We are overjoyed here at the wintry antipodean outpost of Backseat Mafia to exclusively bring you another slice of Antarctic shoegaze in the form of the new single ‘Apraxia’ from the rising shoegaze/dream pop exponents Dvrkworld. Hot on the heels of ‘Bonnie’ (reviewed by me here), ‘Apraxia’ snuggles up to you like a Tasmanian tuxedo with its warm layers of slightly warped guitars, enveloping and immersive. It’s like a sonic version of the Danish concept of hygge but transported by the distant glacial vocals to another dimension.

Indeed the vocals are hypnotic – coasting every so slightly under the mix, an epic melody that creates an endless horizon above the shimmering guitars and driving insistent beats. Dvrkworld are proving to be something quite special wielding their surgeon-precise scalpel to cut out momentous riffs and mountainous sounds: there are no doubt genetic traces of giants like My Bloody Valentine, Lush and Slowdive in the entrails, but the reconstructed body and soul is purely of their own making.

And the lyrics add a poetic and ethereal grace. Apraxia is a neurological disorder that can manifest itself in an inability to speak – a fitting palimpsest for internal struggle:

Apraxia
Moving too far from how it’s meant to be
If I could have my own words
A mouth that’s wholly moulded by belief
Would you follow me?

The band says of the track:

The song ‘Apraxia’ delves into the complexities of self-expression and the emotional aftermath of trauma. Through evocative lyrics, it explores the struggle to communicate authentically in the face of inner turmoil and neurological barriers. Themes of acute resentment and the haunting effects of past experiences are highlighted, depicting a journey of detachment and longing for inner peace. Ultimately, ‘Apraxia’ is a narrative of resilience and the quest for healing, inviting listeners to embrace their vulnerabilities and find solace in stillness and self-acceptance.

The end result is quite magnificent and enigmatic – lyrics, vocals and instrumentation combining powerfully to create something statuesque and powerful.

The track comes with a psych-infused video, filmed and edited by Jeremy Urbaniak, following a mysterious hood character through urban landscapes, expansive star-studded skies and wild greenery:

‘Apraxia’ is out tomorrow (14 August 2024) and will available though all the usual download and streaming sites – check out this link. The single was recorded in the idyllic setting of Lilydale, Tasmania, by band members Mary, Drew, and Shawn, with mixing by Hobart’s Spiro Noutsatos of Silver Fleet Ships. Renowned Mikey Young, known for his involvement with Eddy Current Suppression Ring and Total Control, mastered the track.

Fronted by Mary Shannon of Meres (a band we have enthusiastically covered before), Dvrkworld deliver an icy, glacial form of shoegaze that seems intrinsically linked to the wild terrain and the weather in the southern isle at the very edge of the world. Current members are in South America at the moment but the band will be back for live performances and a much anticipated new EP in 2025. The band consists of Mary Shannon (Meres) on vocals, Drew Farrant-Jayet on guitar, Shawn Arnold (Teens) on drums, and Ryan Unger (Murray Darling) on guitar. What sonic treasures there are to be found in the southern edges of Australia.

Feature Photograph: Alex Pugh

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After making a splash at the Good Things Festival in 2022, TISM have announced their first headline tour since 2004, a brand new single and video, and confirmation of an upcoming studio album. All three announcements share the name ‘Death to Art,’ setting the stage for what’s bound to be a historic moment in Australian music. The Death to Art tour, set for October and November, will see TISM joined by fellow Aussie legends Eskimo Joe, Machine Gun Fellatio, Ben Lee, and The Mavis’s.

Watch the video of ‘Death To Art’ below – it is off the album of the same name which is due out on 4 October.

TISM have managed to keep their mystique intact since they first emerged in the early ’80s, shrouded in anonymity and fueled by a cult-like following. Their music, a sharp cocktail of nihilistic humor, biting sarcasm, and an uncanny blend of dance, pop, and rock, has left an indelible mark on the Australian music scene.

The tour kicks off on Sunday, October 20, in Brisbane, before heading to Melbourne on Saturday, November 9, and closing out in Sydney on Friday, November 29. Not only does the Death to Art tour mark TISM’s long-awaited return to the headline stage after two decades, but it also features the first performance by Machine Gun Fellatio in 19 years and The Mavis’s reuniting after a six-year hiatus.

TISM DEATH TO ART TOUR
WITH AN SPECIAL GUESTS ESKIMO JOE, MACHINE GUN FELLATIO, BEN LEE, THE MAVIS’S

SUNDAY 20 OCTOBER – RIVERSTAGE, BRISBANE
SATURDAY 9 NOVEMBER – SIDNEY MYER MUSIC BOWL. MELBOURNE
FRIDAY 29 NOVEMBER – HORDERN PAVILION, SYDNEY

General tickets on sale: Tuesday 13 August @ 9am local time
Tickets HERE.

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Johnny Hunter is no stranger to dark, brooding soundscapes, but their latest single, ‘HOT MESS‘, out now via Hell Beach/Onelove Records, marks a sharp departure from their post-punk roots. The band, known for their moody new wave tendencies, has pivoted to a sound that feels like it was forged in the heat of a gritty club dance floor.

Produced by Jesse F. Keeler, known for his work with MSTRKRFT and Death From Above 1979, ‘HOT MESS’ grabs you by the throat. Don’t be mistaken—Johnny Hunter has always worn black (literally) and been covered in glitter (metaphorically), but this new sound is donned in shiny chromatic wrapping paper, delivering a sound that’s more intense, electrifying and undeniably danceable.

Nick Hutt, the band’s frontman, captures this shift perfectly, saying, “This is our first step into something new for Johnny Hunter. We wanted to create a backdrop for human reconnection after it had been taken from us. Not everything has to be so doom and gloom.“

This transition follows their May release, ‘Frustration‘, which critiqued late-stage capitalism with a glam-rock edge, as well as the band’s recent relocation to London. After closing out their Eora/Sydney chapter with three sold-out shows at Low 302—which, as usual, was a spectacle, packed with a committed cult fanbase and elaborate theatrics—they’re proving they’re not afraid to shake things up.

Their live performance style caught the eye of Jack White, who personally invited the band to support his group The Saboteurs (The Raconteurs) at their Sydney show in 2019. Their compelling presence also made an instant fan of leading UK booking agent Steve Zapp (Biffy Clyro, The Editors), who signed the band on the spot after seeing them perform at Bigsound 2023. Their 2022 debut album, ‘Want‘, produced by Jack Moffit (The Preatures), also received widespread adoration, making a die-hard fan out of everyone within earshot.

In summary, ‘HOT MESS‘ pulls you in a different direction—one where the echoes of their post-punk past meet the pulse of a new era. ‘HOT MESS’ is a BIG statement, there’s a shift in the air —Johnny Hunter is evolving.

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Wunderhorse have shared ‘Rain’: the latest single off the band’s forthcoming album, ‘Midas,’ which will arrive 30th August via Communion. Recorded at Minnesota’s Pachyderm Studio (birthplace of Nirvana’s In Utero & PJ Harvey’s Rid Of Me) with producer Craig Silvey (The Rolling Stones, The National, Florence + the Machine), ‘Midas’ is the band’s second LP, following 2022’s debut ‘Cub.’

‘Rain’ lands alongside a live recording from Wunderhorse’s November 2023 headline performance at O2 Forum Kentish Town. ‘Rain’ is the kind of track that makes you want to dance in the drizzle, blending catchy rhythms with lyrics that dig deep beneath the surface.

“Rain is about the feeling that makes you look over your shoulder sometimes, the idea that the forces that shape your world are unaware of your existence and beyond your control. Something is coming but you don’t know what it is and you can’t stop it.” – Jacob Slater

Wunderhorse are set to perform some headline shows which will see them step into bigger, iconic venues, which include a stop at London’s O2 Academy Brixton.

Wunderhorse live dates:
7-11 Aug .. Boardmasters Festival, Cornwall
9 Aug .. Phoenix, Exeter (Truck Records out-store)
22-25 Aug .. Reading and Leeds Festival
23 Aug .. O2 Academy 2, Leicester (Truck Records out-store)
26 Aug .. Crash Records, Leeds (sold out)
31 Aug .. Rough Trade East, London (sold out)
1 Sept .. Resident Records, Brighton (sold out)
2 Sept .. Jacaranda Records, Liverpool (sold out)
3 Oct .. Rock City, Nottingham
4 Oct .. O2 Institute, Birmingham
5 Oct .. O2 Academy, Bristol
7 Oct .. The 1865, Southampton (sold out)
8 Oct .. The Great Hall, Cardiff
10 Oct .. O2 Academy Brixton, London
11 Oct .. O2 Academy, Oxford
12 Oct .. UEA, Norwich
14 Oct .. O2 Academy, Liverpool
15 Oct .. Barrowland, Glasgow (sold out)
16 Oct .. Vicar Street, Dublin (sold out)
18 Oct .. Becketts Students’ Union, Leeds (sold out)
19 Oct .. Academy, Manchester
20 Oct .. NX, Newcastle

Head HERE for tickets.

Pre-order ‘Midas’ HERE.

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With Japan’s iconic blues-punk band King Brothers gearing up to return to Australia this September, Cheersquad is dropping a limited edition 12-song tour LP titled ‘Hell Oh! Oz’. This release is strictly limited to 300 copies—150 in fluorescent green and 150 in green/white marble—all including a free download card.

This September marks the King Brothers’ triumphant return to Australia, their first tour down under since 2016. Hailed as Japan’s most dangerous live act, the band’s combustible mix of barbed-wire blues and venomous punk rock guarantees a great night out.

Clad in their signature black and white suits, the King Brothers are a force of nature on stage. The moment they strike their first chord, chaos erupts—guitars screech, drums pound, and vocals roar in an unrelenting assault on the senses. It’s a sonic blitzkrieg that ignites the crowd and turns every show into an unforgettable, high-octane spectacle.

Born on the gritty streets of Nishinomiya, Japan, in 1998, King Brothers quickly cut through the noise with a genre-defying sound that demanded international attention. Their chaotic fusion of punk and blues caught the ear of Jon Spencer, the Godfather of Punk Blues, who signed on as their producer. Their electrifying performances have since lit up stages across the globe, from Fuji Rock Festival in Japan to Goner Fest in the US, and even our own Meredith Music Festival, where they stole the show in 2007.

Pre-Order ‘Hell Oh! OZ’ HERE.

King Brothers Australian Tour 2024

WED 4 SEP Melbourne @ The Old Bar, Fitzroy w/ Rocket Science, Grinding Eyes

THUR 5 SEP Geelong @ Barwon Club, South Geelong w/ The Meanies,
Grinding Eyes

FRI 6 SEP Brisbane @ The Bearded Lady, West Endw/ Dick Move (NZ),
The Dangermen, Free Entry

SAT 7 SEP Sydney @ Marrickville Bowlo, Marrickvillle w/ Griding Eyes,
The Loose Lips

SUN 8 SEP Melbourne @ Shotkickers, Thornbury w/ Mesa Cosa, The Wraylettes

Tickets available HERE.

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Emerging from Glasgow’s thriving music scene, alternative sextet Diving Horse release their vibrant new single ‘Sometimes I Feel Like a Fool’.

‘Sometimes I Feel Like a Fool’ is a vibrant and uplifting track that perfectly encapsulates Diving Horse’s distinctive sound. The song draws inspiration from the later works of Talking Heads, blending poppy, upbeat rhythms with introspective lyrics that explore the universal experience of feeling foolish. The result is a track that feels both nostalgic and fresh, inviting listeners to sing along to its catchy chorus while also reflecting on its deeper meaning. This combination of thoughtful songwriting and infectious energy is a hallmark of Diving Horse’s music, and ‘Sometimes I Feel Like a Fool’ is no exception.

Speaking about the new release, the band shared their creative process: “For this song, we wanted to write a chorus you could sing along to, and ‘Sometimes I Feel Like a Fool’ is what came out. Musically, the song is inspired by the later works of Talking Heads, and lyrically, the song masks feeling like a fool under poppy rhythms. We hoped to tap into a universal feeling we all have and say, ‘Don’t worry about it too much!’”

Diving Horse draws inspiration from influential bands like The National and LCD Soundsystem, combining artful indie rock with propulsive beats to create a sound that is both cerebral and danceable. With ‘Sometimes I Feel Like a Fool,’ Diving Horse continue to showcase their rich musicality and authenticity.

Listen below:

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Fontaines D.C. have released ‘Here’s The Thing’, the third single off their highly anticipated fourth album ‘ROMANCE’, out August 23rd via XL Recordings / Remote Control Records.

“It’s an anxious tune that twists and turns in what it wants, back and forth between pain and numbness.” – Grian Chatten

The cinematic music video for ‘Here’s The Thing,’ directed by the brilliant Luna Carmoon (known for Hoard, Shagbands, Nosebleed), perfectly captures the track’s simmering intensity and underlying paranoia. Drawing on the eerie vibes of teen-horror classics like The Lost Boys and Phenomena, Carmoon plunges us into the world of a traditional Irish dancing competition where the veneer of order quickly dissolves into chaos. Through her distinctively haunting perspective, the video twists the familiar into something unsettling, mirroring the song’s emotional undercurrents with a visual that’s as captivating as it is disconcerting.

‘ROMANCE’ is set to be Fontaines D.C.s most ambitious, expansive record yet, its 11 tracks constellating ideas that have been percolating among Grian Chatten (vocals), Carlos O’Connell (guitar), Conor Curley (guitar), Conor Deegan (bass), and Tom Coll (drums) since they released Skinty Fia in 2022.

Stream/Download ‘Here’s The Thing’ HERE.

Pre-order ‘ROMANCE’ HERE.

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Ride are appearing at Sydney’s Enmore Theatre tonight, and the air is thick with anticipation. Pioneers of the shoegaze movement, the band first emerged from Oxford in 1988, and since then, they’ve shaped the genre with a series of groundbreaking albums. Their latest release, ‘Interplay,’ has garnered critical acclaim, securing a 9.2 rating and a spot among Backseat Mafia’s top albums of 2024 and the Guardian calling it their “most adult album yet.”

As the lights dim and Ride step into the spotlight, the crowd’s excitement is palpable—and from the first note, the band more than delivers. Faces around me are illuminated with bliss as Ride expertly navigate through their sonic history, proving not only their shoegaze roots but also their relentless drive to push the boundaries of their sound, blending the nostalgic with the cutting-edge.

Don’t miss Ride Supported by Mercury Rev as they continue their tour of Australia and NZ with the following upcoming dates:

RIDE & MERCURY REV AU AND NZ TOUR

Sunday 11 August Croxton Ballroom “Performing ‘Going Blank Again’ In Its’ Entirety” TICKETS

Wednesday 14 August The Tivoli Brisbane
Friday 16 August Metropolis Perth
Sunday 18 August Powerstation Auckland

Tickets HERE.

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Things may come and things may go but the shoegaze dance still unravels. Thirty years on from a time when Catherine Wheel were possibly the most important thing in the world to a small herd of droopy fringed teenagers, some of the scene’s more prominent pioneers have been having another moment. Ride have heaved themselves firmly back on track and likewise Slowdive are definitively gaining new momentum. There’s even a new Seefeel album at the end of August, a band that has always followed the tributary into electronica territories riding a twirly guitar-blissed inflatable.

Perhaps it’s those more divergent shoegaze journeys that have delivered the most satisfying refreshment to the electric music world, feeding into everything from post rock to drone, dark metal to jazz fusion. What started with MBV’s experimental prompting filtered through to Stars of the Lid, Explosions in the Sky, Neurosis, Fennesz, Boris, LaBradford and on and on. It’s towards this abstract area of the shoegaze Venn Diagram that the illusive New Orleans ambient shoegaze duo Belong have always drifted. Their music seems to arrive from nowhere, marked by increasing time voids between each release, and then almost as succinctly Turk Dietrich and Michael Jones (a.k.a Belong) disappear.

Belong’s debut album, the underground classic ‘October Language’ emerged in 2006, four years after their formation. This ethereal expanse of guitar haunted, electric-dream music captured devastation and loss of a post Katrina world, with an emotive power. Two years later came the quirky (in Belong measures) ‘Colorloss’ EP, three delicately disguised covers of obscure sixties psych nuggets by Cleaners From Venus, Tintern Abbey and July. The last we heard from Belong was the more vocal fronted, Kosmische syncopated ‘Common Era’ their debut for Kranky Records in 2011. That is until now, with the release, once more on the Chicago label, of the third Belong album ‘Realistic IX’, so ending a thirteen-year pause.

On the surface it could seem that the new record’s long gestation has resulted in a pretty straightforward consolidation of Belong’s sound. Opener Realistic (I’m Still Waiting) strides confidently out of the speakers with all those key shoegaze trappings sounding sharp and expertly crafted. The fuzz/mute buzz chord fluency, the breathy, ghosting vocal, the unfaltering stomp of the drum machine all coax easy references to an MBV/ Sisters Of Mercy intersection and that’s before the classic churning, beatless closing moments. But there’s something more minimalistic, more structured and as such experimental being re-affirmed throughout this new statement from the Belong duo.

Consequently on ‘Realistic IX’ this exquisitely engineered template gets presented with various fine tweaks and tunings, each time guaranteeing an uplifting, head-nodding drive. Jealousy compresses the fuzz drill riffing to hypnotic, insistent level as it saunters along to a baggy shuffle while Difficult Boy pumps through a punky Suicide meets Loop work out. Perhaps it’s on Souvenir that Belong hit that air-punching high point, where the crisp, motoric pace, serrated chord drive and full-strobe zoom-guitar hook max out before taking the long fade to silence.

As focused as Belong are on exploring the possibilities of shoegaze/post-rock connections they also bring the more abstract and fluid to other parts of ‘Realistic IX’. Crucial Years surges with vamping chord cascades, following a subtle pattern while a subdued techno pulse flutters. More urgent and frantic, the swelling guitar torrents and fibrillating beats of Image of Love excavate similar sonic themes once explored by the under-appreciated Flour/Albini combo.

However, the most significant noise-ambient statements arrive with the album’s two longest tracks. Bleach frequently feels close to implosion, a purging white-noise drone of symphonic proportions transported by a mesmeric locomotive rhythm. Here the fade seems just that little bit inconclusive but in contrast the final track feels more completely resolved, AM/PM is sensational. Padding to a fulsome future house tempo, the orchestrated two note loop ebbs and flows as you enter some luxuriant post-rave zone. Minimal, mesmeric and mighty the song disappears into the ether as gently as it began.

We may be waiting a long time for the next Belong instalment but ‘Realistic IX’ represents another impressive marker from a band who amongst the devoted are justifiably adored.

Get your copy of ‘Realistic IX’ by Belong from your local record store or direct from Kranky HERE

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With their debut album ‘Hex’ due next month via Reigning Phoenix Music, Shamanic UK alternative metal collective Crimson Veil have shared the fourth single ‘Ribbons’. A track about when too many choices in life can actually become restrictions.

The band explain:

“This metaphor is brought to life through a Shibari-themed music video that sees the band tied in different rope positions and suspended, mid-air, in cages. Accompanying this striking scene is a backdrop of dreamy, ethereal metal that drifts from delicate melodies into a heavy crescendo.”

A cinematic masterpiece with haunting vocals that shimmer with a paranoia that flows throughout. It’s an epic demonstration of the bands song craft and hangs on Mishkin Fitzgerald’s stunning vocals. Each single this band have released has demonstrated a different facet of their talent, which all promise a very special album indeed.

Check it out, here

Find out more via the bands Website or Facebook

Pre order the album here

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