Okkervil River – Brisbane – 3 May 2009
Okkervil River The Zoo, Brisbane 3rd May 2009 "No one wants to hear about your 97th tear" offers Will Sheff, he of red beard, bookish glasses and shaggy hair, during tonight's opening rhyme heavy
Atlas Sound – Sydney – 19 June 2009
I'd be surprised if the majority in attendance were familiar at all with Atlas Sound, but the crammed in masses of which Webcuts was one of the last to make the cut, were calling out requests that even Cox felt too obscure and unplayable.
Webcuts Top 11 Of 2011
It hasn’t been an amazing year for music, but surely an entertaining one. Lots of new acts jockeying for position amongst the wily veterans, and plenty of debate even as early as June over love ‘em-or hate ‘em titles such as King of Limbs and James Blake’s eponymous debut and where they belong in the year’s final canonization of greats. Honestly, I can’t remember a year in recent memory when I’ve found so many hyped records I’ve disliked or been entirely disinterested in. Cults? Pass. Tyler, The Creator? Garbage. The saviors from musical banality have consistently been experienced groups who know what they’re doing and get praised for their music and not being arrested in LA and starting riots.
Eleanor Friedberger – Last Summer
One half of the hyper-productive quirk-pop outfit Fiery Furnaces takes her first solo steps on Last Summer.
Wild Nothing – Interview about Nocturne (2012)
Riding the crest of the dream-pop insurgence that brought with it bands like Beach Fossils, Twin Sister and Still Corners, was that of Jack Tatum and Wild Nothing, who' s debut album of 2010, Gemini
Who The Hell Are… COOLRUNNINGS?
How Webcuts first encountered Knoxville, Tennessee's Coolrunnings could be best described as a lucky accident. And it's no surprise that the best way to get someone's attention is to slap a photo of some naked chicks skateboarding on the cover of your EP and let them sell it for you. The appropriately titled (and NSFW) Babes Forever was clearly the product of talented and warped minds. The creepy, schizoid mayhem of "Trippin' Balls at Der Wienerschnitzel" and the inspired, almost unabashed, synth-pop of "When I Got High With You" sounded like they were made by some slacker Bill & Teds who'd already embarked on their own excellent adventure.