Who The Hell Are… The Beggar Folk?
Folk bands are slowly going the way of the emo bands -- cookie-cutter, predictable, uninspired, and inevitably becoming a parody of themselves because music is a business and the market dictates that consumers will always want more of what's popular. The Beggar Folk fall nicely into the afore-mentioned folk music genre, however their music doesn't seem to follow suit with the folk status quo. These are ballads and hymns, carved from trees and molded from soil. This music demands your attention and effortlessly passes any authenticity tests. It conjures up what real Americana and country music should conjure.
The Welcome Mat – Gram
In the annals of Australian music history, The Welcome Mat only succeeded in living up to their name, laid down at the gates of opportunity to watch in dismay as their more fated friends were
British Sea Power – Man of Aran
British Sea Power take to the Irish Coast to provide a fresh soundtrack to this 1934 documentary on the people of Aran.
The Morning Benders – Big Echo
Oh, summery shimmery albums. Why must you hook us so? Berkeley, CA's, The Morning Benders serve up a treat.
Devo – Something for Everybody
There are people who write for this website who weren't even born when Devo last made a record. This is not for them.
Who The Hell Are… Deaf Club?
Heavy on atmosphere with a melodic depth that harnesses Banshees-like percussion against rippling guitar-work and bears more than a passing resemblance to the rhythmic whirl of Warpaint and the siren song of Esben and the
Kurt Vile – Smoke Ring for My Halo
"I don't wanna work/but I don't wanna sit around/all day frowning". Kurt Vile, you speak to us in a way few artists ever do. You can stay.
Elliott Smith – An Introduction To…
It's hard to believe that he's been gone 7 years now. This collection attempts to define one of last great songwriters of the 20th Century.
Jonneine Zapata – Cast The Demons Out
Sounding like a counter-revolutionary, singer-songwriter Jonneine Zapata's task at hand is presciently hinted at in the title.
British India – Interview with Nic Wilson and Matt O’Gorman (2009)
The rise and rise of Melbourne's British India has been something to behold. They've gone from their first release in 2005, the rough and ready Counter Culture EP, to 2007's incendiary debut Guillotine, and from feted
Laneway Festival – Brisbane – 4 February 2011
In complete contrast to a month ago when it was "precipitation nation" Brisbane’s fourth St. Jerome’s Laneway festival could've been subtitled "Boiling Brisvegas". Unlike many festivals Laneway 2011 had a remarkably consistent quality throughout the entire day, so regardless of the weather it was always destined to be a scorcher. We braved the extreme ultra violet index to report on Australia's Rat Vs Possum, Cloud Control and Cut Copy. While sampling UK's Foals and America's best of the best with Beach House, The Antlers, Warpaint, Blonde Redhead, Ariel Pink, Holy Fuck. Oh and LES SAVY FAV!.
R.E.M. – Collapse Into Now
With appearances from Peaches and Patti Smith, R.E.M. show no signs of wear and tear in their fourth decade of making music.
Yo La Tengo – Popular Songs
More Pop(ular) Songs from New Jersey's finest. No condo screwing around here, just Yo La Tengo's consistent quality.
Mental As Anything – Essential As Anything / Tents Up
Both mental and essential, Sydney's pop legends Mental as Anything return with a career-encompassing collection and a brand new studio album.
Amanda Palmer – Australian Interview (2010)
From the Dresden Dolls to her solo album, Amanda Palmer has never been less than a bold and intriguing character in American rock music. In Australia for a slew of live dates we talk to the force of nature herself about her engagement to Neil Gaiman, her Golden Globes outfit switch-a-roo, the controversy surrounding her new Evelyn Evelyn project, what's on her bed side table and a dream involving Anna Pavlova wearing a spacesuit... and God.
Camera Obscura – Interview with Carey Lander (Static, 2010)
With their fourth album My Maudlin Career Glasgow's Camera Obscura shifted further away from their indie pop origins to create their own take on Bacharachian orchestral pop and '60s soul contrasted against sparse country melancholy. Keyboardist and backing vocalist Carey Lander talks about joining the band, meeting Lloyd Cole, the orchestral and country elements in their sound and how they came to cover the Boss.