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
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.
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.
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 enthralledreally 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
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.
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.
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.
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.
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 3rd until the 28th of
November. Find out more about their tour here.
