Salt Seltmann is well versed in the art of pop wizardry. As her career’s progressed, her output has become less outré and more inclusive. From her time as New Buffalo, her stint in Seeker, Lover, Keeper, and recent solo work, it’s an enviable catalogue of songs.
Isabel slinks around the groove, tempting sensuality but not quite going all the way. Her soulful R&B might have a temperate disposition, but it’s suggestive enough to lead your imagination to do the rest.
It’s been said before but it bears repeating; if you can’t beat them join them. That’s the route Corporate Vibes take on their way to satirising elevator music, as well as general consumer manipulation. It makes for pleasant listening, and sparks some interesting questions if you care to acknowledge them.
The endurance of the term krautrock is a source of amusement (initially a joke to reductively describe all German music), but then the same could be said for most genre titles. Avowed krautrockers tend to follow in the lineage of Can, Neu, Kraftwerk and the like. It’s not a bad example to follow, and Buried Feather does so with droney ease.
For the most part, the invocation of psychedelic imagery – you know, like mustard milkshakes and banana bed sheets – is at best cheesy, at worst nauseating. Add saccharine pop melody and fawning, chiming guitars to the mix and you’re soon stranded in a puddle of brown acid. This is more or less the method of Violet Swells, and yet their seeming self-awareness and grasp of pop hooks elevates them above the prevalent lesser practitioners.
If you like your indie pop proudly casio-toned, sopping wet with youthful exuberance, and exceedingly happy to meet you, then Waterfall Person has everything you need. It’s cheap, unrefined and wonderfully joyous.
It’s nearly ten years since the release of Dappled Cities’ brilliantly imperfect, boisterously ambitious and cleverly wrought second LP, Granddance. The spark of Australia’s mid-‘00s rock scene, the Sydney fivesome are back at it and working on material for their fifth album, some of which will get an airing (we hope) this Friday.
There’s ongoing discourse about the artistic validity of ‘90s revivalism. Jacky Winter speaks openly about gleaning from RZA’s production on the early releases from Wu-Tang Clan and affiliates. But he manages to avoid mimicry and create capsules of seriously groovy, curiosity compelling pop.
One of New Zealand’s finest contemporary songwriters, Tiny Ruins is coming to Melbourne for an exclusive solo show. Her performance at Meredith ’14 simultaneously cured about 4000 hangovers. Looking forward to witnessing the magic this time around.
Wielders of surrealistic folk music, Childsaint throw a parachute over the listener to reveal a bounty of both playful and unnerving phenomena. They’re not entirely caught up in form, however, and the songwriting stands firm.