As the Australian music scene begins to enter a cautious state of normalcy following a few difficult years, the country’s musicians are still facing enormous limitations in working opportunities to support and sustain their careers.
The Australian Music Radio Airplay Project – better known as Amrap – offers an excellent pathway to airplay to the many community stations who have long championed Australian music in all its myriad forms. Providing exposure often before anyone else, community radio is a strong and unique network immune to passing trends.
In this Tone Deaf series, a different music director or presenter at some of the finest community stations from around the country get their opportunity to share the best community music discoveries from Amrap.
This week it’s the turn of 3RRR’s Simon Winkler, who had this to say: “There’s always so much amazing music arriving at Triple R via Amrap. Here’s a small cross-section of records and singles making a strong impression at the station right now.”
Get the latest Indie news, features, updates and giveaways straight to your inbox Learn more
‘Lydia Wears A Cross’ represents the welcome return of Julia Jacklin, combining all her songwriting, storytelling, and production mastery. It’s the first single taken from her forthcoming album PRE PLEASURE, due in August.
A fast-paced and addictive new release from pioneering Korean-Australian group 1300. The title track is taken from a mixtape which embodies the endless possibilities of creativity that emerge from paving your own path, existing between and across multiple cultures.
Highly-anticipated new material from the iconic Sampa the Great, arriving just ahead of her Afro Future Tour in May and June. Featuring contributions from Denzel Curry, the song is described as Sampa the Great’s call out to create and explore her own lanes, rather than fitting into what’s prescribed.
Grateful to have been introduced to the work of RONA., a new Naarm-based electronic artist project from Kaytetye woman, Rona Glynn-McDonald. ‘TIOLI’ is a mediative, textural dance track taken from her debut EP Closure. The songs weave detailed soundscapes with recorded sounds from Country, reflecting on themes of connection and displacement.
Both artist’s supreme skills are in full effect on this thrilling track. It’s taken from Keith’s forthcoming debut album A Colour Undone.
Chapter Music has just reissued this cult classic from Melbourne duo The Glass Picture, a collection of minimal synth-pop with folk sensibilities.
Previously only available via cassette via Hidiotic Record, it’s a welcome opportunity for new audiences to visit the musical worlds created by Violetta Del Conte-Race (Primo!, Modal Melodies) and Lucy Emanuel (NZ’s Las Tetas, Reserve Game).
From the band’s new album Star of the Show, their first record in six years. Once a nine-piece ensemble, Dorsal Fins now comprises the songwriting core of Liam McGorry, Ella Thompson, and Jarrad Brown, and ‘Sister’ beautifully reflects their signature synthesis of soul, funk, and guitar-driven pop sounds.
Nilotic is the debut collection from singer, rapper and producer Elsy Wameyo, released on the Music In Exile label. It’s described by the artist as a journey of spirituality and personal growth.
Hailing from the Nilotic tribes of Kenya, and influenced by an Adelaide upbringing and singing in church choirs from an early age, Wameyo explores themes of identity, faith and heritage across the self-produced set.
Party Dozen is what happens when you combine the towering talent, formidable force and boundless imagination of Kirsty Tickle and Jonathan Boulet. ‘Fat Hans Gone Mad’ is a blast of pure energy, released on Sub Pop as part of their iconic Singles Club series.
Classic house sounds and euphoric dance moves from local artist Carla Ori under her House of Biscotti alias. The playful keyboard refrain was recorded in one lockdown studio session, and the vocals are sampled from Brion Gysin’s surrealist sound piece ‘Junk Is No Good Baby’.
Dropping in the middle of a UK tour supporting Paul Weller, the brilliant new record from local band The Stroppies reflects the band’s developing sound, an infectious combination of the off-kilter 90s U.S. underground, British art punk such as Wire, and a more than generous love of classic pop songwriting.