“In a world where starting off a biography with "In a world where" is the norm, The Southern River Band are apparently no different. In the very same world, where labelling oneself is encouraged, where being able to describe one’s style is expected, The Southern River Band neither know, nor care how to fit themselves into these pigeonholes. Head south on Perth's so-called "Freeway", jump on Roe Highway, hang a right on Nicholson Road, go through the busiest roundabout in Australia, and you'll find yourself in Thornlie, the home of The Southern River Band. A country town in the heart of the suburbs, where the jukeboxes stock very little other than the very same songs you would've heard reverberating out of them in 1970's. They say you're a product of your surroundings, who are "they"? Nobody knows. But, they're not far wrong. You're bound to find one of the boys recycling their spare change, putting on 'Come Back Again' for the 3rd time in the space of 4 hours on any given Friday arvo.
Modern Australian rock icon Adalita is best known as front woman for Australian indie rock band Magic Dirt, who cemented their status as one of Australia’s best loved and highly respected bands. Since 1989, Adalita, principal songwriter and one of the founding members of Magic Dirt, has been writing and producing records, touring the world and is an integral part of the Australian music scene, garnering a passionate and loyal following and countless accolades. In 2011 Adalita released her debut self-titled solo album to rave reviews and completed a national tour to packed houses across Australia.
Among her many achievements Adalita has worked on various collaborative projects with other artists, has been invited to speak at numerous creative writing lectures and motivational talks and also adds acting, film scoring and photography to her repertoire. Adalita is also a vegan and advocate for animal rights appearing in campaigns for PETA, Humane Research Australia and Animal Liberation Victoria. She is also passionate about wilderness conservation.
Adalita is currently working on her 3rd studio album
The Nation Blue are 22 years old this November. From playing the same three venues in Hobart for 4 years to moving to Melbourne and playing the same three venues for 16, The Nation Blue have knocked holes in a lot of structures; amps, walls, roofs, hearts, heads and charts. Not music charts. Ah, just medical.
In fact, despite being asked to play with a bunch of reputable and interesting bands over the years, The Nation Blue is largely a failure. A big, self sabotaging, deal declining, rapidly ageing, radio-proof, scene-less anomaly, who has only survived due to the sheer bloody mindedness of its members who refused to cash in on popular nu-movements or wear stove-pipes and go screamo or pick up synths or turn down or stop playing even when only 4 people pay to stand in a room that holds 400 and then 2 of those people get kicked out for dancing while the other 2 make off with some of the merch at an unoccupied desk....
It takes serious commitment or to write music and play it to people for so long. To stay a course both deeply unpopular and at times well received. It's not self deprecation, it's just reality. Things change. The band's whole existence has been a dichotomy; mining the island while embracing the mainland, retaining the noise while learning to craft songs, rapid weight gain and an increased physical intensity that requires brutal movements, working real jobs whilst regularly touring.
And on work The Nation Blue have worked really hard, but also coasted, relying so heavily on muscle memory and luck that some gigs have resembled public interventions or even military hazing. Mistakes tallied and amplified up around the 120 decibel range in thick, vulgar, atonal brown bricks of sound.
In recent years the band has operated bi-annually. A couple benefits here and a couple of house shows there. No direction or care. Just kind of stumbling along in an elderly stupor.
Following their last album in 2009, Rising Waters, it felt like the band was over and the three members splintered into new musical endeavours (Harmony, High Tension, Adalita Band, King Cannons, Pale Heads). Then Tim Brennan from Tym Guitars / Records in Brisbane sent an email to a mouldy address that awoke the bloated flannel wreck. He asked for one simple song and upon the other side of performing that task, the band decided that it wasn't as unpleasant as expected and the Stockholm Syndrome of the past receded like their hairlines and the three former captives agreed to write another. And another.
So fast forwarded a couple of years and The Nation Blue are proud to present not one, but two albums containing a total of 29 new songs. Recorded by Mike Deslandes at the Kyneton Mechanics Institute over two January sessions in 2015 & 2016, these albums are gloriously unfashionable. Booming, loud, dark and simple.
Hailing from the northern suburbs of Melbourne, RVG — more formally, but less frequently, the Romy Vager Group — self released their sensational debut full-length, A Quality Of Mercy, last year to critical acclaim. The LP is an eight-track collection of tight, incisive post-punk/retro-pop infused with a liberal dose of downcast catharsis, confessional lyrics and downright infectious hooks.
Psychedelic Blues Rock with swirling melodies and rhythms that vary from your happy up-beat bop to a sluggish smacked-out roll.
Musk Hill is the debut full-length from Melbourne's The Baudelaires. Stomping through the dreamy, substance-induced house-party haze of their previous EP Be a Baudelaire! (2014), the new album delves into the crunchin' boogie of psych-garage territory. Recorded over 3 days on a property of the same name on the Mornington Peninsula, Musk Hill was mixed by Baudelaire's own Grischa Zahren and mastered by Melbourne music legend Mikey Young.
Hailing from San Francisco, California, Sonny & the Sunsets are a beautiful West Coast thing. Birthed from the sand, the surf, and twilight campfires down in Ocean Beach, Sonny & the Sunsets’ busted beach-pop songs spark recollections of doo wop’s otherworldly despair, a dose of goofball humor from the Michael Hurley school, and positive possibilities exuded by Jonathan Richman. Helmed by the singer / songwriter, playwright, author & onetime troubadour Sonny Smith, The Sunsets have featured a revolving door lineup that have included Shayde Sartin, Ryan Browne, Kelley Stoltz and Tahlia Harbour. Adopting a range of sounds Smith’s sardonic, laid-back style is interwoven throughout his compelling songwriting and vocals.
Pony Face have well and truly established themselves as one of the most revered & beloved bands in the Melbourne music scene. Their music is a sonic kaleidoscope, encompassing psych/surf guitars, doom drums, bass lines moulded from rock bottom and sampled textural layers which have become synonymous with a loud spacial sound. With the recent addition of Aria awarding winning Producer/guitarist Shane O'Mara, the band has dazzling energy that captivates intimate rooms and packed houses.
Straddling the divide between blissful and brooding, Pony Face take listeners on an aural journey down a highway that links the crystalline intimacy of Sparklehorse, the dark rock noir of Rowland S Howard and the uniquely Australian feel of Dirty Three.
Melbourne songwriter Nat Vazer emerged in early 2018 with her self-released debut single, ‘Keep Away From Parks!’ which quickly caught the ears of Triple J radio. After being told by a policeman to stay away from her local parks and never go out without a man at night, Vazer wrote ‘Keep Away From Parks!’ as a blunt reminder of the victim-blaming attitudes that women in particular, still put up with all too often. With glowing reviews from Richard Kingsmill and The Revue, Nat Vazer has been dubbed as ‘one to keep your ears glued to’ (Dave Ruby Howe, Triple J). Her debut EP, ‘We Used to Have Real Conversations’, produced by Robert Muinos (Saskwatch, Dorsal Fins), will be released on 21 September 2018 via Hotel Motel records.
Rackett make loud and experimental punk-pop. In one year, the band have moved from virtual anonymity to playing in major theatres and festivals throughout Australia, receiving regular airplay on community and commercial radio. The band is fronted by Rebecca Callander on rhythm guitar and vocals.Ally Gaven on bass, Astrid Holz on drums and Kat Ayala on lead guitar. Band members have undergone extensive music and performance training (Berklee College of Music U.S.A, UNSW, TAFE NSW) and specialise in a range of genres from jazz to heavy metal. Their combined powers make for a diverse and highly skilled songwriting team.
Melbourne indie-noir crooners Kelly Day and Jane Hendry are Broads.
Their songs weave through a cast of characters riddled with self-delusion, longing, regret and paranoia. Broads’ debut album “Vacancy” was described by theMusic as “a mellifluous collection of songs utterly drenched in enticing melodies and harmonies... a simply gorgeous, often haunting, always sublime inaugural full-length outing…”. Almost a year after its release, it found its way onto best-of-2017 lists, including PBS FM’s top 10 albums, and Basement Disc’s best releases.
Bench Press have not been together as long as the easy confidence they project on their debut album might suggest.
Having burst onto the Melbourne scene in early 2016, the quartet quickly gathered momentum and a reputation for a dynamic live performance.
Their self titled debut, released under the Poison City banner is a no nonsense reflection of their live show with guitarist Morgan Griffiths, bassist Lewis Waite and drummer Jordan Hicks delivering dynamic, to-the-point post-punk, propelled by Jack Stavrakis's vocals venting on the frustrations of modern life.
Snarling, angular and loud, Bench Press invoke the old while pushing something that feels very new.
Eliza Hull is known for her stirring lyrics and haunting vocals, and after a recent shift to Castlemaine, Eliza's music has developed into a rich soundscape of indie, folk tinged tracks, which showcase her development as a songwriter.
Eliza has a strong live following, selling out headline shows, and along the way sharing stages with Owl Eyes, SAFIA, Katie Noonan, Husky and Mia Dyson.
Playing the Kyneton Music Festival as part of Golden Sounds.
Amaya’s work blends swirling contours with wistful melodies and lush, sonic depth. Within this rich palette of sound resides Amaya’s uniquely captivating voice, restrained yet beautiful, with rich breathy tones offering touching moments of yearning and lament.
Originating from Hobart, Lyngcoln’s early love of dissonance & uncomfortable intensity has carried through all of his projects from The Nation Blue to Lee Memorial (with Sodastream’s Karl Smith & Sleater Kinney’s Laura Macfarlane) to Harmony (with wife Alex Lyngcoln and McClusky’s Jon Chapple) and collaborations with Magic Dirt, Marc Ribot, Don Walker and more.
After two decades of refinement, Tom Lyngcoln presents his most concise work; 11 pieces for voice and guitar collectively titled Doming Home. The music is tense, spacious and volatile but still wades knee deep into traditional song.
Presented by MITCH (Music in the Central Highlands)
A free program of classical music proudly supported by the Kyneton Music Festival.
Mary Doumany - Harp
The "Sojourn" Suite
For Harp by Mary Doumany
Henry Vyhnal – Violin, Malcolm Cole - Piano
Poupee Valsante (Dancing Doll)
By Ede Poldini and arranged violin by Fritz Kreisler
Spanish Dance in E minor
By Enrique Granados and arranged by Fritz Kreisler
Arabella Harding – voice and Alison Walsh - Harp
By Leonard Cohen
Sue Morris – Flute, Malcolm Cole – Piano, Peter Cocklin – Double Bass
From ‘Suite Antique’ for Flute and Piano by John Rutter
From ‘The Victorian Kitchen Suite’ by Paul Reade for Clarinet and piano
For Saxophone, Piano and Double Bass by George Palmer
Helen Duggan – Soprano, Malcolm Cole – Piano, Sue Morris - Flute
Une Flute Invisible (The Invisible Flute)
For Voice and Piano by Camille Saint-Saens
By the Waters of Babylon
From Nine Biblical Songs Op.99 by Antonin Dvorak
Berceuse and Chanson
From Seven Spanish Folksongs by Manuel De Falla
Henry Vyhnal – Violin, Sue Morris – Flute, Robbie Melville – Guitar, Peter Cocklin – Double Bass
Por Una Cabeza – Tango Cancion
Suerte Negra – Tango Vals
Carlos Gardel and Alfredo Le Pera and arranged by Ros Stephen
Oblivion – Tango
With dynamite vocals and fierce guitar playing, Emilee South hollers throwback rock’n’roll, with hints of rhythm and blues. South has been rockin’ with an electrifying band, complete with partner-in-crime, baritone-slinging Matt Dixon.
In 2017, their record ‘Motel’ was released with a bang and launched to a roaring, sold-out crowd at The Gasometer.
Checking in all over the country, they have supported the likes of The Teskey Brothers, Mojo Juju, Ruby Boots, WILSN and The Cherry Dolls, as well as making their debut at Americana Festival in Nashville, TN.
Returning home to Melbourne to write and record, South releases devastating new single, ‘Heartbreaker’. Combining elements of psycho-surf and rock’n’roll, it’s a taste of raucous and distorted things to come on debut album.
2018 has been a real hip-shaker of a year for Emilee South.
James Ellis and the Jealous Guys is a country band from Melbourne, Australia.
In 2017, they released two singles (Have You Ever Seen Her and Xmas Lights), played at the Out on the Weekend festival and supported international acts, the Deslondes, Lillie Mae and Tomato Tomato.
The band kicked off 2018 with four sets at New Year’s Evie festival and followed this with the release of a third single, Valentine’s Day.
Their debut album, It Ain’t Texas (But It Ain’t Bad), recorded and mixed by Roger Bergodaz (Lost Ragas) and mastered by Adam Dempsey, will be released through Blind Date Records in 2018.
“The track [Have You Ever Seen Her] is pure classic country with Ellis’ voice feeling like it’s been pulled directly from the 70s.” (Timber and Steel)
Come and see one of the tallest blues guitar players in Kyneton…
The Right Royal & Mighty Regal King Maxwell. His music has its roots in the acoustic Blues & Rag of the 1920s, 30s & 40s. If you listen carefully, you’ll even hear some jazz-type business in there; such is his incredible versatility and dexterity.
He is always very well dressed. His moustache is powerful beyond measure. King Maxwell has played in all sorts of places from busking to the Big Top…and all points in between. Today, he is just two words short of being WORLD FAMOUS.
Playing the Kyneton Music Festival as part of Golden Sounds.
Six-piece power-pop/rock’n’soul band The Hello Morning began as a stripped-back acoustic dabbling helmed by Steven Clifford and long-time collaborator Matthew John Smith. After teaming up with keyboardist Joe Cope The Hello Morning’s ranks were soon rounded out, with bassist Dave Oxley and drummer Matthew Vance joining the group.
Over the past year, The Hello Morning have entered the studio with a more open-minded approach to composing new material. In a complete departure from preconceived notions of recording, the band drifted toward experimentation to guide each composition on their upcoming set and so it was this controlled chaos that yielded their latest single.
They have consolidated their return with the release of Creases, re-emerging with a palette of colourful, punchy inflections, their new material blossoms well beyond the outfit’s alt-country leanings. The Hello Morning's appreciation for the golden age of folk-laden pop shines brightly through Creases: a soaring journey shaped with lush guitars, sonorous synths and poignant lyricism.
The Hello Morning have always carved their own path, embodying a DIY ethos while aspiring for, and achieving, rich sonic depth in their arrangements.
The band's self-titled album received glowing reviews, including ★★★★ from Rolling Stone. The Hello Morning's live show has attracted a fervent following, who saw them perform multiple sold-out headline shows at Northcote Social Club plus a host of festivals and showcases all around the country.
Armed to the teeth with numbers elegantly robust and organically haunting, carrying the old-guard swoon of acts like The Band or Neil Young and the determined swagger of newer blues statesmen like My Morning Jacket, The Hello Morning live and breathe their craft.
Neo indie rock band based in Melbourne and Macedon Ranges.
In 2017 three year 10 highschoolers Oggy, Blake and Gus started a band originally titled 'FRM'. Not long after evolving into 'Dr. Frisco' in early 2018 the band picked up James, a year 12 at the same school, who has developed their sound even further.
Since then they have released their first single "Dirty mic" and are working on a full length project. Dr. Frisco derives aspects from genres such as Indie Rock, Pop, Alternative, Psych Rock and Jazz. They now describe their style of music as 'Neo Indie Rock'.
Playing the Kyneton Music Festival as part of Golden Sounds.
Hot off the heels of a busy summer of touring and with a new album about to drop Mighty Duke & The Lords bring their self-styled Trop~Pop to Kyneton. Combining wild tropical rhythms, belting horns and irreverent style MD&TL has garnered a reputation as one of Australia's most entertaining party starters. Brace yourself for a monsoonal race towards the dance floor!
A. Swayze & the Ghosts are a punk/garage outfit from Hobart Tasmania with a live show that is at all times raw, energetic and enigmatic. In the past 12 months, they performed at Falls Festival, MONA Faux Mo, A Festival Called Panama, Boogie Festival and By the Meadow as well as guest spots for ‘Batpiss’ and ‘The Murlocs’. A. Swayze & the Ghosts released a 10+ minute belter of a début single in 2016 titled Reciprocation and are set to release their Debut EP on the 23rd of November, 2017.
The band express their uneasiness with our modern way of life and question the choices we make through their manic stage performance, but aim to connect to the audience through familiar pop sensibilities.
The Pink Tiles formed in a bedroom in Melbourne and played their first gig in 2013. Since then they’ve exceeded their wildest hopes and dreams, having shared the stage with the likes of Hierophants, Ausmuteants, Kim Salmon, Kid Cogo & The Pink Monkey Birds, The Coathangers & Garage Bubblegum King Nobunny.
Snarling garage rock riffs with 60’s pop perfection
Moonlover is the project of DIY multi-instrumentalist Quang Dinh,
formerly the bassist of Melbourne band Little Red.
After independently releasing 3 solo EPs in 2015-16, Dinh then set
himself the task of making a full length album. Over nine months in his
bedroom studio Pink Slime Studios, Dinh conceived, recorded and
performed the entirety of his debut album, Thou Shall Be Free, before
signing to Melbourne label Our Golden Friend.
Moonlover will be playing Kyneton Music Festival fully electrified by
a live band. The live show takes audiences through a rainbow spread of
batty psychedelia, midnight moon pop and water ballads led by Dinh's
characteristic whimsical charm.
MUSIC IN THE CHURCHES CONCERT
Saturday 21 October From 1pm
St Andrews Uniting Church 54 Ebden St Kyneton
MATTHEW FAGAN – GUITARMASTER AT ST. ANDREWS
MITCH (Music in the Central Highlands) and the 2017 Kyneton Music Festival present a Music in the Churches concert on Saturday October 21 at 1pm at St Andrew’s Uniting Church, 54 Ebden Street, Kyneton.
The featured artist, guitarist Matthew Fagan has worked and studied with many luminaries of the guitar world, including John Williams, Paco Pena and Leo Kotke. Matthew has toured with international celebrities Natalie Cole, The Original Buena Vista Social Club, Billy Connolly, Shirley Bassey and Michael Crawford.
The Music in the Churches will feature Matthew's range. From Bach and Vivaldi through traditional flamenco to Celtic music – played on a 10 string Spanish guitar – and music by the Irish harper, composer and singer Turlough O’Carolan.
Vocal colour will be added by Sue Yardley with pianist John Payne. Their set will include Cole Porter, a smattering of French, a Miles Davis trumpet line and a fair bit of improvisation.
To welcome you to the performance, violinist Henry Vyhnal and pianist Mary Potton will play Kreisler’s Liebesleid (Love’s Sorrow), a Mazurka by Chopin and Spanish Dance by Granados.
Music in the Churches is a free event for the community.
Freya Josephine Hollick is an Old-Timey, Country, Folk singer/songwriter from the Victorian Goldfields. Hollick has written and performed for many years in different styles, though has always had her roots in folk music, coming to earlier 20th Century folk, blues and country music through a hunger for knowledge of how and from where modern music evolved. Well versed in all kinds of music, Freya has followed a path back to a time that holds true to her voice, her songwriting and her story. Hollick's voice has been described as haunting, as both powerful and fragile, it is truly a voice unlike any other, and one that is of another time.
If you like country music including acts like The Carter Family, Dolly Parton, Gillian Welch, Patsy Cline and old-time Appalachian music, then Freya Josephine Hollick's music is for you. Her voice and songs are some of the most authentic country getting around, and will certainly take you back through time to the front porches of the late 19th and early 20th Centuries.
Major Tom's hosts an afternoon of hand-picked gems from the Goldfields region.
Sat Major Tom’s 12:30pm – 1:10pm
Come and see one of the tallest blues guitar players in Kyneton…The Right Royal & Mighty Regal King Maxwell. His music has its roots in the acoustic Blues & Rag of the 1920s, 30s & 40s. If you listen carefully, you’ll even hear some jazz-type business in there; such is his incredible versatility and dexterity. He is always very well dressed. His moustache is powerful beyond measure. King Maxwell has played in all sorts of places from busking to the Big Top…and all points in between. Today, he is just two words short of being WORLD FAMOUS.
Sat Major Tom’s 1:30pm – 2:10pm
Glenehope farmer and Australian folk artist Marty McKenna is a genuine local gem. Acoustic songs rich in narrative and sung with his warm, unique and powerful voice
OLD MONEY MOUNTAIN
Sat Major Tom’s 2:30pm – 3:10pm
Roots, Americana outfit from the Macedon Ranges. Original songs with powerful harmonies and intelligent musicality. Evocative music that cannot be ignored.
Sat Major Tom’s 3:30pm – 4:10pm
Bittah Swami is a garage outfit from Macedon Ranges, influenced by the screeching sounds of San Franciscan's John Dwyer and Tim Presley. They lay down weird and funky fuzz to burn your ear holes and fill your lungs. The outfit has been playing tiny shows in basements and garages around Melbourne for the past four years and is ready to expand their fuzz-wah to the hospitable Major Toms.
Singer-songwriter Dan Parsons sings of the triumphs and anxieties of the human experience. Playing solo or with his band, his rich baritone voice and deft guitar style never fail to enthral audiences of all ages, conjuring up a 1970’s West Coast landscape for the iPhone generation.
A multi-instrumentalist, Parsons plays drums, pedal steel, guitar and keys - one of the advantages of growing up an only child in rural Queensland with only a reel to reel 4-track to talk to or torment. These skills have also kept him busy balancing his solo career with stints playing for like-minded artists such as Marlon Williams, Tracy McNeil, Darling James and Kate Miller-Heidke.
Parson’s ability to connect as a performer has never been more apparent, his love of the paradoxical quality music has allowed him to sing to a room full of strangers as if each of them is the only human there.