his extensive backlog a kind of naïve optimism for the individual experience.
Conceived on NSW’s south coast in 2006, and now buried alive somewhere in Northcote, Sean is sneaking into Melbourne’s intimate spaces and filling strangers with relative truths. A commitment to the craft has culminated in numerous independent releases, some official via Sydney based label, No Safe Place records, and consistently fresh compositions, drip fed weekly via Patreon, nearing its 140th volume. The latest 3 records, ‘Loose Tooth’ (2017), ‘ALARM’ (2017), and 'Pizza' (2018) were self-produced and warmly received, with more diverse live instrumentation to reflect the ever thickening arrangement and prepare for the material in stasis; ‘Pallbearer’ (album).
(Obscura Hail) has the same brittle beauty as Sun Kil Moon, the oddball, throwback quality of The Beatles at their folkiest, and when it’s appropriate, the raw pain of Elliot Smith. Obscura Hail, to me, is endlessly absorbing – (Chris Cobcroft, 4ZZZ).