SINGLE AND FILM CLIP OF THE WEEK: “Brisbane, Transit Centre” by Andrew Tuttle


Today we are proud to be bringing you a combined single and video of the week. The artist in question is a Brisbane underground legend whose pioneering sounds have helped establish him as one of the most respected artists in our country. I’m of course talking about Andrew Tuttle and we’re proud to be premiering his new single and video for a new piece titled “Brisbane, Transit Centre” which you can stream down below.


The single is a re-interpretation of a live staple of Andrew’s which was originally recorded a few years back for his first EP under his own name. The song was recorded and mixed whilst Andrew was doing a fortnight residency at EMS Elektronmusikstudion in Stockholm after a short European tour in April/May, in between working on a new album,  a follow up to his fantastic 2016 release “Fantasy League.” This single is the first of two standalone singles Andrew will be releasing over summer in the lead up to the album release in mid-2017.

There is a dedication to mood and atmosphere but where other artists may favour the drone Andrew slips into the sunshine of pop music and more traditional folk stylings in order to ground his noise experimentation’s. There are lots of Jim O’Rourkeism’s all over this new single and that totally rules because I’m a devout believer in the healing power of Jim O’Rourke. I can hear the nods to all the pioneers of this genre but for me it was the pop skills of this track that impressed me most. I automatically had millions of different vocal melody ideas leap out of my mind as I sunk deep into this strictly instrumental track. The song is a beautiful thing to witness and is a nice slice of cinematic bliss that will leave you wanting more.

The film clip for this song also does a wonderful job of selling the magic of this song – have a peek below:

For those that don’t know, here is a quick history lesson (courtesy of Andrew’s BIO) –  Andrew Tuttle, based in Brisbane, Australia; creates sounds that explore the relationship between instrumentation, structure and genre within electronics and acoustics. Tuttle, usually solo, although occasionally in semi-regular and ad-hoc collaboration, creates a synthesis of electronic/acoustic instrumentation and genre, and improvisation/composition performed on computer, banjo, synthesiser, acoustic guitar, etc etc.

Under his own name and previously from 2004-2013 under the moniker Anonymeye, Tuttle has released recordings on labels including A Guide To Saints (Room40), Heligator, Someone Good (Room40), Bedroom Suck, Feral Media, hellosQuare, Twice Removed, Duskdarter, sound&fury, Flaming Pines, and New Weird Australia. Under his own name, solo, and in collaboration, Tuttle has performed at festivals including St Jerome’s Laneway Festival (Brisbane, AU), Melbourne International Jazz Festival (Melbourne, AU), OtherFilm Festival (Brisbane, AU) and Sonic Masala (Brisbane, AU); and venues including Cafe OTO (London, UK), Gallery of Modern Art (Brisbane, AU), Institute of Modern Art (Brisbane, AU), Le Bourg (Lausanne, CH), 107 Projects (Sydney, AU), HeK (Basel, CH), Plunge (Milan, IT), Brisbane Powerhouse (Brisbane, AU), The Old Museum (Brisbane, AU) and Howler (Melbourne, AU). Tuttle has collaborated live and/or on record (or in other situations) with musicians and sound artists including Matmos, Lawrence English, Mike Cooper, Blank Realm, Cornel Wilczek (Qua), Heinz Riegler, Inner Light (Smoke Bellow), Seaworthy, Rauberhohle, Kris Keogh, Joel Stern, Feet Teeth, Pale Earth and Sasha Margolis (Automating). As well as the aforementioned, Tuttle has shared concert lineups with artists including Matmos, Julia Holter, Forest Swords, Hauschka, The Soft Pink Truth, Daniel Bachman, Gudrun Gut, OM, Deradoorian, Pimmon, Omar Souleyman, Heinz Riegler, Julian Day, Kris Keogh, Tralala Blip, Wixtes, Lumisokea, Monika Brooks, Marihiko Hara and Sparkspitter.

Prior to 2013, Tuttle primarily recorded and performed under the moniker Anonymeye. After three albums, two dozen other recorded appearances and over one hundred live performances in Australia, Europe, and New Zealand; the Anonymeye moniker was retired in early 2013. When not creating music, Tuttle is an active participant in the Australian independent music community, as a creative director, tour manager, freelance writer and arts administrator. Tuttle also has a strong love for cricket.

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SINGLE OF THE WEEK: “Savage” by Quintessential Doll


“The idea of songwriting is a transformative thing, and what I do with songwriting is take situations that are quite ordinary and transform them in some way. Apart from things like the murder ballads, the songs I write, at their core, are quite ordinary human concerns, but the process of writing about them transforms them into something else.”

Nick Cave

Listening to the new single “Savage” from Quintessential Doll it was hard for me not to think of the above Nick Cave quote because lyrically this song speaks a lot about the sting and stained aftermath of a personal and spiritual transformation. The main refrain of “My Mad Beauty Will Never be Yours To Tame, I will never by yours” roars like a hushed vehicle of desired escapism. A line later in the song “My Conflicted Heart Attempts to Escape My Ribcage” gives a great illustration of the deep rooted pain anchoring the delicate yet ache shaped melodies that soak every inch of this beautiful track. It’s an intoxicating experience that combines the exotic search for understanding in a world that continues to function within the boundaries of rules and regulations.


As a song “Savage” is just as much about the elite freedom attached to the explosive fresh breeze of a blank canvas whilst also touching on the pure bleakness of the shame you feel when you have to execute some collateral damage on humans you loved, the whole process of graduating to the place where people you know become people you knew. The production is pure perfection and matches the flawless vocal patterns contained both in a lead and backing capacity. Everything moves in a hypnotic unison hooking you in, taking you deep beneath the drama beating at the centre of the songs turmoiled shining light. It flattens you to the point of being totally breathless and haunts long after the track has finished. There is an exhaustion and real high that comes on once the track finishes, almost like an endorphin release. It’s a fucking soul drenched experience that rips open your heart, makes you want to weep but at the same time you want to just fucking run and get the fuck out of what ever bad situation you find yourself in.

In 2016 “Savage” by Quintessential Doll deserves to be the new national anthem for those human beings who have graduated from teenage angst to adult pain and who still seek the emotional rush of a good pop song when it comes to finding a remedy for trying to feel some kind of “I’m not alone” resolve.

Pure, Fractured and Pop Song Perfection – Quintessential Doll is one of the first real 21st Century artists to light a path to the new sound of now

By: Dan Newton

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SINGLE OF THE WEEK: “Baby” by Angharad Drake


Angharad Drake is a bright light in an often predictable and redundant landscape of singer songwriters. Her music is dark and moody and is clearly influenced by the many different faces of music. Now Brisbane based, Drake grew up on Australia’s famed Sunshine Coast, where she began writing music during her early years of high school, and scoring gigs at small local venues. She later went on to study a Music degree at Brisbane’s QUT. Influenced by the stylings of Joni Mitchell, James Taylor, Laura Marling and Bon Iver, she began to develop her own individual style during her University years and recorded a self titled debut EP in 2010. Since then she has completed two more self-­produced EP’s (2013’s ‘Lay Down’, and 2014’s ‘Swing’), all in preparation for her debut full ­length album, ‘Sword’ which was released in 2015.

The genius of Drake’s music comes down to the mood and how she approaches the melodic structure of her songs. Drake saturates each song with darkness and a spooky whisper and it becomes hard not to be pulled into her psyche. It is real journey-person material and you can hear that Drake has lived every inch of pain contained within her lyrics. There are also pinches of resolve and hope swirling in and out of the music but it is more attached to an acceptance of ones weirdness as opposed to anything found in positive thinking handbooks. As is the case with all good pop music, the intensity is front and centre and Drake doesn’t waste time grabbing your soul and taking you on a journey through the dark and light regions of our existence and the other dimensions she is channeling. Drake makes both very intellectual but also very spiritual music and when you mix the science with the soul you get a beating heart that is well balanced and rooted in purity.

Today we are very proud to be premiering Angharad’s new single “Baby” which is from her forthcoming second album which is due out in early to mid 2017.


Once again we see Angharad digging deep and delivering a beautiful slice of melancholy sweetness that feels autobiographical in terms of the story she’s telling. The melodic changes that swing in and out of the verses and choruses of this song are so heavy emotionally and you get dragged into the drama of it all. This is perfect pop music that is communicated with such beauty and grace. Production wise we see a few stylistic changes helping to provide the song with some interesting dynamics. These new additions sonically don’t spook Angharad’s delicate and almost whispered playing style or take away from the poetically somber tone of her music. This is music for those of us who need the rush of a broken heart in order to give purpose to our creative muse.

All in all Angharad Drake proves once again what an important up and coming artist she is. Her music is the secret weapon against this fast paced need for technology to swoop in and strangle the pure musical experience. Her voice will haunt you and her songs plant themselves deep into your existence. She will help you understand that the best art comes from those who communicate honestly and with a sense of bravery. With “Baby” we glimpse just how powerful and emotionally violent a hushed heartbroken whisper can be. It’s truly fucking “stop what you’re doing” stuff and utterly flawless.

By: Dan Newton

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SINGLE OF THE WEEK: “PDFC” by post-dusk


The moment the chords open up on post-dusk’s new single “PDFC” you relax into the groove of this amazing little heartbreaker. It swoons and aches like a late afternoon connecting directly to that part of your eternal sigh for a better place. This song is pure perfection and beautifully ethereal, I just fall deep inside of it every time I hear it and it becomes a glorious explosion of escapism that is heightened ever so magically when the vocal melodies weave in and out like a cool breeze. It’s like being caught in a divine shiver and it just takes over your body and you get fucking elevated to some truly righteous places.

I love when pop music is moody and atmospheric as opposed to being sticky and obvious. That’s exactly what “PDFC” is, a moody masterpiece that connects due to its darkness as opposed to its sunshine. It takes an artist to be able to be this direct and deep. What “PDFC” illustrates is the importance of a solid and consistent groove in order to build the atmosphere and mood of a song. The simple drone gives “PDFC” the direction it needs to unfold with the array of keys and synths flowing over this track with a Twin Peaks spookiness allowing for the guitar lines to erupt enough Cocteau Twins via Sonic Youth orchestral tone to provide the ethereal frame. This is a pure dream pop masterpiece and the kind of song that belongs on a mixtape for someone you are secretly crushing on.

The vocal performance and lyrical direction of “PDFC”is a simple ode to the desperate pulse of loss and I know it’s a typical thing for me to search for in most music but I think it is a musing on the power and turmoil of death. It may be masked inside the rhythm of a break-up song but I think at the core of the song lyrically is an ode to the angst of loss and the claustrophobic fear of aging in a world that prefers to move quickly as opposed to being a slow cheetah. Regardless of the muse it is clear that post-dusk is yearning for escape from the crippling sting of routine and for an extreme new experience to help her feel comfort and satisfaction with the moment as opposed to the dense haze of being stuck in the fear drenched cycle of feeling powerless and unable to stop the motion of time. The real joy is the way it connects and relates with your own personal experiences and provides the ultimate pain relief from your own life dilemmas.



“PDFC” is a timeless piece of art carefully crafted and communicated to ensure that all of your emotions are beautifully serenaded to a place of extreme relaxation and dislocation. This song is a personal and very warm invitation into the world that post-dusk creates for you and although the song is awash with personal and very relatable experiences it is the stylistic swoon of the dream pop genre that allows you to engage with her landscape but to also instil your own imagination and to arrive at a place of pure escapism. This movement of music is very open and as a result it provides you the ability to become tangled in your own ache stained sighs for the one you love / loved with the only logical resolve to hit repeat on your stereo in order to sail deeper into the beautifully delicate yet emotionally raw sound of post-dusk’s music.

This song will not just become the most trusted pain reliever but also the early morning rush of a sunrise after spending an evening of discovery in the arms of someone you hope will learn to love you back.

There is a very famous lecture that Nick Cave gave about the importance of the love song that I’d like to quote in order to conclude this review. The following quotes are important to understanding what post-dusk communicates as an artist and what makes “PDFC” so important:

“Though the love song comes in many guises – songs of exultation and praise, songs of rage and of despair, erotic songs, songs of abandonment and loss – they all address God, for it is the haunted premises of longing that the true love song inhabits. It is a howl in the void, for Love and for comfort and it lives on the lips of the child crying for his mother. It is the song of the lover in need of her loved one, the raving of the lunatic supplicant petitioning his God. It is the cry of one chained to the earth, to the ordinary and to the mundane, craving flight; a flight into inspiration and imagination and divinity. The love song is the sound of our endeavours to become God-like, to rise up and above the earthbound and the mediocre”

“We each have a need to create and sorrow is a creative act. The love song is a sad song; it is the sound of sorrow itself. We all experience within us what the Portuguese call Suadade, which translates as an inexplicable sense of longing, an unnamed and enigmatic yearning of the soul and it is this feeling that lives in the realms of imagination and inspiration and is the breeding ground for the sad song, for the Love song is the light of God, deep down, blasting through our wounds.”

“The love song must be born into the realm of the irrational, absurd, the distracted, the melancholic, the obsessive, the insane for the love song is the noise of love itself and love is, of course, a form of madness. Whether it be the love of God, or romantic, erotic love – these are manifestations of our need to be torn away from the rational, to take leave of our senses, so to speak. Love songs come in many guises and are seemingly written for many reasons – as declarations or to wound – I have written songs for all of these reasons – but ultimately the love songs exist to fill, with language, the silence between ourselves and God, to decrease the distance between the temporal and the divine.”

This accurately describes what post-dusk has done with her music and with “PDFC” she takes a deeper plunge into the abyss of her hurt shaped experiences in order to clean her wounds and create an incredibly divine movement of music. The safety of pop music is not on the agenda here and whilst this song has hooks it is the overall atmosphere of loss and despair that lets it hang inside your heart and soul. You carry this music with you and it buries itself deep inside of you long after you’ve listened to it. A song like “PDFC” will haunt you and wrap itself around you like a warm blanket. Like all great pieces of art it is not an instant or easy communication to digest but this is not music designed purely for the beat of major label consumerism. This is music created by someone who has loved and who has been damaged by the madness of it but who also uses heavy optimism to communicate just how much joy she gets from the rush of rejection and connection.

On “PDFC” post-dusk proves that depth, intensity and atmosphere are more important to the successful communication of pop music than the emptiness of one hit wonder world domination. I feel privileged to be able to review this song because it provided me with so much personal comfort and I’ve only lived with it for seven days. I look forward to what long term listening will do and how “PDFC” will soundtrack the many more adventures I plan to take into the landscape of broken hearted disco dancing and new romancing. This is a flawless song from a true artist who has successfully entered the realm of being one of the few modern contributors to the timeless dialogue of beauty, honesty and truth.

By: Dan Newton

SINGLE OF THE WEEK: “We Made It” by Huntly


The test of a good song is how it sounds when you are alone in the dark laying in your bed with the headphones on. A good headphone song will transport you so far away from yourself that it will be like an out of body experience where you get to muse on her or him or them and basically every other circumstance that shapes the ache you have deep inside you for that face and that place.

As the journey unravels and your stillness becomes animated in your mind by the pace of your ache you’ll leave the dread behind and transform from a key into a lock as you attempt to shut down the yearning and the heavy secret that is the memory of the face. The fate of this illusion will keep you drowning as you start to understand all that you mourn as the shiver unlocks and unravels. This music feeding your imagination helps frame this hidden love like a cinema for a human written like fiction and as the final notes dissolve you’ll remain haunted but at peace and deeply satisfied at your silent and still form of self-expression.

When you lay there motionless after the music has stopped a sweet sense of melancholy will erupt like some kind of spooky magic. This dream you have, of that face and that place will continue to go forever inside every inch of air that you breathe as they remain so far away. Once you press play on the song once again, all you can really think is how you missed your loneliness but you imagine once again that they are somewhere near. You delve deep into regret for a human who never knew just how much you needed them. The ache radiates through every inch of your body as you cling to it like oxygen and realise that this music is helping you heal, giving you a moment of pure peace. As you negotiate sleep you hope that your thoughts will not be taxed with these thoughts of ghosts who don’t talk.

This is the kind of strong emotional reaction that occurs when the fantastic new single from Huntly – called “We Made It” – hits your headphones. It doesn’t take long for you to understand that sometimes it feels right to be so invested in this kind of sadness when it comes to pop music and Huntly have crafted a new modern classic with “We Made It.”



On a scientific level the headphone listen will always expose you to the deeper layers of sound being manipulated and in the case of “We Made It” it has cracked the song wide open for me framing the genius of Huntly. The way they have pieced this song together is utterly amazing and it really does come alive during the headphone listen.

My reaction to this song was so strong that I had to take it out on the highway with me. When I want to test the validity of a good song I jump in my car really late at night put the song on the car stereo system and just drive for the sake of driving. Last night I was in a position where I couldn’t really sleep so I thought that it was the perfect time to give Huntly the dark highway test.

I find the late night drive process births a lot of joy in me, it is the moment where I start to feel like a truly blessed human and I achieve a healthy degree of inner peace. So satisfying is this inner peace that I rarely ever want to go home. I’m yet to work out if it is the music or the act of driving that births the peace, either way it is a ritual that helps calm me down, disconnect and recharge so that I can once again interact with the world around me. It’s becoming a bit of a theme I know but essentially escapism is at the centre of any listening ritual that I have.

During the course of my drive I fell deeper in love with “We Made It” and I also started to understand what it is that I really love about it. The excitement and feeling I had in my stomach was like a cross between the first date jitters when you really have a crush on someone and the relaxation and joy that comes from hanging out with your oldest and dearest friend who you haven’t seen in ages. There is just joy to the whole proceeding with a deep emotional frame that peppers the joy with glimpses of the pain, the hurt and the ache. I think the joy comes from the excitement of discovering a brand new artist and all that other dark / hurt related stuff is what you’re trying to escape. It’s about being saved and it’s about redemption.

By the time I arrived home and spent three hours with “We Made It” on repeat I understood more about myself than I did before and made peace with a lot of my past, present and future self. I also fell deeper in love with the song and felt privileged to have such a wonderful soundtrack for my life circa 2016

I slept well once I returned home, with a satisfied mind and “We Made It” playing through my headphones. If “We Made It” teaches us anything it is that survival is a lot more satisfying then self-pity and that all good things in this world come from a struggle and that love is just as much about the darkness as well as the light.

“We Made It” by Huntly is a Shiver Pop masterpiece designed for those of us who like a bit of drama mixed with our quest for love life bliss.

By: Dan Newton


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SINGLE OF THE WEEK: “Not Used To Losing” by Love Signs

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Fresh-faced Brisbane four piece Love Signs are pleased to announce the release of their latest single, “Not Used To Losing“.

With a re-vamped sound channelling the likes of girl groups PINS, Diet Cig and Girlpool, Love Signs have taken a step forward in their songwriting, delivering a salty but sweet pop tune made for feisty solo dancing in your room. “Not Used To Losing” was recorded and mixed by true beauty Zoe Davies at QUT, and mastered by Dominic McGlinn.

Love Signs have steadily been building hype with over a year of shows with the likes of Rolls Bayce, Big Strong Brute, Hockey Dad & Babaganouj. Their second single ‘Hold You Down’ snared the immediate attention of listeners last November thanks to support from and Hhhappy along with love from spin doctors Triple J Unearthed and 4ZZZ.

The band will release the accompanying video, a Jennifer Embelton (Somersault Visuals) creation, for ‘Not Used To Losing’ in the very near future.

‘Not Used To Losing’ will be launched at their single launch at The Foundry this Friday the 21st, supported by local angels Emerson Snowe, Full Flower Moon Band and Cheers G’Day.


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SINGLE REVIEW: “Come Around” by Stevie


The fantastic new single from STEVIE is called “Come Around” and it is a brilliant slice of pop music. I am in love with this song and it’s one of the freshest things I’ve heard in 2014. The song is a wonderful rush of bliss that plugs into the kind of romantic yearning that drips from a 1990’s Degrassi Junior High nostalgia hit. It is seriously divine and I can’t wait to hear more from this band. The real star of this song is Phoebe Imhoff who continues to weave tales of melancholy through the sweet sting of her voice. Vocally, Imhoff has a classic ache to her delivery and the angst that hangs off her heartbreak gives character to the music. I’m a firm believer that sometimes the sad songs have to escape from your soul with the kind of joyful celebration displayed on “Come Around” because that is when it truly resonates. The exhaustion of heartbreak is fundamentally always soundtracked by the slow dirge but once you’ve wallowed you need to escape and this is song is the perfect dirge rebound.

What does that all mean?

It’s quite simple really, as a singer Imhoff has managed to avoid the redundancy of noisy guitar music to release one of the most heartbreaking songs of 2014 and after being sent a ton of white middle class sad rock boy music this year it is a refreshing burst of bummer sunshine.

I really hope that STEVIE boycott the EP and really commit to making a full length album.

10 trillion cassette tapes out of 10

By: Dan Newton

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