January 05 - Noteworthy New Releases
Our favourite releases of the week.
Axe & The Ivory – ‘Strangers’
Adelaide’s own Axe & The Ivory is a self-described ‘indie-folk band’, so you might assume that you know exactly what you’ll get when you pipe some of it through the speakers. But even a cursory listen of latest single ‘Strangers’ shows how much they relish in the unexpected.
Having been named one of the state’s bands to watch in recent times, Axe & The Ivory’s latest release is a confessional piece of heartbreak that speaks to the heart and soul in the aftermath of a relationship.
Led by gorgeous instrumentation that ebbs and flows as it tends towards its powerful chorus, and fronted by the effortlessly sincere vocals of Rosie Roberts, ‘Strangers’ draws you in and allows you to feel every emotional facet of its inspiration.
Sounds like: Your passionate inner dialogue harmonising into something beautifully comforting.
By Tyler Jenke
Electric Slumber – ‘Countdown’
“Don’t just rehash what came before. Find new things to do with it, in your unique voice” - Brian Keene.
Mr Keene is better known for his writing with Doctor Who, The X-Files and Marvel and DC Comics, but his statement cuts across many artistic platforms, not least music. Adelaide’s fuzz-stoner-grunge-blues rock outfit
Electric Slumber thrill their witnesses precisely because they haven’t rehashed what came before, they’ve re-smashed what came before – not least some of the best rock genres.
Andrew Stockdale would frizz his hair in jealousy with the opening stoner blues guitar riff, essentially the backbone to this body of rock. Bleach-era Nirvana kicks in as the vocal and grunge instruction for the verses (as well as the backing screams) summon pure Cobain energy. The ingenious fuzz of Kyuss radiates throughout, then a Josh Homme-inspired guitar solo lends a radical nerve impulse. The Eagles Of Death Metal’s animation acts as the heartbeat and (s)mashed together, we have a new anthem in a unique voice. It’s luminous.
Sounds like: Modern rock history brewed into a fuzzy ale.
By Will Oakeshott
Pine point – ‘Old Dog/new Socks’
Since the release of 2022’s self-titled EP, Pine Point have been hard at work honing their dreamy brand of indie pop behind the scenes. One of two new tracks that have dropped ahead of the band’s upcoming EP, Be Longing, the reverb-drenched ‘Old Dog/New Socks’ is, quite simply, delightful.
Led by Elliot Oakes’ tender vocals and a twinkling guitar riff, the track captures a nostalgic sound that’s uniquely Australian – somewhere between the summery jangle of The Go-Betweens and the country undertones of Swirl Records label mates, Dead Roo (gone but not forgotten).
The magic of ‘Old Dog/New Socks’ lies in its subtlety. It’s a series of simple things done right, from the gentle vocal harmonies to the sparingly-used strings, which range from chamber pop accents to a more see-sawing country energy. It commands attention, but never demands it.
‘Old Dog/New Socks’ is a warm and tasteful slice of Adelaide indie. Look out for the rest of the EP, which arrived on Christmas Day – a neatly packaged festive treat featuring local artist Pia Gynell-Jorgensen’s earthy style. Merry Christmas indeed.
Sounds like: Leaving the big smoke.
By Timothea Moylan
The Danger Dolphins – ‘Nah’
We’ve all been there: sitting around with mates, drinking and talking about making music together until the wee hours of the morning. However, unlike most of us, The Danger Dolphins actually followed through and have been reaping the benefits ever since.
Feeling like they were raised on a healthy dose of classic rock and the bluesy aspects of the garage rock revival of the early ’00s, new single ‘NAH’ is the sort of track that seems designed for the live stage. With its catchy riff and equally chantable chorus, ‘NAH’ is the contextualisation of what makes the band great and gives a sneak peek at the explosive talent they harness.
Harnessing a visceral sense of raw energy and an eagerness to show us what’s next, ‘NAH’ is the latest taste of their forthcoming EP, and the chances are good that it’ll be just as commanding.
Sounds like: A riff-laden revival of Royal Headache.
By Tyler Jenke
Down And Out – ‘Livin’ the Dream!’
Throughout history there have been beautiful cover songs that have transformed the artistry of the original. Two examples: Johnny Cash’s version of ‘Hurt’ originally by Nine Inch Nails and Avril Lavigne’s cover of Metallica’s ‘Fuel’. Could one imagine Dolly Parton’s ‘9 to 5’ being covered by All Time Low? Thanks to Adelaide’s Down And Out, the world might not have to. They’ve accomplished it with ‘Livin’ The Dream!’ and it’s of ‘Once In A Lifetime’ measure.
“It’s 9 to 5 until I die, feeling like I’m not alive…” Vocalist Luke Ganeo serenades his truth with Darren Cordeux’s earthy excellence, backed by the moving pop musicianship of Between You & Me. This isn’t just infectious because of the pop-punk sensibility, this has that worker’s anthem spirit that spans the decades. Better yet, the Stand Atlantic modernisation and electronic flourishes adds more ‘cinema’ to the single’s entire soundscape.
“Wasting my whole life”? Not for much longer, Down And Out. Watch this space.
Sounds like: The Ataris cover version of ‘The Boys Of Summer’, only original and outstanding.
By Will Oakeshott
Wake In Fright – ‘Punchcard’
Earnest and bewildering, Wake In Fright’s latest single ‘Punchcard’ is a breath of fresh air. A taste of what’s to come on the band’s upcoming album, Touch Hands Pack Sting, this catchy art-folk track is as playful as it is clever, skirting around chamber pop and forest folk without running into twee.
The absurd lyrics are the real MVP, delivered by vocalist Sam Wilson with a frank warmth and sense of humour. Around this framework, the track unveils itself piece by piece. From the masterfully stilted strumming of the guitar to oddball percussive elements and Thea Martin’s soaring violin, it builds to an unhinged crescendo before breaking down, as if each musician is stuck in their own glitch.
Charmingly simple and yet layered in its complexity, ‘Punchcard’ is a raw, lo-fi masterpiece that captures the pure joy of music-making.
Sounds like: Your favourite (slightly chipped) garage wsale teacup.
By Timothea Moylan
