Greenwave Beth’s debut EP ‘People in Agony’ is premiering via Sydney’s FBi Radio now

Self-described as a “musical risk”, it’s the latest project from Charles Rushforth andWill Blackburn of indie-rock quartet, FLOWERTRUCK. The idea was born when Rushforth bought a vintage MPC 1000 off eBay and discovered he could compensate for his skills on keys by midi-sequencing his MicroKorg through it. “I’ve never had so much control over my own music”, he says. 

Swapping the Triffid-inspired post-punk riffs of FLOWERTRUCK for a blend of lifting synths, drum machines and freeform songwriting, the EP serves as a great example of [Rushforth’s] ability to combine dark and emotional lyrics with poppy percussions and hooks that stay with you.

“We transform ourselves into very curious things to avoid pain”, says Rushforth on the EP’s title, ‘People in Agony”. “Soft parts turn hard, weak spots are covered up or extenuated. You can almost dodge it entirely, but then something like a relative’s baby crying at night can paralyse you.”

The four-track EP is filled with anxious musings on the title’s theme.  “I can’t sleep through clenched teeth / not a boy anymore…), Rushforth exclaims in the opening verse of lead track, ‘Country’.

In Against Me, Charles sings sincerely “your rehearsed lines against mine, who’ll win this time? / Love’s a fight and we’ve spent our life on the ropes”, before a sharp synth breaks out.

Greenwave Beth’s most recent single, Love and Property explores the social contract of romance. Layers are gradually added as the track progresses, building to Rushforth’s signature vocal-shout, “it’s the thought that counts!”

Make Up was the first single released by Greenwave Beth, and serves as a solid closing track to the promising new EP. Described as “Alan Vega transported under the Sydney Harbour Bridge with desperate synths and motorik drum beats” by FBi Radio, it’s a brilliant example of Rushforth’s ability to create music that’s both unsettling and uplifting.