Dan Kelly is a singer songwriter and purveyor of emotional psychedelic dystopian comedy and social satire. Dan will charm your all five senses (all of them) by singing tunes from his extensive back catalogue and his latest, ‘Leisure Panic’. The album spawned the singles "Never Stop The Rot” and”Everything’s Amazing”. It was met with much critical acclaim culminating in its nomination for the 2015 AMP award for best Australian album.
The Twoks are Xani Kolac (electric violin/vocals) and Mark Leahy (drums). The Melbourne-based duo have been making happy violin and drums dance music together for the past three and a bit years. Electric violin and percussion combine to make something that is truly one of a kind. Versatile and energetic live performers, Xani and Mark are as happy performing to a sit-down audience as to a rowdy pub crowd. Their influences are mostly life’s adventures, but musically-speaking, the duo listen to a lot of Sigur Ros, Kate Bush, Phoenix, Leonard Cohen, Martin Hayes/Dennis Cahil and Pat Benatar - anything good, really.
Sugar Fed Leopards (SFL) are a blazing sextet, conceived at the nexus of classic pop and disco. With smoking hot costumes, sweet harmonies, tight dance routines and a cranking rhythm section, Sugar Fed Leopards have been breaking a disco-sweat for four years.
Swept together from the ashes of your finest night on the tiles LOOSE TOOTH are a Melbourne three-piece who craft sweet guitar pop with frayed edges and swollen hearts.
Life-long friends Etta Curry and Nellie Jackson met in crèche and spent nap time dreaming of creating a heavenly racket. Long-time friend Luc Dawson was drafted in on bass to transform their pop sketches into the sort of songs that stick in your head for days.
Whether spluttering to life on an empty tank or hitting harmonies in full flight, seeing LOOSE TOOTH really is a beautiful thing.
‘Everything Changes’ is the first taste of their forthcoming debut album SATURN RETURNS – recorded and mixed by Paul Maybury (Rocket Science, Pink Tiles) and mastered by Mikey Young. It's a heartfelt and direct assessment of the impermanence inherent in our closest relationships.
"Heads got clear the last year..."
Spacious and drenched in reverb, Etta Curry's vocals radiate new-found clarity through misty eyes. Ramones-y vocal harmonies swell and break through the chorus as the inevitability of the situation is laid bare. Luc Dawson's breezy, uncluttered bass lines drive underneath Nellie Jackson's hazy guitar work to deliver a smouldering pop gem.
Born at a young age into a non-musical family, and named after a criminal from the future, none can be bothered to unravel the twisted line that led Karl S. Williams to The Blues and perverted him into a guitar-slinging, banjo-wielding freak with a penchant for Hell fire, Heavenly salvation, and writing about himself in the third person.
The music of Karl S. Williams is born of a desire to connect with the universal soul. This connection is clearly evident to those who see Karl perform live; an experience so emotionally charged that all are unavoidably drawn to it and uplifted. Drawing comparisons ranging from Son House to Antony Hegarty and Nina Simone, of his music Karl can only say that it attempts to appeal to our fundamental humanity, that which unites us all and transcends superficial boundaries.
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.
Named for the fountain in the centre of Bendigo, marking the geographic heartland of Victoria, Fountaineer’s view of their country town steadily growing into a city is at the heart of their song writing.
Fountaineer’s focus was on creating something that was empathetic no matter where a listener came from, drawing universal themes out of small town Australia. Stories of a town where live music amounts to playing covers down the pub, where social networks are built through footy clubs, and where churches are still regularly attended are familiar to places in every corner of the globe. These are places stuck with one foot in a muddy past and not entirely willing to step out. Greater City, Greater Love is a record about having watched history unfold and not losing hope, witnessing the power of people coming together – even for misguided reasons – and knowing how much good that could do. The latest and loudest of literary rock rallying cries, Greater City, Greater Love is a debut for the ages.
With a voice as weather-beaten and worn-in as an old leather jacket, and a knack for country-blues songwriting that’s both bruised and bruising, Cash Savage leads her six-piece band The Last Drinks in a riveting performance that will prove why they are one of Melbourne’s most talked-about live acts for years.
Savage’s gruff growl and eloquent guitar licks, Kat Mears’ melancholy fiddle, a rhythm section that knows instinctively when to stomp and when to let a moment breathe: these are the tools they use to work out demons, shake off hangovers, wallow in grief and rejoice in the tender terror of new love. Dark, deep, and unmistakably Australian, Cash Savage’s wild honesty and raw charisma make for a hypnotic live experience.
Until recently, The Cactus Channel were easily introduced as integral members of the Soul music scene that quietly flourishes in Melbourne. Well-known for the kind of musicianship and compositional skills fundamental to making compelling instrumental music, The Cactus Channel are equal parts sharp and scruffy, at turns loose and languid, then electric and rhythmic.
The band formed in high school, united by shared interests and a shared sense of humour — a love of soul music and the kind of hip hop, jazz, and alternative releases that spring from it, meant that from the beginning The Cactus Channel have prided themselves not just on eclecticism, but on the constant sharing of influences among their members.
The band were signed in their formative years to Melbourne soul mainstay HopeStreet Recordings and recorded their much beloved debut, Haptics.Sophomore release Wooden Boy in 2014 saw the band’s shifting sound cemented: spooky and cinematic, arid and augmented, and decidedly difficult to pin down. “Soul” slowly became too small a word to encompass the band’s output, as traditional horn lines gave way to twisting parts that oscillated between overblown and understated, and a rhythm section that prided itself on moments that make a listener stop and take stock, partly unnerved and partly overjoyed.
Solidifying their lineup of seven members, The Cactus Channel’s music will undoubtedly continue to shift and change, as action-reaction proves the perfect formula to keep the band, and their listeners, on their toes.
While deeply schooled in the classics – from the Rubber Soul balladry of ‘Still Ticking’, to the jaunty orchestral layering of ‘Running Away’ – the Western Victoria five-piece have arrived at something remarkably fresh. Combining distorted guitar hooks and sighing strings with blissful electronics and heady jam-outs, these songs are sweetly catchy yet quietly adventurous. Surf-tinged British Invasion (‘Catastrophe’), pleading indie pop (‘Same Old Story’), and free-wheeling psych (‘Flat Battery’) all commingle beautifully, with every track housing vivid contrasts of glistening brightness and rainy-day gloom.
Founded by singer/songwriter/guitarist Daniel Baulch and bassist Jackson Kay, Hollow Everdaze thrive on the interplay between those members and Myles Anderson (violin), James Turner (drums), and Dylan Young (keyboards). The violin and keys lend a mind-bending immersion to the album, while sumptuous extras like cello and vocal harmonies complete a picture realised in the studio with rising Melbourne producer John Lee (The Ocean Party, Lost Animal, Beaches).
The Wardens are a Garage Rock & Roll band from Melbourne Australia, there is nothing pretentious about what these guys do, it is pure, unadulterated Rock & Roll. Its all about great songs and entertainment, their shows will leave you lying disheveled on the floor, covered in beer and sweat and screaming for more!!
From Sydney's Inner West - Flowertruck plays with a warm, welcoming, Australiana jangle: familiar enough to catch your ear and different enough to keep you listening. It’s hooky, irresistible, ‘80s-tinged garage-pop-rock with simple, relatable lyrics that capture what it’s like to be young and in a band – or just young.
MITCH MUSIC IN THE CHURCHES CONCERT
St Andrews Uniting Church 54 Ebden St Kyneton
1.00pm – 1.50pm
Malcolm Cole, Sue Morris and Henry Vyhnal - Light classical, jazz and organ music
Ken Murray - South American and Spanish guitar
2.30 – 2.55
Mary Doumany - Original music for voice and Harp
Rolling Blackouts Coastal Fever are a soft punk / tough pop group.
Influenced by Scandinavian post office pop and golden age Australian guitar music, they sing about unintended solo holidays, and teenage girls leaving home for the bright lights of Movie World.
The band was born from late night jam sessions in singer/guitarist Fran Keaney’s bedroom and honed in the thrumming confines of Melbourne’s live music venues. Sharing tastes and songwriting duties, cousins Joe White and Fran Keaney, brothers Tom and Joe Russo, and drummer Marcel Tussie started out with softer, melody-focused songs. The more shows they played, the more those driving rhythms that now trademark their songs emerged.
Rolling Blackouts Coastal Fever’s songs have always had all the page-turning qualities of a good yarn and 'The French Press' is no different. Somewhere between impressionists and fabulists, lyricists Fran Keaney, Tom Russo and Joe White often start with something rooted in real life before building them into clever, quick vignettes. The result is lines blurred between fiction and reality – vibrant stories which get closer at a particular truth than either could alone.
Blending critical insight and literate love songs, Rolling Blackouts Coastal Fever is one of Australia’s smartest working bands.
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.