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Franks Wild Years turns 10 this October and we will be celebrating with special events every day this week. Details to be announced shortly!
On Sunday 12th October we’re hosting POP FILTER, who are making a trip up from Melbourne to help us celebrate. It feels extra special since the people behind it were some of the first people to play Franks Wild Years 10 years ago with their old band The Ocean Party!
And we are stoked to have The Cannanes, Body Type and Maryam Rahmani
Pop Filter is a new Australian band whose members stretch between cities and who’s shared history binds them together. With the number one goal being that of nurturing their friendship and continuing to make music together at an age when children, work, and distance can easily hamper this.
Australian indie pop legends The Cannanes formed in Sydney in late 1984, originally comprising singers/guitarists Stephen O'Neil and Annabel Bleach, bassist Michelle Cannane, and drummer David Nichols; namesake Cannane left the loose-knit group early the following year, the first in a seemingly never-ending series of lineup changes which became as much a trademark as the band's resolute D.I.Y. defiance and primitivist pop aesthetic.
If Body Type’s debut record Everything Is Dangerous But Nothing's Surprising (2022) was an exuberant and furious declaration of dominion, then their swift follow-up Expired Candy is all about reveling in the space they’ve carved out. This is a euphoric, lawless rock record, characterised by unfaltering intensity. Oceanic yearning mixes with sly humour. Guitars spit and swell and slice through harmonies. Moments of elation and bizarre imagery are wrung from the monotony of every day. Vocals knot together, producing ecstatic, slanted melodies. Expired Candy is an album about not being so certain that confinement and desolation lead to a dead end. Instead, stagnation may serve as the perfect breeding ground for joyous bewilderment and an inflamed imagination. Like the stale confection of its title, Expired Candy contains sweetness, but is also acidic, strange, tough, and undeniable in its jagged pleasures.
Maryam Rahmani is an Iranian-born santur player now based in Adelaide. Her music draws deeply from Persian classical traditions and poetry, enriched by her studies in traditional instruments and rhythmic structures. Since moving to Australia, Maryam has expanded her practice through cross-genre collaborations, performing with ensembles such as the Adelaide Symphony Orchestra and an Adelaide Baroque ensemble. Also, being part of residencies like, The Australian Art Orchestra Creative Music Intensive, and most recently, “Soundweaving” in Banff, have significantly influenced her approach—reshaping her connection to traditional roots and opening new pathways for collaboration.