We listen to a lot of music here at Tone Deaf HQ, and we’re the first to admit we’re perhaps a little biased towards sounds of the Australian variety. We do make the best music in the world, after all.
In honouring our favourite Aussies, we’ve once again compiled a list of the most outstanding local releases you should be listening to right now – whether they’re smaller indies acts or big-name essentials, these are the newest Australian records you should be adding to your ‘must-listen’ list.
Let’s get started.
Mangelwurzel – Gary (Independent)
Where to even begin when talking about Mangelwurzel. The on-paper recipe of two parts neo-soul, 8/3 parts new wave garage, a glittering sprinkle of punk, all topped off with a cherry of modern jazz doesn’t even begin to do the eclectic sextet justice. Similarly their debut album Gary is at once the culmination of literally all their influences, and a subtle reminder that something magical can’t always be explained in words.
We are almost tricked into thinking this just another guitar pop album by smooth opening jam Fishy Fry, Gary gets progressively more bizarre. Sophomore track Hawaii seductively tugs at the listeners safety blanket, now fully preprepared to embrace the carnival of musical oddities that is to follow. Two thirds into the beautiful fever dream that is Gary we the listeners are entirely blasé when presented a sexy, evocative tune romanticising cannibalism.
The only qualm I could ever have with Gary that it doesn’t completely do the bands indescribably raucous live show justice. It does however present an amazing listening experience, like a sun-drenched stroll through wonderland, narrated by both Alice and the Mad Hatter. – Guy Aldous.
Koi Child – Koi Child (Pilerats/ Warner)
Western Australian jazz-fusion and hip-hop group Koi Child exploded onto the Australian underground hip-hop scene at the time of their single, ‘Black Panda’ which gained considerable notoriety from fans and critics alike in August last year with none other than Kevin Smith himself mixing and producing it. After almost a year of playing with massive Australian and overseas legends like Fat Freddy’s Drop and John Butler Trio, Koi Child are now back with their debut self titled album releasing on Pilerats Records and yet again featuring Kevin Smith producing and mixing.
Koi Child really delve into their jazz and R&B roots on this record deriving inspiration from Robert Glasper, The Roots and Erykah Badu but without losing the heavy hip-hop and rap element vocalist and frontman, Shannon Patterson brings to the table with some heavy and alive flows on almost each of the tracks. On Black Panda and 1-5-9, the two singles off the LP, Shannon delivers some of his best verses yet which operate on a very free flow with a fast-paced tone.
The instrumentation on the LP is just superb for a hip-hop founded sound, reminiscent of jazz-fusion band BADBADNOTGOOD or even LA funk group Vulfpeck. The electric piano, punching drums, fuzzy horns and tight bass all delicately interact with each other in the mix creating a groovy, dark, funky and defining quality to all the tracks. Although the tracks are mainly centred around the drums and vocals, it’s the dark and brooding qualities of the keys and horns that fill the body of the tracks and the succinct bassline that pull the absolutely sublime mix by Kevin Parker together. – Elvis Walsh
Fortunes – Jacket EP (Independent)
Just another name to add to the growing wave (should we now say tsunami?) of world class R&B/ hip hop that’s coming out of Australia is Melbourne-based duo Fortunes.
A collaboration between producer Barnaby Matthews and vocalist Conor McCabe – both originally from New Zealand, Fortunes have an innate ability to traverse through experimental soundscapes while still managing to be completely accessible to any type of pop music fan.
With the production being masterfully handled by local hero Andrei Eremin, Jacket EP, the duo’s second EP, is a lesson on how to craft the perfect down-tempo R&B infused pop release. We cannot wait to see what these guys get up to in the not-too-distant future. – Lucy Dayman
DMA’s – Hills End (I Oh You)
They sold out their first-ever string of live shows before they dropped so much as an EP.
From there it was appearances at festivals around the world, sold-out tours, acclaimed singles, rotation on triple j, and cover stories in the international music press.
It seemed the only hurdle the Sydney three-piece hadn’t yet leaped in a single bound was the full-length. It’s finally arrived and it’s precisely what you’d expect from an album made by three boys in a Newtown bedroom: an obvious plot for world-domination and a reminder that Britpop didn’t die in vain. – Greg Moskovitch
Whitefall – Origins EP (Independent)
Canberra natives Whitefall have come roaring into the Australian metalcore scene like a tidal wave with a new collection of intricately crafted and punishing tracks dubbed Origins.
Recorded with Dax Liniere of Puzzle Factory Sound Studios at Rawgigs Recording Studio and featuring cameos from the likes of Dan Tompkins of TesseracT, Origins is a siren cry from a band that’s intent on bringing a new brutality to the Australian metalcore sound, which can too often get bogged down in the pursuit of a catchy hook. This EP is an all-out assault. – GM
Urthboy – The Past Beats Inside Me Like A Second Heartbeat (Elefant Traks)
The Australian hip-hop has more than its fair share of whip-smart lyricists, prodigious beat-makers, and compelling live performers, but what sets Urthboy apart from the pack is the ambition he brings to every project he involves himself in.
Tapping into a seemingly endless creative reservoir, Urthboy’s managed to create an album that’s literally decades in the making. The album was originally envisioned as five EPs, each covering a decade between 1950 and 2000 and exploring the relationship between the present and the past. But according to the emcee, “Everything changed when I wrote my family into the story.” – GM
