Album Premiere - Pearl The Girl gives an exclusive walk through her debut record ‘Just A Phase’

Sydney-based indie-rock artist, Pearl The Girl, is set to release her impressive debut album ‘Just A Phase’ on Monday April 15. Today, we’re fortunate enough to offer up the first listen ahead of its official unveil, accompanied by an exclusive track-by-track put together by the songstress herself.

The records ten emotively charged and sass-infused tracks explore a raw and honest account of various themes, which span across love, loss, sex and challenging the conventional; all inspired by Pearl’s real life experiences. ‘Just A Phase’ offers up moments of solemn melancholic power-pop ballads to explosions of upbeat indie-pop sunshine, led by infectious jangly guitars and a steadfast rhythmic section.   

Dive into the below as Pearl walks you through the record and gives you the low down on each track:

Charms is a funny song. I wrote it about someone who had their head shoved so far up their own ass that they couldn't see the impact of their actions.  

Fuck Up is about challenging traditions. I wrote this song in Scotland after experiencing a very suppressed house hold, where parents enforced opinions and ways on those younger than them. Nothing was open for conversation. It was their way or the highway. 

Dead End Rd is about impulse dating, following your heart instead of your head. It was inspired by a conversation I had with Deena Lynch (Jaguar Jonze) for her Spectator Jonze art project expressing states of mental health in society.

Flaws & All is about cutting the crap and diving right in. 

Little Animal is about a one night stand. It aims to normalise one night stands for women, liberating them of emotional attachment. 

Take Off Your Shoes and Ode To Warrick were written in a similar vein. They represent expiration dating. Giving it your all knowing that the moment will pass. I wrote them while I was in New Zealand indulging in a holiday romance. 

I Hate You is not as obvious as it seems. It's about wanting something you can't have. It's hating that you love someone. 

She's Fine Now is about a child of divorce. Specifically mine. Your ideals and values change when everything you know does too. As a child of divorce it's easy to be selfish and when you're in the initial moment you think about how it affects you rather than what’s really going on for your parents. This song is about recognising that in hindsight, parents are human, we all make the same mistake, and it was for the best.

Mr Informative is an anthem for people who have been stuck in a relationship with a hopeless sack of meat. It's the song I wish I could scream in my ex-lovers face.

TOUR DATES

WED MAY 15 | THE GASOMETER HOTEL | MELBOURNE
WED MAY 22  | BLACK BEAR LODGE | BRISBANE
THURS MAY 30 | RAD BAR | WOLLONGONG
FRI MAY 31 | PARK HOUSE HOTEL | MONA VALE
THURS JUNE 6 | THE LANSDOWNE HOTEL | SYDNEY

Live Review – Neon Lights, Singapore – Day Two

Neon Lights is a festival held in Singapore at Fort Gate in The Fort Canning National Park. While on my travels, the stars aligned so that I was in town to check it out. Beers cost like $20 a pop here, so I thought bugger it - might as well try to swindle a media pass by pretending to be some big shot journo from Australia. Media pass approved, more money for overpriced beers.  

Firstly, I feel like I need to point out that I’ve never actually reviewed an event before, so, apologies in advance if this is something of a train wreck write-up. I probably won’t do one again for a very long time / probably won’t be allowed to after I hit post on this.  

My day started as I rolled into the media accreditation section. I picked up my wristband, felt mildly important as an international blogger, and then I was on my way into the festival grounds.

Singapore is really hot. Like humid AF. Luckily, the venue was well-shaded and provided some relief. There’s an interesting history behind Fort Gate that goes back to the 1300’s, which you can totally Google if you’re really keen for a brush-up on Malaysian / Singaporean history.  

After topping up my wristband with some cash, I ventured over to the smaller stage 'Easy Street', where two dudes called 'E-TracX Scratch Works' were getting down with some hectic vinyl scratching. While I'm sure there's an audience for this repetitious display of DJ'ing, my limited attention span indicated that I was not up to endure an hour straight of it. My overall thoughts of their performance? 'Wicky-wicky'. Stick that pull quote at the top of your next press release, lads. You're welcome. 

A short walk to the main stage greeted me with Afrobeat group, Instigator Afrobeat Orchestra. Some dude was ripping on a bongo and the rest of the band were pretty gnarly too. This kind of music really doesn't do much for me, as it just strikes me as background / elevator noise. That's not taking away how tight and great they were, it's just I preferred to use this opportunity to buy a beer.

After purchasing a frothy, I felt like charging a durry, and the smoking area was right next to the Easy Street stage. So, there I was back hanging out with scratch Magee again. What's pretty rad is that they'd invited people up to have a crack at some scratching; kids were having a great time and that’s what counts. 

Riot !n Magenta took to the main stage with their blend of electronica, trip-hop and soul. Tight rhythmic grooves played under an airy and spacious layering of synths, dreamy guitar and steadfast bass. Frontwoman Eugenia Yip's commanding soulful vocals soared above and completely mesmerised. 

I ventured back to Easy Street, where Perk Pietrek quietly addressed the crowd as he opened his set, but what followed was anything but reserved. Explosive future bass, deep-house and trap rattled the Easy Street stage, blending together an eclectic collection of samples and textures. The small crowd there to watch him were all intrigued, with growing enthusiasm. I was continually on the edge of my seat as every transition piqued my interest. This was thought-provoking and exciting electronic music. In conclusion, it’s safe to say I'm now converted into the Perk Pietrek fan club. Only critique is – shush between songs, man! Just play your bangers and don’t talk. I genuinely mean that with love.

Back at the main stage, London indie-punks Shame burst open their set with 'Dust on Trial'. I was super pumped to catch these dudes, as I saw them absolutely slay back in Australia earlier this year for Laneway Festival and a headline show at the Lansdowne Hotel. Unsurprisingly, their frenetic brand of punk rock impressed all in attendance, and Neon Lights' vibe stepped up a considerable notch (even if it was just mostly from the hilariously polite mosh pit). Crowd favourite 'One Rizla' was met with a roar from the audience; Shame had well and truly got the Singaporeans eating out of their hands at this point. Despite the unwavering heat, the charismatic quintet continued to power on with a hugely compelling performance all the way throughout their set. Some of the new material worked an absolute treat as well. 

Bouncing back to the Easy Tree stage, local producer FAUXE delivered on flawless hip-hop inspired beats, deep trembling bass and intricately brooding production - often melding samples of traditional Malaysian music into the mix. Vocals shifted between English, Indian and Malay; as odd as it sounded, it worked. Dynamics constantly dipped and rose erratically, but with precision - FAUXE effortlessly crafts songs - this guy is the real deal. 

On that note, my phone was about to die as The Vaccines opened their set. All I can say from my vague and boozy memory is that they instantly found the extra gear in the events atmosphere, and I sadly had to depart a few songs in. On the plus side, it was to a rad restaurant to finally gorge down on some highly anticipated Singapore Chilli Crab. 

Thank you, Neon Lights. What a great addition to Singapore's ever growing contemporary music culture.

P.S. Yes, I missed Interpol, but apparently they only played new songs, so joke isn’t on me lerl!

Premiere: JPL – ‘Seaside’ (The Kooks Cover)

Byron Bay native Jo Loewenthal is better known as the producer, songwriter and vocalist from Tora.

When he isn’t on the clock for Tora, Jo also has a solo project under the moniker ‘JPL’, formed as a new creative outlet to write and release music outside the sonic scope of what he created with his band. 

Today, we have the pleasure of offering up the first review of his latest effort - and it just so happens to be a cover of the timeless classic ‘Seaside’ by indie-rock favourite’s The Kooks.

Swapping out the acoustic for an electric axe, JPL’s version is - true to the original - laced with glimmering keys and a subtle yet apt rhythmic section. The addition of beats and other instruments gives the rendition a lot more feel and depth, beautifully complementing his warm, soul-drenched vocals.   

JPL describes the motivation behind the cover as follows:

“Growing up, I was a big fan of The Kooks and that has definitely inspired me here. I wanted to give the track a bit of energy and bring in a bit more dynamic, whilst still giving space for the lyrics and melodies to shine. This song was re-worked at a time when I was writing a lot of original music, so the act itself gave me a timely break and allowed me to engage a different creative angle. The original is such a beautiful track. Working on a cover is always a risk, you’re never totally sure if you’re going to pull it off and I’m really hoping I’ve done it the justice it deserves."

Stunning and meticulously executed, this rendition is certainly something I could imagine Luke Pritchard himself giving a nod to.  

JPL has also written and produced for the likes of MØME and GRAACE, and clocked up an impressive 40 million streams across his discography.

No doubt about it - JPL is another fine project to keep across.

Premiere: Newsteam – Mystify on Debut Cut ‘Anna’

Yew! Another Central Coast band, another premiere * insert shaka here *

Newsteam are a sextet comprising of Jacob Borg (ex-Jinja Safari), Eli Milojkovic, Scott Wallis, Adam Williams, Pete Sanderson and Benjamin Welch.

Today, Good Intent has the pleasure of offering up the first listen of their stunning debut single ‘Anna’ ahead of its official release tomorrow (Friday, October 26).

Setting the tone with a solid, carefree beat and dreamy ringing of delayed guitar, ‘Anna’ comes to life as the rumbling bass of Milojkovic and croons of Wallis interweave into its charismatic verse.

Shifting in direction, dynamics gently drop as Wallis’ endearing vocal “I am Mystified, Anna, I know, there you go” coasts over the top. Instrumentation continues to step down, as drums and glimmering keys pair to provide the perfect bedding for Wallis’ striking vocals.

‘Anna’ picks up the pace again as it moves through the latter part of the song, eventually building into a gradual crescendo and epic jam-outro, shining a light on the group’s deft approach to songwriting that boasts effortless navigation of builds, drops and transitions.

Drummer and lyricist of the track, Borg, describes the story behind ‘Anna’:

“A couple of years ago I was working down south on a property owned by a friend of my boss at the time. His friend was going through a separation whilst we were there. The ex-partner was still staying there and packing up her belongings and eating dinner with us. The two were all honky dory in front of us but you could sense it wasn't so behind closed doors. It was a weird situation to be in the middle of for a few weeks; we were building new structures for him and she was inside stripping things away…”. 

On top of its enticing melodies and meticulous instrumentation, it’s the subtle intricacies that make ‘Anna’ really shine. With each listen, you discover something new that differentiates from your cookie-cutter indie-rock.

Newsteam, take a bow. You have delivered one of the most impressive debut indie-rock tracks from an Australian artist in 2018.  

Meet Novocastrians Jones The Cat and their cracking new track ‘I Want You Still’

Newcastle-based punk rockers Jones The Cat have just released their new single, ‘I Want You Still’, produced by ARIA award winning engineer Peter Holz (Peking Duk, Gang of Youths, Vance Joy) and Simon Berckelman (The Internet, Art vs Science, Andy Bull).

Part of a double A-side single release, the track marks the group’s first offering through Canadian independent label Dine Alone Records, and is a snippet from their forthcoming debut EP (due in the coming months).

Lead single ‘I Want You Still’ forms a combination of tastefully executed, Australiana-inspired spoken word, riding over the top of fuzz-laden, pulsating bass and erratic splashes of drums and guitar.

As verses gradually build, frontman Jack Waterson’s poetic vocals abruptly change into melodic screams with the angst-fuelled line: “Yet through all the frustration and small reservation forever, caught in circles and going, round again”, which perfectly bridges the transition into the frenetic and infectious chorus.

‘I Want You Still’ is a well-executed, thought-provoking take on melodic pop-punk that avoids a linear formula with just the right amount of unexpected twists and turns. The impressive cut sets the tone for a record well worth checking out upon its release.

‘I Want You Still’ is available now worldwide.

Ro – Is Not ‘F**ked Up Over You’

We’ve been really slack since rolling out our blog. We publicly stated we’d be aiming for three-to-four posts a week, and now here we are - four weeks in - and we’re only averaging two. I promise it’s because we’ve been unexpectedly busier than we thought we’d be, but still. Tsk, tsk.

Anyway, enough of me blabbering on like I’ve been set an essay with a minimum word count I’m trying to fill, because I do have plenty to say about Melbourne-based songwriter Ro and her slow-burning new tune, ‘F**ked Up Over You’.

I first caught Ro at ‘The Newsagency’, a charming and intimate venue located in the inner-western Sydney suburb of Annandale and a well-suited setting for what I was about to witness. It didn’t take long for me to be drawn into her raw and emotive brand of indie-rock (as well as her wry humour during song changes).

So, when ‘F**ked Up Over You’ hit my inbox last week, I was pretty darn excited to hit play - and certainly wasn’t left disappointed.

Crisp and lightly-strummed guitar sets the tone against an aptly stripped-back beat, as Ro’s gorgeous vocals shine brightly and firmly tug at the heartstrings. The song gently lifts, as the swooning chorus finds its extra gear in Ro’s infectious melodies that soar and shine a light on playing the player, and deflating the ego of an ex-lover.

Ro on ‘F**ked Up Over You’:

"F**kd Up Over You is about moving on. It’s a sort of mantra about the underrated strength in nonchalance, especially after the rekindling of a destructive romance. It’s also about self-affirmation and self-respect after someone has underestimated you. When people take you for granted, sometimes the best thing is to foot down and declare that you’re strong and unfazed; and not the damaged damsel anymore".

It’s poetic lyricism, bursting with melancholic charm and a myriad of other emotions, amongst a background of hazy garage-pop. What more could you want?

Premiere: Desert Moons – Share Majestic New Cut ‘Come Over’

Full disclosure: I’m good friends with Simon and Jake Dobson of Desert Moons, and also help them out with promoting their music. No money is exchanged (just sharp pokes of my belly), I simply like their music and (sometimes) them as humans.

So, if you believe that impacts this review - jog on and head over to their Spotify or Apple Music to form your own opinion #transparency

For those of you happy to look past the nepotism, let me introduce you today to NSW Central Coast experimental-electronica pop duo, Desert Moons, who are premiering their dreamy psych-rock infused single, ‘Come Over’.

Opening with bouncing synths that recall the vibe of Childish Gambino’s ‘Redbone’, ‘Come Over’ projects itself swiftly from its funk-laden intro into a deep pit of fuzzed-out synths.

The dynamics wind down again for a fleeting moment, emphasising the striking vocals and harmony arrangements of Jake Dobson:“Will you come over, now that he’s gone? Will you come over, now that she’s gone?” he croons; a playful view of young love at its early stages and, at times, the frustrations of ego that accompany it.  

As the song progresses and continues to shift back and forth amongst its contrasting elements, it’s apparent the brothers have not only meticulously bridged the transition between the funk / R&B tinged verses and the thick psychedelic walls of Moog synthesisers – but have also tastefully melded the qualities of them together.

Jake’s hypnotic vocals glide along effortlessly with floating, fluttery synths, aligning in tandem perfectly to add the finishing touches on their strongest works to date.

The band has previously racked up a number of accolades, with props from the likes of KEXP, triple j, Rolling Stone Magazine, blahblahblahscience and various other tastemakers.

‘Come Over’ is out everywhere today, but since you’re here, I’ve made your life easy and included the Soundcloud link in this article.

Moaning Lisa – Share fuzzed-out ode to self-endearment on ‘Comfortable’

After making quite the stir at BIGSOUND 2018, Canberra-based alternative-rock quartet Moaning Lisa have just unveiled their grungy, dream-laden new single ‘Comfortable’ – lifted from their forthcoming EP ‘Do You Know Enough?’ (due out on October 19 via Hysterical Records / Father/Daughter).

Floating elegantly with its steady rhythmic section, reverb-soaked guitars and sombre melodies drenched in sweet harmonies, ‘Comfortable’ hits all the right strings, including those of the heart.

Lead singer Charlotte Versegi shines a light on the theme of the song, explaining: "Comfortable was written during that in-between period of dating. It's a confident, albeit sardonic, journey from accepting to celebrating being by yourself”.

The track finds its extra gear in its soaring chorus, shining with a wall of guitars and, at times, emotively-driven, distant vocals. Additional fierce melody variations rear their head on the up-tempo bridge, before the outro winds everything down again to close out a perfectly executed rollercoaster of dynamics.

With a sense of sincerity and incredibly clever songwriting, ‘Comfortable’ is nothing short of a masterpiece set to dominate the airwaves and playlists as an anthem of summer 2018. 

Catch the band on the below festival dates over the remaining months of 2018.

DATES:

Sat. September 29, 2018 – WOLLONGONG @ Yours & Owls Festival *All Ages*

Sat. September 29, 2018 – WOLLONGONG @ Yours & Owls Festival

Sat. October 20, 2018 – SYDNEY @ Go Here Go There Festival at Boogie Mountain Sat.

November 3, 2018 – BRISBANE @ Against The Grain Festival

Sat. November 17, 2018 – CANBERRA @ Spilt Milk

Sat. December 8, 2018 – ADELAIDE @ Stonecutters Festival

Imbi the girl - reveals smooth sentimental slice ‘Angel face’

Last week, Sydney-based rapper / pop artist Imbi The Girl released their stunning debut EP, ‘For Me’. Filled with five meticulously penned and produced eclectic tracks, the record is sure to bring much joy to listeners, much like previously released singles ‘Swell’, ‘V.I.P.’ and ‘Acidic’

Today, we focus on one of the newly released songs, the melancholic ‘Angel Face’ - a trip-hop, soul and electronica-infused number boasting intricate yet smooth cadences and brooding, stripped-back production and beats.

While largely poignant, the track maintains buoyancy as it ebbs and flows with Imbi’s poetic vocals, melding an intense sense of conviction with a feeling of vulnerability and compelling hooks.

‘Angel Face’ tells the story of when Imbi was craving creative release by painting, but didn’t have the means to do so – thus affecting their state of mental health.

As luck would have it, one day Imbi came across some abandoned canvases. Though already covered in thick and textured paints, Imbi tried to smooth it out for use, but was unsuccessful in their efforts to do so.

Regardless, Imbi got to work on an artwork that took them three weeks to complete. Painting over the existing textures, they still managed to create something beautiful that ended up being one of their favourite works to date.

Imbi The Girl – you’re a charmer. Always one for optimism and the view of a half-full cup.

Catch Imbi The Girl performing live at Listen Out Festival - dates below.

DATES:

MELBOURNE | Saturday 23rd September @ Catani Gardens, St Kilda

PERTH | Sunday 24th September @ Western Parklands, HBF Arena, Joondalup

SYDNEY | Saturday 30th September @ Brazilian Fields, Centennial Park

BRISBANE | Sunday 1st October @ The Sporting Fields, Victoria Park