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SUPPORT FOR STUPID BABY
“It’s big sounding stuff from Stupid Baby. A tidy mix of shoegaze, dreamy and grunge that works so well. Keen to hear more!” – 4/5 stars
– Declan Byrne – triple j (AUS)
“Stupid Baby deliver deliciously dark debut ‘Feline’.”
– Life Without Andy (AUS)
NSW Central Coast-based indie-rock quartet, Stupid Baby have just unveiled their stunning debut single ‘Feline’ – produced by Simon Dobson (Bootleg Rascal) and mixed by Dylan Adams (DMA’s, Skegss, The Gooch Palms, West Thebarton).
Taking cues from the likes of The Kills, Sonic Youth and The Dead Weather, ‘Feline’ is a brooding and thought-provoking slice of sophisticated indie-rock, that swiftly sets the pace with its immediate and unwavering consistency. Dynamics and structure are harnessed with finesse, as deft instrumentation provides an apt foundation for the dual vocal efforts of Liz Drummond and Jake Dobson to brightly shine.
Drummond describes the motivation behind ‘Feline’:
“We felt ‘Feline’ was a good introduction to what’s to come from Stupid Baby. We wrote it pretty quickly in the room together, starting with the riff. The lyrics were fairly stream of consciousness between Jake and I, which we liked. We wanted to hone in on the dual vocal thing, and for all the parts of this song to be driving, and alluding to some kind of intense relationship dynamic. It’s probably one of the moodier, darker Stupid Baby songs”.
Stupid Baby is made up of four long-time friends, Liz Drummond (Little May), Jake Dobson (Desert Moons), Eli Milojkovic (Sea Legs) and Will Glencross.
Despite not having released any music, the band have already toured and shared stages with the likes of The Chats, The Smith Street Band, Pist Idiots, Skegss, Ocean Alley, Polish Club and WAAX. The group are set to appear at the inaugural Rolling Sets festival held in January in Coffs Harbour, alongside Hilltop Hoods, The Rubens, Mallrat and George Alice.
In the coming weeks Stupid Baby will reveal an accompanying music video for ‘Feline’.
‘Feline’ is available worldwide now
STUPID BABY
UPCOMING TOUR DATES
SAT 25 JAN | ROLLING SETS, COFFS HARBOUR NSW
w/ Hilltop Hoods, The Rubens, Mallrats and more
FOLLOW STUPID BABY
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SUPPORT FOR ‘LONELY TIMES’
“What a mix of styles and sounds the Bootleg boys have chucked in the mixing bowl on this one. All up though, it’s another ultimate cruiser”.
Declan Byrne – triple j (AUS)
“All the elements of this tune are understated just enough for the electiveness to work as one — a summer tune with post-night out vibes”.
Nkechi Anele – triple j (AUS)
Currently in the midst of a 15-date metro and regional tour, Sydney-based party starters Bootleg Rascal have just unveiled East Coast tour dates and their new single ‘Lonely Times’ – produced by the band themselves and long-time collaborator Ian Pritchett (Boo Seeka, Kim Churchill, Angus and Julia Stone), with additional production by Simon Dobson (Little May).
‘Lonely Times’ is a feel good summer party anthem that shines a light on the duo’s unique genre-fusion. Melding their sun-soaked reggae and dub roots with modern day hip-hop, the track captures an unrelenting energy filled with infectious hooks, deft instrumentation and clever vocal cadences.
The release is accompanied by the music video, shot at front man Carlos Lara’s house in Sydney by Sam Brumby (Julia Jacklin, The Rubens, Ali Barter).
Following on from their sold-out ‘Yin & Yang’ tour, the group have announced another East Coast capital city run for March and April. Coming along for the ride will be Brisbane stalwarts, Shag Rock, and Sydney-based punk-rock crowd favourites, SCABZ.
The duo will also make an appearance at ‘Day on the Lawn’ in Hobart, Tasmania on March 21, sharing stages with the likes of Boy & Bear and MEG MAC.
Furthermore, the group have revealed news that they’ll be donating 100% of profits from tickets sold at tonight’s show at Miranda Hotel, to the NSW Rural Fire Service, in the wake of the current bushfire crisis.
Since their mid-2013 inception, Bootleg Rascal have released a slew of singles, an EP and two albums, all warmly received by critics and fans around the world. Multiple tracks have been added to Spotify and Apple Music playlists, high rotation on triple j and they’ve performed on the stations esteemed ‘Like a Version’ segment.
The band have continually traversed the globe playing multiple sold out headline shows in France, UK, Holland, Germany, New Zealand and Australia, and performed sold out shows in the USA. They’ve also regularly appeared on major Australian festivals including Falls Festival, The Big Pineapple Festival, Lost Paradise, Hills are Alive, Festival of the Sun and Party in the Paddock.
‘Lonely Times’ is out now
BOOTLEG RASCAL
UPCOMING TOUR DATES
Tickets on-sale now via www.bootlegrascal.com
FRI 17 JAN | MIRANDA HOTEL, MIRANDA NSW
w/ A.GIRL + TIMI TEMPLE
SAT 18 JAN | CAMBRIDGE HOTEL, NEWCASTLE NSW
w/ A.GIRL + TIMI TEMPLE
SUN 19 JAN | PARK HOUSE, MONA VALE NSW
w/ A.GIRL + Grace Grove
FRI 24 JAN | MIAMI MARKETTA, GOLD COAST QLD
w/ Drop Legs + Saint Lane
SAT 25 JAN | THE NORTHERN, BYRON BAY NSW
w/ Drop Legs + Saint Lane
SUN 26 JAN | SOL BAR, MAROOCHYDORE QLD
w/ Saint Lane + Venice Queens
THU 30 JAN | JIVE BAR, ADELAIDE SA
w/ Richysand + Alex Hosking
FRI 31 JAN | SETTLERS TAVERN, MARGARET RIVER WA
w/ T$oko + The Bambuseae Rhythm Section
SAT 1 FEB | INDI BAR, PERTH WA
w/ T$oko + The Bambuseae Rhythm Section
SUN 2 FEB | MOJOS FREMANTLE WA
w/ T$oko + The Bambuseae Rhythm Section
FRI 7 FEB | THE BEERY, TERRIGAL NSW
w/ Nelipot + Saint Spook + Deadshowws
SAT 8 FEB | TRANSIT BAR, CANBERRA ACT
w/ Liv Li + Muddy Wolfe
SAT 21 MAR | A DAY ON THE LAWN, HOBART TAS
w/ Boy & Bear + MEG MAC
FRI 27 MAR | WOOLLY MAMMOTH, BRISBANE QLD
w/ Shag Rock + SCABZ
THU APR 2 | MARRICKVILLE BOWLS CLUB, SYDNEY NSW
w/ Shag Rock + SCABZ
FRI 3 APR | HOWLER, MELBOURNE VIC
w/ Shag Rock + SCABZ
FOLLOW BOOTLEG RASCAL
FACEBOOK | TWITTER | INSTAGRAM | SOUNDCLOUD | SPOTIFY | APPLE MUSIC
Long-running late-night club and live music mecca Metropolis Fremantle has received a million-dollar upgrade, with particular attention paid to enhancing the club’s audio-visual facilities.
With world-class, 360-degree lighting features, Metropolis Fremantle delivers a new level of club experience to Perth patrons.
Metropolis Fremantle now boasts a large, high-definition stage screen, curved screens wrapping the venue’s many columns and a suspended screen above the dancefloor, connected to Australia’s only moving mother grid. LED lights with the ability to change moods and themes throughout the course of a night are used throughout the venue to create varied and unique ambience.
Owner David Heaton says, “Metropolis Fremantle has been at the forefront of live music since 1991. This audio-visual renovation reaffirms our commitment to bringing the people of Perth a world class entertainment venue.”
“The investment of a large amount of money into the venue is a reflection of our confidence in the club and also to reclaim our position as one of the leading nightclubs in the country,” he continues.
Long-time venue booker, Jeff Halley, added, ‘With the trend towards touring acts producing a grand visual experience to accompany their stage show, Metropolis’ upgrade in facilities offers local and touring acts a similar opportunity in producing their own amazing audio-visual experience.”
The renovation is part of Fremantle’s returning sparkle, after a long period of downturn in the port city. Metropolis Fremantle’s upgrade comes as South Fremantle becomes a hot spot for drinking and dining and new neighbours The Old Synagogue enters the South Terrace hospitality scene.
Metropolis Fremantle, which first opened on South Terrace in 1991 in the space formerly known as King’s Theatre, has hosted hundreds of live acts and DJs over the years, including INXS, Jimmy Barnes, Snoop Dogg, Will.i.am, Interpol, Primal Scream, Supergrass and more.
Coming up at Metropolis Fremantle, there’s live shows from Bastille, Pennywise, NLE Choppa x Famous Dex, The Darkness and Jimmy Eat World and more. For the full calendar of events and tickets, head to metropolisfremantle.com.au.
We wanted to create a love song with a melody and lyrics that would draw people in; a love song that we can all relate to and connect with – Could You Be is “that song.” It tells a story about two people falling in love, a powerful mental and physical energy exchange between them. Could You Be speaks the truth of our emotions – much more than we can say for most present day human connection (or lack thereof) and dating. You can hear and feel the expression of curiosity, hesitation, compatibility, and exploration, when it comes to falling in love, through the lyrics. That’s what it’s about. A couple mutually compelled to explore this natural feeling of attraction. – Rian Peters (aka iamtheliving)
https://www.deezer.com/en/track/769784172
https://music.apple.com/us/album/could-you-be-feat-ashleigh-ball/1482520681?i=1482520689
Facebook: iamtheliving
Twitter: iamtheliving
Instagram: iamtheliving
Spotify: iamtheliving
Apple: iamtheliving
Website: iamtheliving.com
INTRODUCING KIWI FEST: Melbourne’s Festival for New Zealand Music, Culture, Arts, Food and Drink
Saturday 15th February 2020 – Footscray Community Arts Centre
All Ages – 2pm-10pm
Meet the newest Music, Culture, Arts, Food and Drinks festival on the block: Kiwi Fest is an All-Ages annual one-day celebration of NEW ZEALAND culture, bringing together Melbourne’s Kiwi communities for a diverse festival of all things AOTEAROA. This week the festival will also be donating $10 from every ticket sold between 15 January – 19 January to the Victorian Bushfire Appeal.
On Saturday 15 February Kiwi Fest is taking over the lush, green, outdoor riverside lawn at Footscray Community Arts Centre, the perfect setting for live music, cultural performances, traditional and artisanal food and drink from New Zealand’s world-renowned industry, as well as a Kiwi mākete village (markets) selling a wide array of Kiwiana, Māori, Pacific Island and contemporary goods and wares.
Kiwi Fest 2020 aims to bring together and share all classic beloved Kiwi things to the suburbs of Melbourne. Created by old high school friends and Wellington Ex-pats Jacob Howard and Chris Lemeulu, the pair reconnected over a few beers watching an All Blacks game, lamenting the lack of events serving the large community of Kiwis in Melbourne.
Together Jacob and Chris started gathering the local community and business figureheads with a clear vision to make Kiwi Fest an annual celebration of Melbourne’s New Zealand community. “We began crafting an event that offered a bit of a ‘Slice of Heaven’ for both Kiwis here and anyone else who wanted to taste a little sample of New Zealand culture. It was important for us that this was community based at its heart, was 100% outdoors and captured our relaxed ethos, great products and rich culture” says Creative Director Jacob Howard.
THE MUSIC
The inaugural event is to be headlined by Che-Fu, the legendary hip hop and RnB icon.
With the most top ten songs of any individual in New Zealand musical history, Che-Fu is one of New Zealand’s most successful and beloved recording artists.
Originally coming to attention as a founding member of the iconic Kiwi band Supergroove, Che went on to forge a solo career unrivalled in its success and the trail that it blazed not only for hip hop but Kiwi music.
Audiences will also be treated to other local and Pasifika artists
Including roots heavyweight Israel Starr, the soulful Iva Lamkum, beatmaker and DMC World Champion DJ SPELL, the Polynesian roots infused reggae vibes of The Refugees, and Amin Payne will be brining his G-Funk and disco sound along with very special guest vocalist and fellow Kiwi Stacey.
THE FOOD
Hangi boys is the story of 4 guys from the North Island showcasing their heritage and culture through traditionally cooked NZ cuisine. With over 40 years of combined experience in Hospitality internationally, living here in the renowned food capital of Australia. The unique flavour of Hangi stems from pre-colonialism days passed on through generations of Maori, it was a staple diet for many celebrations. Using spices such as horopito, fresh market produce and native wood from our homeland we aim to capture the attention of both international guests and kiwis living abroad right here in Melbourne.
THE DRINK
Garage Project was started in Wellington by two best mates with a passion for the good stuff. Within a few short years, they turned their microbrewery into the widely acclaimed best brewery in New Zealand. Garage Project dominated the GABS Hottest 100 Kiwi Craft Beers for 2019, taking out first place with its Pernicious Weed, second with its DFA, and landing a total of 25 beers on the list overall.
THE CULTURE
The inaugural Kiwi Fest celebrates the diverse Kiwi community with Māori and Pacific Island Cultural Performances from Ngā Mātai Pūrua, Collateral Culture and Nga Uri Whaioranga all Highlighting bringing people together through shared history and culture, learning forgotten histories and the education of traditional rites and practices.
Kiwi Fest is an all-ages cultural event paying tribute to the Land of the Long White Cloud. Join the festivities and share the Kiwi love for the environment and respect of Maori and Pacific Island traditions and culture.
KIWI FEST 2020
Saturday 15th February – Footscray Community Arts Centre
2pm – 10pm
FEATURING:
Che-Fu, Israel Starr, Iva Lamkum, DJ SPELL, The Refugees, Amin Payne, Stacey
Ngā Mātai Pūrua, Collateral Culture and Nga Uri Whaioranga
Hangi Boys and Garage Project
All Ages Event – (All children must be accompanied by a responsible adult)
Tickets: $30-$55+BF
Children Under 3 Free
Ticketing via: www.eventbrite.com.au/e/
Perth-based, Zimbabwe-born rapper/producer Arno Faraji today shares his new single and video for ‘Bass Jumpin’. Listen and watch HERE.
‘Bass Jumpin’ is another warm and wavy offering from the 19-year-old artist who is outpacing a crowded field of competition by developing his own unmatched sound with each new release, pairing a raucous, sample-filled beat with Faraji’s quick-witted raps and impossible-to-hold-down flow. It’s a sound whose infectious appeal crosses lines of genre and taste amongst rap fans. While his vibe-heavy, feel-good focus owes much to Soundcloud and party rap, his stylish, future-leaning production brings to mind KAYTRANADA and Injury Reserve, with the sly, nimble bars of Goldlink and an irresistible sense of playfulness that recalls the likes of Childish Gambino.
Of the release/video, Faraji says: “Bass Jumpin’ is about battling your demons (whatever they are) even when things seem crazy and making opportunities instead of waiting for them! It’s had a few lives, produced by Moktar then remixed by Moktar + Just A Gent.“
The latest in a run of hype-worthy singles he’s dropped since nabbing the triple j Unearthed High Prize back in 2017 (becoming the first hip hop artist to do so in the process), ‘Bass Jumpin’ follows on from ‘Scalin’, co-produced by Milan Ring, which received high rotation across triple j and FBi Radio, and his collaboration with Remi & Sensible J, ‘Bless (What It’s Like)’, which made its way onto various Spotify and Apple Music playlists, including ‘Best of the Week’ (Apple Music) and ‘New Music Friday Aus & NZ’ (Spotify), and has since amassed over a million streams on Spotify.
The release of ‘Bass Jumpin’ also caps an incredibly exciting year for the young West Australian artist, coming off the back of his debut Australian ‘Faraji SZN’ headline tour and support slots for Kwame and Cosmo’s Midnight on their respective national tours, playing to sold-out crowds at the Enmore and Forum Theatres.
‘Bass Jumpin’ is out now, buy/stream it here.
Stay connected with Arno Faraji:
Facebook | Twitter | Instagram | Soundcloud | Unearthed
Love for Ratboys:
“It builds on the imagery of its title throughout, a twangy rock rush about feeling unreal in reality.”
– Stereogum
“Chicago indie rockers Ratboys go to outer space with their new song and video, the first taste of their upcoming album Printer’s Devil.” – Brooklyn Vegan
“The track, which is equally as captivating in video form, is Ratboys at the height of their power.”
– The Grey Estates
And they make that introduction with an exceptional new video for this new single as well, as they aptly blast their sound into outer space.
Steiner wrote the majority of Printer’s Devil with Sagan while she was experiencing a dramatic shift in her own foundations, demoing out songs in her Louisville, Kentucky childhood home, which had just been sold and emptied out.
“Demoing there was almost too intense,” Steiner says. “I kept writing in my journal that it feels like we shouldn’t be there. I don’t know if that feeling made its way directly into the lyrics, but to me, the songs will always be connected to that sense of home and time passing.”
Upheaval and change are clear themes spread throughout the songs of Printer’s Devil, but the moments of uncertainty are embraced as a necessary part of growing. And through it all, Ratboys’ dynamics still beautifully thread together the kinds of intimate folk songs and devastating alt-country tracks that fans have come to expect from them, showcasing a rare range that invites listeners to imagine the band blowing out a 2,000-cap room or playing quietly next to you in the living room.
An anachronism for a printer’s apprentice, the phrase “printer’s devil” came serendipitously to Steiner while she and Sagan were demoing in that same house. “I was reading about Walt Whitman and there was this very casual sentence that said Whitman worked as a printer’s devil in a printing house in Brooklyn.” She pauses on the phrase. “I had never seen those two words together. They are both very powerful on their own, and together it was just a complete unknown, a total mystery. One of Whitman’s jobs was to test the ink. I don’t know if this actually happened, but I have a feeling that maybe this was one of the first times he experimented with poetry.”
The title Printer’s Devil symbolizes this journey of new discovery, finding things from one to the other and letting meaning snowball and continuing down that path. On the title track that closes the record, using a simple loop and a repeating chord progression, Steiner slowly inserts abstractions, like testing the ink on the page. The motion continues, the band never breaking from the meditative loop, finding meaning in the smallest things, letting the idea guide the way.
“To be able to embrace a simple idea,” Steiner says, “and follow it where it needs to go, was revolutionary to me.” The song is both a punctuation mark and a cliffhanger. It seems that Ratboys are on the right path, and the journey has just begun.
PRINTER’S DEVIL is out February 28 via Dew Process
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Stranger and Bunker, two of Melbourne’s most forward-thinking techno crews, will join forces for one the most exciting lineups to hit Melbourne in years. Heading to Australia to perform at the upcoming Pitch Music & Arts Festival, FJAAK, Objekt and SPFDJ is part of a small collective of niche techno artists highly sought-after across the globe. For one night only they will bring their brand of cutting edge dance music to The Bottom End for what will surely be a sell-out show.
FJAAK (Live) (GER)
From a Spandau-Basement experiment to a now well-established force in contemporary techno, the rise of FJAAK has seen the duo become an internationally renowned creative force. Gracing stages at global festivals ADE and Awakenings, alongside numerous slots at the Circoloco Ibiza, District 8, and techno institution Berghain, their dedicated fanbase comes in spades. With eleven singles & EPs, two albums and a couple of compilation appearances under their belt, FJAAK can look back on an extensive discography that packs quite a punch. This will be FJAAK’s Australian debut.
Objekt (GER)
Crossing a plethora of genres within his work, Objekt fuses electro, acid, bass, dub, and experimental into his work, while maintaining solid foundations in techno. Across his subsequent club output on labels such as Hessle Audio, Leisure System, Power Vacuum and his own imprint label, audacious sound design and meticulous arrangements have served to buckle and twist dancefloor conventions. His 150-bpm IDM opus ‘Ganzfeld’, released on a split EP with Dopplereffekt, was selected as Resident Advisor’s #1 track of 2014, while Mixmag named ‘Theme From Q’ their top record of 2017.
SPFDJ (GER)
Hailing originally from Sweden, SPFDJ’s beginnings were in London as part of the infamous collective Universe of Tang. Occasionally working at vicious speeds, acidic techno climes are fused with kaleidoscopic sounds, making for unique output. Alongside producer sprintf, she co-runs the Cranial Handles transmission, the System.out sound system, and the latest party coerced into life: Power Play. Drawing on the many and varied collaborative efforts at the heart of her activity, SPFDJ delivers Intrepid Skin, her label and outlet for autonomous developments. SPFDJ is as deft in moving the most debaucherous underground space as she is at opening the floor for big clubs like Corsica Studios and Oval Space.
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ANNOUNCE DEBUT ALBUM
HIGH RISK BEHAVIOUR
OUT MARCH 27
THE CLAP SINGLE & VIDEO RELEASED TODAY
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If they didn’t keep hassling drummer Matt Boggis about skating in places he shouldn’t – and giving him tickets listing that as the offence – who knows what idiotic title the self-proclaimed “dropkick drongos from the Sunshine Coast of Australia” would have come up with.
And yet it’s the perfect name for an album that does not fuck around. An album that sounds like Aussie greats the Cosmic Psychos downing beers with The Saints before doing shots with the Buzzcocks and then spewing it all up behind the kebab van. An album that’s over in 28 blistering, funny, sweaty, unforgettable minutes, with half of its 14 songs failing to reach the two-minute mark. Some might call the Queensland trio lazy. Singer-bassist Eamon Sandwith sees it differently.
“I don’t want to make the songs boring, so I just keep them short and sweet,” shrugs the man whose mullet became an international talking point following the success of 2017 viral hit “Smoko”. “We try not to think about it or complicate it too much. You don’t want to force it or the song’s going to turn out crap.”
Since forming in their mate’s bong shed in 2016 while still at high school, that attitude has taken The Chats – completed by guitarist Josh Price, who once wrote a song called How Many Do You Do? in which he boasted of doing 52 “dingers” in a night – from the sleepy coastal village of Coolum (located roughly two hours north of Brisbane) to venues around the world. Their fanbase includes Dave Grohl, who loved the video for Smoko so much he showed it to Josh Homme, who then asked the trio to support Queens of the Stone Age on their 2018 Australian tour. Iggy Pop is also a card-carrying member of The Chats’ fanclub, requesting that they support him in Australia in early 2019 and peppering them with questions like, “What’s a smoko?” and “What’s a dart?”
The rest of 2019 was spent taking the world by storm armed with nothing more than guitars, drums, shorts, shirts and thongs (or, if it was a formal occasion, sandals and socks). Shows across Australia and the UK were sold out, and they performed their first gigs in America (the LA show was attended by Homme, Grohl and Arctic Monkeys’ frontman Alex Turner). The band capped off the year with a return visit to Britain, selling out venues such as London’s 2,300-capacity 02 Forum.
Suffice it to say, life has changed a fair bit for The Chats over the past two years.
“Well, I don’t have to work at the supermarket anymore,” says Sandwith.
That he does not. In fact Sandwith and his mates have been too busy touring, writing songs and, when their gigs took them to Victoria, dropping into engineer Billy Gardner’s studio in the coastal city of Geelong for a day of recording. That they chose this piecemeal approach explains why the album took 18 months to finish – a luxury considering 2017 EP Get This In Ya took four hours to record one hungover afternoon.
“If we’d just done a week and slogged it out we could have had an album before now but we just kept going in there and making newer and better songs so it’s hard to put a stop on it,” says Sandwith.
The sessions were fast. “Some of the songs were first-take and we were like, ‘That’s good, whatever’,” says Sandwith. “We’re really not perfectionists.”
Remarkably, they still found time to experiment with exotic instruments such as… a tambourine.
The end product is an album that buzzes like an out-of-control chainsaw, propelled by Sandwith’s spoken-spit-sung vocals, their three-chords-is-one-too-many approach, and an exacting combination of youth, vigour and drunkenness. But don’t mistake simple for stupid – if it was easy to make songs this short, this catchy and this downright brilliant, everyone would be doing it.
“I think they’re good songs,” says Sandwith. “And at the end of the day, if I like it then fuck it, who cares if other people do?”
Despite being the subject of a record label bidding war, The Chats are releasing High Risk Behaviour on their own label, Bargain Bin Records. It’s indicative of a band that have embraced DIY culture since day one, to the point where Sandwith used to spend his days at the post office sending out merch orders.
“We thought, if we just do it ourselves we don’t have to worry about getting swindled,” says Sandwith. “We’ve always done it our way.”
Their determination to do things “our way” extends to their music, which is why High Risk Behaviour delivers everything you’ve come to love from The Chats – only more of it – and confirms their status as Queensland’s greatest ever export (apart from Bundy Rum).
“I just want people to have a good time,” says Sandwith of the album. “I want them to dance around and have a beer and enjoy it. We don’t make songs for people to look at in a fucking emotional or intellectual way. We just make songs for people to jump around and have fun to.”
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Tour Dates
Friday 21 February: Glamorama, Melbourne
Saturday 22 February: Tusk, Wollongong
Saturday 22 February: Goodbar, Sydney
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Nearly six years since their last Australian tour, Sebadoh are finally dragging their lo-fi slacker genius back to our shores this month! Due to demand, they’ve added a Perth show at Mojos Bar in Fremantle on Sunday 26th January and today announce local tour support acts (see listing below).
With the release this year of their acclaimed return to form album Act Surprised, their first since 2013’s Defend Yourself, the band have returned to the genius that made them an essential part of every right thinking person’s record collection.
On leaving Dinosaur Jr in 1988 and teaming up with old mate Eric Gaffney, Lou Barlow almost invented a new genre in rock n’ roll, signing to the seminal Seattle label Sub Pop and releasing a couple of cassette only releases that are much sought after collector’s items. Despite several line-up changes Sebadoh effectively became an outlet for Barlow’s creative efforts outside of Dinosaur Jr. As the obligatory hiatus for the first part of the 2000s kept fans wondering if they’d seen the last of them, 2007 saw Sebadoh reform to much acclaim and the promise of new recordings.
That promise has now led to a second post-reformation recording, with Barlow taking time off from Dinosaur Jr to regroup with Jason Loewenstein and Bob D’Amico to track 15 new songs last year, with Justin Pizzoferrato, the engineer behind many Dinosaur Jr albums at the helm. The studio results see Loewenstein taking the lead on his more lo-fi style musings paired against his co-conspirator’s folkier style offerings, with the band actually spending more time working on this album than many of their previous minimalist efforts. “In the past,” says Barlow, “we would write in the studio and the songs would develop on the road.“ This time, we did some rehearsals a few weeks before recording,” adds Loewenstein, “which we almost never do. So we got a chance to not use the first take and took time to finesse things, which we also don’t usually do, so that was a good step.”
For their first tour down under in almost six years, with a new album under their belts and their lo-fi garage slacker pop offering the blueprint for many acts worldwide, this is a rare chance for Australian fans to enjoy their seminal sound live.
with guests Immigrant Union
with guests Brightness
with guests Immigrant Union
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