FEATURE ARTIST: Stellar Addiction

L to R: Gholdwayne, Danny, Stacey, Tanya, & Tom - Photo taken in St Peters by Rod Manning

Stellar Addiction are a five-piece, self-proclaimed pop/punk act that call Sydney home. The band consists of Stacey Abdilla on lead vocals, Tanya Carboni on drums, Gholdwayne Tagud & Tom Hockey on guitar, and Danny McMartin on bass.

Stellar Addiction's debut album 'Full Moon Sky' was met with great acclaim, and even gained them a fanbase in Japan, where they returned from touring recently. 'Full Moon Sky' is full of textbook pop-punky tracks, but things are looking to take a slightly darker turn with their upcoming single, 'Unbroken'. The catalyst for the song was a piano riff that drummer Tanya was toying with, which singer Stacey overheard and went to work immediately writing lyrics for the melody. All of a sudden, their new track had materialised - MusicMinded was lucky enough to get their hands on a sneak preview copy of 'Unbroken', and we were suitably impressed.

The song opens with a haunting, reverb-filled guitar arpeggio, which lays the foundation for the enveloping atmosphere of the song. Vocals are introduced and add to this melancholy atmosphere, but this feeling of loss is countered by the soaring guitar licks in the background. 'Unbroken' is a change of pace from Stellar Addiction's previously characteristically spunky tracks, but maintains their signature clean, crisp, and oh-so-easy on the ears sound. The bridge adds a little textbook punk aggression with heavier guitars and double-kicking drums, and holds on to end the song with a bang. As noted by the band themselves, the subject matter and lyrics of 'Unbroken' are very inclusive and can apply to any and all who have witnessed a close relationship of any kind break down.

'Unbroken' has an overwhelming vibe that is reminiscent of what is arguably the golden era of pop-punk - the mid-to-late 2000s. This was a time when bands like Fall Out Boy and Paramore became world-renowned for their somewhat contradictory formula - ballads with legendary vocals, sombre lyrics, but instrumentation that you couldn't help want to headbang to. Stellar Addiction have produced their own brand of this formula and will no doubt introduce it to a brand new audience. 'Unbroken' is incredibly anthemic and could easily be played to a stadium of thousands, who I have no doubt would be able to sing back, word for word.

Singer Stacey was kind enough to answer some questions about Stellar Addiction:

Okay, let’s run through the band… Who is who, and who does what?

Stacey - Vocals

Tom - Guitar

Goldwyn - Guitar

Danny - Bass 

Tanya - Drums

Which bands/artists do you draw inspiration from?

As a band we draw inspiration from a variety of artists/bands across a range of genres. I have personally been listening to a lot of PVRIS, Bring Me The Horizon, Tonight Alive and The Amity Affliction lately. Some all time faves of mine are Silverchair, Grinspoon, No Doubt, Karnivool and John Butler Trio.

Do any of you have any formal musical training?

Yeah, I did 10 years classical training in voice and 2.5 years contemporary music at TAFE. Tanya learnt classical/contemporary piano from the age of 4 and studied Bachelor of Music at university. The boys have had lessons here and there but nothing quite as formal.

Other than musical training/education, did any of you undertake any courses or employment that people may not expect from members of a pop/punk band?

I'm a makeup artist / teacher / cook / online makeup store owner / bar tender and have been a promo girl, retail manager, waitress, model, fast food hahaha so basically I can't sit still for 5 minutes. I think we have all done a bit of everything. 

The sound (mixing etc.) on your last album ‘Full Moon Sky’ is exceptionally crisp – have you kept the same post production techniques to replicate the sound of your last album?

We work with an amazing engineer/producer Chris Blancato who always helps us get the sound we are going for. He has recorded all of our material to date including our upcoming single "Unbroken". The track itself is a little darker, but the sound is definitely signature of our collaboration with Chris. 

In three words, how would you describe the atmosphere and emotion of your new release ‘Unbroken’?

Sombre, powerful, awakening 

L to R: Gholdwayne, Danny, Stacey, Tanya, & Tom - Photo taken in St Peters by Rod Manning

As a band, what is your favourite band activity; writing songs, recording songs, or touring? Why?

Definitely touring. Getting to hang out, play music, experience new cultures together when we go international, and falling in love with places and people. It's kind of like a reward for all the hard work we do when writing, recording and rehearsing. 

Do you think your music appeals a particular demographic? Who, and why?

We have a large following in the LGBTQIA+ community in Australia and internationally. I don't think this is necessarily because of our music but more because we are really active in this community. Outside of that, I don't think there is really a niche that we appeal to - our audience is pretty varied.

In saying that, is there a particular demographic that you would like to engage with more?

We would love to reach out to the under 18's crowd a little more. We don't get many opportunities to play all ages shows and that's something that I think would be really great to do more of. I remember being a kid and not getting to go to many local shows because they were always 18+. It would be great to see more opportunities around for bands to connect with the a younger demographic

What do you think sets you apart from similar artists?

Writing and playing music is amazing, but for us we like to use our art to support causes we believe in. We are lucky enough to have a microphone and a stage, so we want to use that in a positive way. Where we can, we play to raise awareness or raise money for causes which do not tend to get much attention from mainstream media. 

You recently returned from tour in Japan… What was different about the Japanese crowds, and was this positive or negative?

Japan was amazing! We fell in love with the people at each and every show. The main difference was that they went out to enjoy music. They would get to the show right on doors and stay until the last band finished. They would come and shake hands after we got off stage and even with the language barrier, they made every effort to tell us they enjoyed our music. The other major difference was playing with bands who were supportive and interested in watching all the performances. There was no ego, and it felt nice to be in an environment where everyone respected each other. 

Should we look forward to the release of a new EP or LP any time soon?

We definitely have plans for a new album this year!!

Do you have any shows coming up?

We are playing PUNK OUT WITH CAMP OUT on 18th Feb at The Annandale Hotel Sydney to launch our new single "Unbroken". That's our first show back for the year with a string of shows to follow. 

                                                                                                                                             

Thank you to Stacey, Danny, and the other members of Stellar Addiction for their time!

I would highly recommend everyone keeps their eyes and ears on Stellar Addiction's socials, so as not to miss anything!

~ Find Stellar Addiction on Facebook here , Twitter here , and Instagram here

~ Find them on Spotify here , Bandcamp here and Triple J Unearthed here

~ Watch their latest music video here 

ARTIST INTERVIEW: DOKO

DOKO are a seven-piece band hailing from Sydney. The intriguing indie band consists of Jared on lead vocals and guitar, Budo on lead guitar, Alex behind the kit, Tim on bass, 'Mad Dog' Mitch plays trombone, 'Cexy' Cypress plays saxophone, and lastly 'Bad Mon Tommygun' Tom on trumpet.

L to R: Jared, Alex, Tim & Budo - Photo by Claudia Lewis

They've been super productive since their formation in 2015, and guitarist Budo has given MusicMinded some insight into the genre-defying world of DOKO.

Okay, let’s ask the obvious… Where did ‘Doko’ come from? Is there a meaning to it, or is it something you just liked the sound of and picked at random?

DOKO was really just us putting together two syllables which sounded cool together. It kind of just stuck after awhile. It ended up having few different meanings, one being the word for “where” in Japanese. I have to say its an improvement from “Love Club”.

What roles do you take on within the band? Who writes the lyrics, melodies etc?
It’s a tricky one to answer because a lot of it is really collaborative. I write a few song ideas with melodies and maybe a chorus and then give to Jared to write some lyrics over it. I feel when I write lyrics for someone else it loses a bit of it’s authenticity, and some words sound different coming out of another person’s mouth. Jared has recently been sending me heaps of demos for stuff which I’m really excited by. One of the demos he’s sent me is probably my favourite song at the moment - I even put it on and listen to it in the car.

So usually we bring a song idea into rehearsals and let it loose. Alex finds a groove which sits nicely and he really takes control of the dynamics. He also has structural ideas and works out transitions between parts. Alex has also been really creative in the studio recently, using more percussive elements. He recorded this floor tom in a stairwell while we were recording with our producer Chris Rollans. It has this really cool Hans Zimmer vibe. I think I even have footage of it somewhere. Tim as usual drops some delicious bass lines. He’s really got a great ear, just picks up on chord progressions pretty quickly. He’s also recently been experimenting with effects and sounds which are going to appear on the upcoming E.P.

Where did the band form and what brought you together? What did you have in common?
We all formed at Uni, we seemed to have similar tastes in music. We shared a strong appreciation for Aussie music. It was during 2014 when all these new bands started appearing and blowing up into the mainstream. So that was something we were all in to. Then inevitably we all formed a band. Only a few months into our first handful of gigs we had a three-piece horn section. Tom from The Kava Kings had played trumpet for us on the last night of the residency gigs we had at the Captain Cook hotel. Then one rehearsal he brought along our soon to be Trombone player Mitch and Sax player Cypress. Every time we have the full ensemble on the stage it really takes us and the crowd to a new level. Having a three-piece horn section was something I never expected this early in our careers but its made our sound what it is today. Adds a whole new musical dimension to the songs we write.

L to R: Budo, Tim (obscured), Jared, Mitch, Tom (obscured) & Cypress - Photo by Matt Viesis

Now we know what you have in common… Is there anything you guys argue about?
The arguments only really seem to happen when we are writing, but its all a part of the process. We pull each other back into the centre if we drift too far out. We are all pretty experimental. It can be difficult but we always end up being really proud of the end product. I feel like if it wasn’t difficult, the music would be pretty bland and might lack focus.

Who would be the main influences for your sound and image? Are there any artists you look up to and take inspiration from?
Our influences have changed over the year since we’ve been playing gigs together. For me at least they were, The Red Hot Chili Peppers, The Police and a band with particularly sticky appendages. The horns have definitely played a huge part in the evolution of our sound and our influences. People at shows say they get a Fat Freddy’s Drop vibe when the horns go off in some songs. So we’ve recently broadened our horizons and I feel like we’ve established an individual sound, which sounds like DOKO (I hope).

Do you have any pre-show rituals or routines?
We always seem to jam during the line check/ sound check. Gets us moving a bit and seems to draw the crowd in a bit before we kick off.

What really stood out to you about the best crowd you have ever played to?
Recently we played a small festival in Braidwood called Subpar, put on by the good people at Dinosaur Records. A lot of the punters were from South Sydney like Sutho and Cronulla. They seem to have a really strong appreciation for live music down there, and they get pretty f***ing rowdy. I remember we were playing around 11:30pm. There were people falling on the stage knocking cables, and kicking up a bit of a dust cloud. People were also singing the words to our single Indigo which was a great feeling. We got to do an encore and we whipped out a cover of The Police’s, ‘Walking on the Moon’. Jared’s guitar cut out mid-song and he just went, f*** it, took it off and went full Super Saiyan rock star. He got down into the crowd with the mic and came out covered in dust still managing to belt out the words in unison with the crowd. Everyone felt this wave of excitement, for no real discernible reason. It was like we had this swaggering front-man fall out of a 1970s time machine and land on stage. It was a great moment for us, gave us a bit of inspiration to keep aiming for bigger and greater things.

The next day we had a gig in Wollongong late Sunday afternoon. We played to this massive courtyard with probably only around 30 people. It was definitely a contrast to the night before, brought us back into reality a bit. I also remember getting an incredible chicken schnitzel and chips off the band’s bar tab. Best decision I made the whole trip.

L to R: Budo, Jared, Tim, Mitch, Tom & Cypress - Photo by Matt Viesis

What is your favourite venue to play at and why?
Not sure yet, I feel like every time we’ve played at the Brass Monkey in Cronulla the sound and lights have been good and there’s always a crowd.

If you could headline alongside any band or artist, dead or alive, who would it be?
Cold Chisel ;)

What are the best and worst things about being in a band?
The best thing about it is having to collaborate with other people, and the worst thing about it is also, having to collaborate with other people.

What’s the reception of your last single, ‘Indigo’, been like?
It was really just meant to be a song to have out there which represents what we’re about. Its about five and a half minutes long so we didn’t think it would get any airtime, but it did end up getting a spin on FBi radio. On Soundcloud it has racked up around 1,300 plays and we have a few hundred downloads from Bandcamp and JJJ Unearthed. So its good to know people are listening. We also notice people are singing the words at our gigs, particularly in the pre-chorus. Its always a good feeling when that happens.

What can your fans and new listeners alike expect from your upcoming releases?
We are looking to put out a 5 track EP which is pretty much 90% recorded. So you can expect that pretty soon. What I like about it is that no two songs are the same, they all have their own personalities. I still feel like songs also sound like they belong together on a record, despite their range of influences. As a small detail which I’m excited about, is that on two of the songs we whacked on some 12 string guitar, which is a new flavour for us. Sounds like The Church, circa 1980s.

When and will recording of the new material start, and when are you aiming to release it?
We recorded the majority of it a few weeks before New Years, hoping to have it out the first half of this year.

Do you have any upcoming shows we should know about?
We have a handful of smaller gigs opening for a few bands coming up. 13th Jan at Oxford Art Factory with Swamp to Sahara, 23rd Jan playing at Newtown Social Club for Greyscale’s E.P. launch, and on the 8th of Feb we are hitting up Frankie’s Pizza playing for Florentine’s EP launch. There are a few more shows in the pipeline for February.

                                                                                                                                   

Thank you to Budo and the other members of DOKO for their time!

Keep your eyes and ears peeled for these guys - boy have they got some potential.

Find DOKO on Facebook here

Find links to DOKO's listening platforms and upcoming gigs in the above interview

FEATURE ARTIST: Auxfire

Auxfire are a four-piece Novocastrian indie-rock band, who put out a laid back and comfortingly familiar sound. Joey 'JG' Geyer, Jordan 'Jords' Avellis, Jack 'Clarky' Clark, and Joseph 'CEO' van Lier contribute lead vocals/rhythm guitar, lead guitar/backing vocals, bass/backing vocals, and drums respectively. By their powers combined, they have produced their latest single 'Katie' - a toe-tapping-tastic song that has been masterfully created to exhibit the best of what both rock and pop music has to offer.

Auxfire have drawn on a number of high-profile influences for 'Katie', including Kings of Leon, The Strokes, The Smashing Pumpkins, and Australia's latest musical sensation Courtney Barnett. 'Katie' is undeniably catchy, and I challenge any listener to refrain from tapping their feet to its infectious beat. The powerhouse drum beat and bass line are evidence of Auxfire's prowess at making rock music, and the earworm keyboard melody and upbeat, easy-to-sing-along-to vocals are a throwback to the 1960s and a nod to the very pioneers of pop, The Beatles.

There is no doubt about Auxfire's musical talent, but it is their songwriting skills that have come to the fore in their latest release. 'Katie' is a perfect fit for the popular indie market, as it has genius pop sensibility while still maintaining an endearingly off-beat vibe that stations like Triple J will not be able to resist. 'Katie' is sweet and uplifting without being twee, and that will be the selling point for this song.

Auxfire will be doing a run of shows in the coming weeks to support 'Katie' and in the lead up to the upcoming EP 'Owls'. If you're in the neighbourhood, get down and see a show, so you can appreciate their latest masterpiece 'Katie' and get a sneak peek of their as-yet unheard material. If its anywhere near as good as 'Katie', you're in for a treat.

- Auxfire are launching 'Katie' at the Lass O'Gowrie in Newcastle on Friday 13th May. Check out the event here
- Find Auxfire on Facebook here
- Listen to 'Katie' here

FEATURE ARTIST: Tommy Novak

Tommy Novak is a Sydney-based guitarist and vocalist who performs both solo and as part of a full band. He cites his influences as John Mayer, John Farnham, and Thirsty Merc, but maintains a distinctive sound of his own.

Novak released his solo debut EP 'Live at the Newsagency' in late 2014, with a rendition of Roy Orbison's 'Crying' that was featured on the EP accumulating over half a million plays on Spotify from listeners all around the globe.

His widespread popularity is more than justified, with his latest single living up to the reputation he has so diligently built up for himself over the last several years. His newest track, 'Goin' Outta Style', is a gutsy change from his previous troubadour-esque releases.

'Goin' Outta Style' has an old-timey, bluesy feel, which has seen a resurgence in popularity in recent times. It features bluesy guitar, a backbone rhythm section, and keys that give the whole song a personality of it's own. The Stevie Wonder infused, blues-jam style track is interesting, but not so complex that it can't be understood; and simple, but not so unimaginative that it can't be appreciated.

Novak has a string of shows lined up to support 'Goin Outta Style', so keep your ear to the ground to make sure you don't miss this dynamite performer live.

- Tommy Novak is supporting Alice Terry at the Hibernian House, Surry Hills on Thursday 3rd March, and performing his own show at the Rock Lily - Star Casino on Monday 14th March

- Find Tommy on Facebook here

- Find Tommy's website here

FEATURE ARTIST: Just Breathe

Just Breathe are genre-defying trio hailing from Sydney's Hills District, comprising Nat Korompay on lead vocals, Robbie Macpherson on guitar and Stuart Macpherson on drums. At first you may be struck by Nat's powerhouse voice, but upon further listening you'll find it hard not to notice the rock-solid backline and the genius lead guitar melodies. Despite only having released one EP a year ago, and a further two singles earlier this year, Just Breathe are leading Sydney's 2016 music scene in badass riffery.

'Chocolate' is the latest single released by the band, and any listener could be forgiven for mistaking this track for something by an artist much more experienced than Just Breathe. The song, which was entirely self-recorded, brilliantly exhibits Just Breathe's influences, which drummer Stuart lists as including Red Hot Chili Peppers, Rage Against the Machine, and Led Zeppelin. The aspects so heavily featured in these legendary artists' works feature tastefully and effectively in 'Chocolate'.

Lead singer Nat has a voice that was undeniably made for rock n' roll and she can certainly hold her own, but the backing vocals added into the choruses by Robbie and Stuart only further cements their filled-out, gritty sound.

'Chocolate' goes from explosive, Led Zeppelin-esque rock n' roll to subtle, Red Hot Chili Peppers-style guitar arpeggio, and right back again. You just can't resist headbanging to 'Chocolate's dynamite riff, that is reminiscent of one of Just Breathe's listed influences, Rage Against the Machine, and more recently English duo Royal Blood. The ups and downs of the track are dynamic without being frenetic, and it's a pleasure as a listener to be taken along for the ride.

The honest, raw sound of Just Breathe is a breath of fresh air in today's local music scene. The fact they can produce a sound this impressive in the studio by themselves is a testament to their artistic ability and vision.

I would definitely keep an eye out for this band as I have a feeling they have a lot more to offer.

Rating 9/10

- Find Just Breathe on Facebook here

- Listen to Just Breathe's catalogue, including 'Chocolate', here 

- Just Breathe are playing at Coast Hotel Budgewoi on Friday 26th February, and at Valve Bar on Friday 29th April.

Feature Artist: PLUURAL

Pluural are a Sydney-based electronic duo consisting of Adam Knoflack and Jesse Shewan, who have backgrounds in electronica and indie rock respectively. Shewan and Knoflack combine their previous experience without forgoing their artistic integrity. A tasteful combination of instruments are used; from the classic trio of drums, keys and guitar, to more modern forms of music-making, such as sample/drum pads.

All of these elements combine in Pluural's latest track 'Running Wild', which features Sam Higginson's vocals as the finishing touch to their already filled-out sound. 'Running Wild' is an entrancing track from start to finish. Everything about it is cruisey and effortlessly chill, with the ethereal vocals and pulsing beat in the intro setting up the vibe for the rest of the song. Higginson's vocals are a welcome enhancement to Pluural's sound - they compliment, rather than detract from, the background instrumentation. Faint tastes of electric guitar are noticeable throughout the track, and are a pleasant addition to the otherwise electronic sound.

The last thirty seconds of this track are its pièce de résistance. The outro to some songs ruin an otherwise enjoyable experience, and tend to leave a bad taste in your mouth - the absolute opposite can be said for 'Running Wild'. The laid-back guitar (reminiscent of the signature riff of Kita Alexander's recent single 'Like You Want To') against the low-key ebb and flow of the electronic backdrop epitomises the song perfectly and leaves the listener wanting more.

It is the presence of a genre-spanning combination of instruments that makes 'Running Wild' accessible to fans of most genres of music, and the overall relaxed, ethereal atmosphere will keep listeners waiting with baited breath for Pluural's next release.

Rating: 8/10

- Listen to 'Running Wild ft. Sam Higginson' here

- Find Pluural on Facebook here

Feature Artist: WOLVES IN FASHION

Wolves in Fashion are a self-classified 'groove rock' band from Sydney, Australia. They started out as a four-piece to record lead singer Tim Quaife's EP, but since 2014 have evolved into a powerhouse quintet. Their influences include Muse, Foals, The Rubens and Arctic Monkeys. Originally called 'Stanley's End', Wolves in Fashion use these influences to create a sound that is familiar, yet undoubtedly unique to anything currently circulating in the Australian - maybe even global - music scene.

Their live presence is undeniable, with every member of the band not only immaculately playing their instruments, but putting on a show as well. The band put this on stage energy down to a few members having dabbled in a variety of performing arts prior to Wolves in Fashion, namely bassist Chris Thompson's background in metal bands and vocalist Tim's experience with musical theatre.

Their supporting set at The Captain Cook Hotel Sydney on October 1st left everyone in awe, with a consensus among audience members that Wolves in Fashion are not suited to supporting other bands - their dynamic show and exceptional talent make them a headline act. Their rousing cover of The White Stripes' 'Seven Nation Army' in the middle of their set made everyone who wasn't already enthralled really sit up and pay attention. Some bands need a set peppered with covers to mask their inability to write and perform quality originals - Wolves in Fashion are not one of those bands. Their originals were extremely well written and performed, as well as being super catchy - all necessities for songs to succeed in today's competitive music landscape.

Wolves in Fashion's new single 'Streets' - to be officially released on November 8th after being recorded earlier this year at Sydney's Jungle Studios - is just a tiny (and delectable) taste of what this up-and-coming band have to offer. Everything about Wolves in Fashion's sound screams "authority", with every instrument and band member combining so effectively to create a positively formidable sound. Bassist Chris' startling bassline, along with guitarists Pat Muller and Loko McDonald's haunting guitars set the atmosphere for this gritty and compelling track. Tim Quaife's vocals are a staple to Wolves in Fashion's sound, and this is no different in 'Streets'. Drummer Paul Crichton's effective use of toms and cymbals give an almost tribal feel at times, and play a huge part in the stadium anthem vibe of 'Streets' at around the 3:20 minute mark. The entire track is full of pleasant surprises and genius use of light and dark, and the quality of the single foreshadows Wolves in Fashion's future all too well.

Rating:  9.5/10

- Wolves in Fashion are officially releasing 'Streets' at The Vanguard, Newtown on November 26, 2015. Buy tickets here

- Find Wolves in Fashion on Facebook here

NEW REGULARS / Sean Frazer / Smoko Khan / Stranger Than Paradise - LIVE @ The Bateau Bay Hotel 23/8/2015

New Regulars

New Regulars are a blues rock band from the Central Coast, NSW. Their sound is unmistakable and translates all too well into a live setting. Their set features their existing singles Hollywood Deranged, Shut Up, and Stolen Honey; some older favourites like Move Over and Help Me Out; and hot-off-the-press tracks Hot Girls and Trouble On The Run.

The band are famous for their undeniable swagger,  which is what sets them aside from bands who can only hope to be of similar calibre. For a three-piece band, their sound is enormous - and only a small part of that enormity is created by effects. Fuzz and distortion pedals are used by singer/guitarist Kurt Ellis and bassist Anthony Collins as an accent to their sound, not as the foundation of it. Drummer Cypress Bartlett utilises a crisp and clean sound, with his embellishments coming from a more traditional use of instrumentation - namely the effective use of a tambourine in Help Me Out.

Their set is bookended by brilliant tracks, but the beauty of a New Regulars show is that the entire setlist is peppered with songs that are engaging - they make you want to get up and dance (Shut Up), sing along (Help Me Out), or wave your lighter in the air (Cannonball). The enthusiasm evident in their performances inspires an equally enthusiastic response from their audience, no matter how big or small. They also cover The Black Keys' (from whom they clearly take a lot of inspiration) Lonely Boy and Jimi Hendrix's version of All Along The Watchtower.

New Regulars are unique in the sense that they maintain their originality, whilst being so appealing to the mainstream market. They have achieved relative success on the Sydney/Central Coast/Newcastle music scene, but they have some songs up their sleeve that are bound to make them hit the big time. Hot Girls is a dirty dancefloor track that even the most reserved listener can't resist moving to, and Cannonball is their Kings of Leon-esque stadium anthem that could easily have thousands of people singing along.

The bottom line is: if New Regulars are playing a show in your neck of the woods, don't miss out. Take advantage of the opportunity before they are selling out stadiums all around the world.

* Find New Regulars on Facebook here

* Watch New Regulars on YouTube here

* Buy New Regulars' music here

Stranger Than Paradise

Stranger Than Paradise are a young originals band from the Central Coast, NSW that classify themselves as rock/pop. Their classification is very applicable as their sound, look, and performance are a pleasant balance between the two genres.

The band's youthful, carefree attitude exudes an almost punk vibe; this combines magnificently with their well-written, pop-sensible originals about the typical topics of love and loneliness. The result is catchy songs with equal amounts of sugar and spice, encouraging comparisons to bands who have capitalised on similar formulas, namely Australia's own - now hugely internationally successful - 5 Seconds of Summer.

Their eclectic mix of covers combined seamlessly with their originals and made their performance accessible to listeners of any age. Their punky cover of Katy Perry's I Kissed A Girl would have enthralled anyone of Generations X or Y, while their clean and classic cover of Dragon's April Sun In Cuba and edgy, inventive version of all-time classic Jimi Hendrix's Voodoo Child would have been standouts to any fan of classic rock.

Stranger Than Paradise are impressively cohesive - both instrumentally and aesthetically. An across the board beach-casual look combined with musical talent far exceeding their young years make them a dream for any record marketing company.

A lot can be said for not judging a book by its cover, and this could not be more true when talking about Stranger Than Paradise. Do not be blinded by their tender years; all members of the band's talents far exceed those of their peers, and their fine-tuned performances and cleverly written songs make them a formidable opponent for any bands of similar genres hoping to compete.

* Find Stranger Than Paradise on Facebook here

* Find Stranger Than Paradise on YouTube here

* Listen to Stranger Than Paradise here

Smoko Khan

Smoko Khan are a newly formed rock originals band from the Central Coast, NSW. They clearly draw inspiration from a wide variety of sources, which are apparent in their performances and songwriting. An almost disco-style high-hat rhythm, akin to that in INXS' To Look At You, is featured in one song, whilst another track has a feel of Eagle Eye Cherry's Save Tonight.

Their musicianship is clear, with their originals featuring unique, bold walking bass lines and pleasantly dissonant shrill, distorted guitar. Lead vocalist/rhythm guitarist/songwriter Brendan Watson's voice is the spearhead of Smoko Khan's robust sound, with lead guitarist/backing vocalist/co-songwriter Taylor Molnar, bassist/backing vocalist/producer Daniel Kidston and drummer/backing vocalist Ryan Mathison's instrumentation adding to the depth and power of the band's sound.

Despite only being formed in early 2015, Smoko Khan can really hold their own.

* Find Smoko Khan on Facebook here

Sean Frazer

Sean Frazer is an acoustic singer/songwriter from the Central Coast, NSW. He is renowned among all who have seen him play as a wonderful songwriter and wordsmith who performs with passion and conviction.

With just an acoustic guitar and a microphone, it is hard to imagine Sean Frazer more at home anywhere than he is in an Aussie pub setting. His heartfelt songs about - at times - touchy subjects, such as Engine, a powerful song about a returned serviceman, resonate with every member of his audience, whether young or old.

* Find Sean Frazer on Facebook here

* Find Sean Frazer on YouTube here

* Listen to Sean Frazer here

* Find Sean Frazer's website here

* Buy Sean Frazer's music here

The Getaway Plan - Dark Horses (2015): Album Review

The Getaway Plan are a four piece alternative rock band hailing from Melbourne, Australia. There have been a number of line-up changes as well as a brief hiatus since their inception in 2004, but on their latest release Dark Horses (released July 3 2015), they are as cohesive as ever. Signature traits and techniques from previous albums combined with an at times fresh approach do an excellent job of reclaiming and re-cementing their spot on the Australian rock scene.

The Getaway Plan have an amazing way of making their music appealing and accessible to fans of a wide range of genres, including rock, metal, punk and pop. The clarity and purity of Matthew Wright’s vocals and piano melodies are a stark but wonderful contrast to the instrumentation that some would say is grungey or relatively heavy. Dark Horses is full of clever and effective contrasts; clean, undistorted acoustic guitars in Baby Bird/Effigy contrast the grungey, down-tuned guitars in tracks such as Battleships; and melancholy lyrics juxtapose the uplifting and hopeful atmosphere of Dark Horses. The piano aids in the starkest contrasts, as it simultaneously feels out of place with the rest of the instrumentation, yet fits right in to add an eerie or haunting atmosphere.

A number of external influences on The Getaway Plan’s sound on Dark Horses are evident. The opening tracks of the album, Landscapes and F(R)IEND feature some fuzzy, rousing riffs and basslines that are similar to those in Kasabian’s 2004 track Clubfoot. My personal favourite track from this album, Castles In The Air, shows hints of Royal Blood with more fuzzy riffs and a swaggering beat lead by guitars and backed up by the rhythm section. As a huge Royal Blood fan, this atmosphere is a large part of why this song tops my list of the best tracks on the album. An atmosphere change in the following few tracks uncovers warbling falsettos and clean arpeggios in the first half of double track Dreamer/Parallels, reminiscent of Jeff Buckley’s first and only LP Grace. The second half of this track features Melbourne hip hop artist Freeds, and his almost spoken yet rhythmic vocal parts over a jazz drum beat encourage comparisons to The Cat Empire’s vocalist Felix’s scatting style. A couple of tracks are a nod to Muse’s style; The Means has a ≈15 second window of a distorted bassline, similar to those that have been staples in Muse’s music for the last 21 years or more. The soaring guitar sliding featured in Monuments is a pleasant acknowledgement of Muse’s 2006 track Invincible.

All of these references are a true testament to the musicianship of the members of The Getaway Plan, as it showcases that they are able to take inspiration from a wide range of artists and incorporate it seamlessly into their own style and compositions. I believe the broad range of influences evident in this album are a certain part of why The Getaway Plan has such an expansive and versatile appeal and fan base – listeners are able to enjoy familiarity not only from The Getaway Plan’s trademark techniques, but also from references to some of the most popular bands or artists of this generation.

As I mentioned earlier, Dark Horses is plentiful in clever contrasts. Yet the cleverest contrast of all is when you look at the album on a macro level – take a step back and you will see that the atmosphere of the first few tracks juxtaposes the following eight in a genius way. The album works as a diptych, where each piece makes sense on its own, but gains meaning when placed alongside the other. This is owed very much to the placement of tracks on the album, which I’m sure was not a coincidence. Opening track Landscapes gives listeners a sense of familiarity due to the trademark The Getaway Plan instrumentation and atmosphere, before the listener is taken on the emotional journey of the following ten tracks. The last three tracks Baby Bird/Effigy, Monuments and Exodus are placed in the best possible position to bring the album to a close.

Unmissable tracks are Castles In The Air, Dark Horses and Dreamer/Parallels, but to truly appreciate them, you have to hear the album as a whole.

Whatever sort of music you’re into, I would recommend Dark Horses, because there’s a little something for everyone.

Rating: 8/10

The Getaway Plan embark on an Australia-wide tour on September 3^rd until the 28^th of November. Find out more about their tour here.

* Find The Getaway Plan on Facebook here

* Listen to Dark Horses on Spotify here

* Buy Dark Horses on iTunes here

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