New: ORB – Migration


ORB served up a sonic enema earlier this year in the form of their debut EP, which you can/must check out here. Pungent Black Sabbath riffs plunging through some very stormy territory. Most excellent.

Since the release of that tape, they’ve pledged their allegiance to Flightless Records, and will be joining King Gizzard and The Merlons on a bunch of tour dates around the country pretty soon. To get the tongues wagging a little harder, ORB have released a new single in ‘Migration’, a thick, evil splattering of B-Movie riff-rock.

If there was any doubt in your mind about the promise of big riffs present in this article, all you need to do is press play. Go on, do it. Have you done it? If you have, your whole being will be quivering, swarmed by the dominating chug that ORB so easily cook up. Your mind and body will progress through this song much in the same way as that can of beer that Bart shakes up to prank Homer; what starts as a mere tremble develops into a giant fucking explosion.


New: King Gizzard & the Lizard Wizard – Cellophane

A heap of people would’ve heard this song on King Gizzard’s most recent sold-out tour of Aus, and a heap of people would’ve had a similar, if not exact, same reaction as I did: ‘Fuck. Me. Sideways’. Because this fucking psychedelic creepy-crawler is probably where King Gizzard have hit another insane sweet spot in their career.

“Cellophane” is like an extensive acid trip taking place in the mind of Fritz the Cat, explicit, deranged and completely intoxicating. In just three minutes (blasphemous by recent Gizzard standards) the band shake, rattle and destroy a cage that they’ve built around expectations. This thing is wild and unleashed, and it’s going to immediately entrap and entrance you.

New: Sagamore-Feelings

I got da feels man. I know them feels. Your team lost in the World Cup, some hipster douchebag from the Apple store is trying to fuck you over your iPhone warranty, and you’ve forgone rent to pay for tickets to Sepultura. And the Cavalera brothers aren’t even in the band anymore. Shit’s fucked, yo.

Sagamore, have the remedy, a stunner of an alt-country tune named after those pesky feelings. Caked in some lovely harmonica, and with those dual male-female vocals battling it out to see who can make you feel better about yourself sooner. ‘Feelings’ is something you’d find in a creek bed, and once the mud is scraped away, what’s left is a sincerely great song.

Video(s): The Harpoons + Guerre + Moppy + Fraser A. Gorman + The Murlocs + OFF!

How great are stunner deals at Hungry Jacks? Nah, they actually taste like a cow took it’s final, bloody shit in your mouth. Instead, cop out for the real stunner deal of amazing clips from a range of Aussie/New Zealand artists, and a couple blokes who are punk as fuck.


The Harpoons-Unforgettable

The first thing I think of when the word ‘Forget’ comes into conversation is the memory loss Axl Rose must’ve lost between Appetite of Destruction and G N R Lies to go from rocking so hard to sucking so hard. That’s a complete lie, but a good introduction, and a stubbornly true fact, so let’s keep it that way. Anyway, The Harpoons’ new song ‘Unforgettable’ is actually that, a languid slab of emotion, with some absolutely killer Beyonce-esque vocals coming through. The video is also a damn fine slice of mod-pop, splicing weird mono-colours together, whilst yearning synths ache in the background.


Guerre-Klusht Musket

It’s hard to make out what to think of the new Guerre video, mainly because it doesn’t sit still or in focus long enough to make out anything. The video is as strange and unique as the song itself. There are a whole bunch of instruments that I have no idea what they are, just weird shit that consistently shifts and allures at the same time. Fucked up, but in a totally fashionable way.


Moppy-Slow Napisan

If Satan were to ever be put in the laundry with a Napisan commercial, this is precisely what would emerge. No questions asked, this is exactly the thing that you would get. It start out at a demonic slow pace, before glitching out, and turning into a sloppy, melting nightmare. It’s pretty fucking alright.


Fraser A. Gorman-Book of Love

In this clip, featuring a song that is jaw-droppingly fucking good, Fraser A. Gorman hangs out with a bunch of mates that you might know from bands like You Am I, Courtney Barnett, and King Gizzard. Yeah, Fraser A. Gorman has got way cooler mates than you do. He then goes out on a boat, reads a book with no words in it, and drinks shots without paying for them. Yeah, you don’t have to pay for drinks when Stu from King Gizz and Courtney Barnett are your back-up vocalists. But don’t you dare fuck with his chicken. That thing is as gorgeous as a sunset dipped in warm cocaine, and helps Gorman discover the meaning of love. That’s a damn fine pheasant if you ask me.


The Murlocs-Paranoid Joy

The Murlocs’ debut album is a fucking ripper, featuring track after track of warbling, harmonica-fuelled genius. ‘Paranoid Joy’ is one of the most memorable takes off the album, and it’s got an equally deranged video to accompany it. Basically, if Cerberus swallowed a VHS copy of outtakes from your band practice, and shat it out with that bad serving of paranoid delusions he accidentally hoofed down, then you’d get the ‘Paranoid Joy’ video.


OFF!-Red White And Black

When you’ve got your video featuring Brian Posehn and Dave Foley as white supremacists in faux-Nazi uniforms, you’ve got yourself one of the best videos ever. The video then divulges into a punk rock haven, slurring guitars going into an overdrive that would kill Vin Diesel. Then the neo-Nazi’s get the shit kicked out of them, and everything is hilarious.

Gig Review: King Gizzard & the Lizard Wizard

Thursday 10th April @ The Roller Den

Fuck man. King Gizzard & the Lizard Wizard amirite? Four albums in 18 months? That’s like me completing a university assignment on time-fucking impossible! Hell, you’d be better off getting me to hold a conversation with someone who doesn’t know who the Black Lips are than stopping King Gizzard from pumping out new, consistently mind-blowing material. That’s why everyone who wanted to get bits of their highest expectations exploded out of their skull attended the Gizz’s show in Erskineville that Thursday night.

The night opened with local psychers Raindrop. A damn good performance, but nothing to write home about. Worth chucking a text or a sneaky e-mail to your mate who digs on Tame Impala and POND though. The guys were pretty stereotypical psych lords, long haired dudes with cool shirts, busting out long, droning solos and wrapping the audiences’ head in a hefty sheet of reverb. Overall, everyone who was on drugs (90% of the crowd) loved Raindrop, and the others wore a smile of content.

Next up though, were garage punk kings The Living Eyes. The singer/guitarist Billy runs Anti-Fade records, one of the finest churners of garage and punk in the Southern Hemisphere, so no doubt his own band are going to be fucking sick. The guy with the balls to press records from The Gooch Palms, Wet Blankets and Ausmuteants is obviously a guy with the balls to blitz the fuck out of a show.

And blitz they did, raining down a storm of riffs and fuzz fury on an unsuspecting crowd that quickly turned into a mosh of Slayer proportions. Seriously, it was like a bukkake of guttural guitar and howling,wretched garage rock. The crowd couldn’t get enough of the ferocity on stage; even when a string broke and the band awkwardly waited for a replacement onstage, they had no trouble rolling back into oblivion-mode when a new guitar began it’s thrashing induction. ‘Ways to Make A Living’ and ‘Eat It Up’ packed particularly intense Mike-Tyson ear-chewing punches. There was a do-or-die vibe, like the B-52’s meeting Bass Drum of Death competing in a fiery go-kart race where everyone dies in an explosion of tyre and garage fuzz at the end.

Finally, the Gizz got onstage, and the only conceivable problem was how they were going to fit all seven members on stage. They managed, a lot better than on the considerably smaller stage at FBi Social on the Saturday night, and the show got into full swing quicker than an episode of Game of Thrones kills off a major character. Immediately, ear drums were blown, and a roiling mass of bodies began. The Gizz played with passion and perseverance, eliciting the kind of vibrancy that you’d rarely see at a gig.

The material mainly stuck to the previous two album releases-this year’s ‘Oddments’ and last year’s ‘Float Along-Fill Your Lungs’. Basically, that meant that the songs could range anywhere between three minutes and ‘Head On/Pill’ sixteen minute-plus extravaganza. But all the material showed off a new-side of the band that allowed the audience to revel and indulge in carnal dancing and excitement, like a seven-pieced psychedelic Dungeons & Dragons die.

For example, ‘Sleepwalker’ was entrancing like the best Animal Collective material, whilst ‘Hot Wax’, was a primal seeper, divulging in a mud-caked, bass-driven firecracker that is best set off after a batch of bad acid acid in the swamps of Perth. And the fact that ‘Head On/Pill’ has upwards of five muscular, pile-driving sections where all the audience is allowed to do is headbang and thrash is a testament to what kind of insane beast King Gizzard are in the live format.

Seeing this band live is a 100% must. They’re like a version of the Planeteers that were obssessed with the Nuggets compilations instead of hanging out with a guy with a green mullet that painted himself blue-apart, they’re just a bunch of long-haired minstrels. But together, and attached to their various instruments-a harmonica, a guitar, a theremin, a drum kit, whatever- their powers combine to form a loud, real and impossibly addictive show that will fuck up your ears and make every nerve ending in your body resemble a fried composition of total happiness.

Video: The Babe Rainbow-Evolution 1964

Listening to The Babe Rainbow, it becomes fairly obvious why they’re signed to King Gizz’s record label Flightless. They’re a perfect mix of sighing psychedelica, surf-rock grooves and exploratory guitar solos that would make Shatner shit himself.

As for the accompanying video, well it’s a combination of the amateur with hilarity. Think of a scenario where a 1980’s children’s education program is taken over by some goofy, fried teenagers that just figured out how to reverse footage. Then they decided to throw around some shit in the ball-tripping studio sets.

Album Review: King Gizzard & the Lizard Wizard-Oddments

King Gizzard are the equivalent of Mad Max-you can never kill them. They will always be there, and they will always be loud. In your face, grappling and gnawing at your primal instincts until you have no choice but to succumb to your carnal desires and dance the night away, one hand holding a bottle of red wine from the Caribbean, and one hand placed firmly on the topless companion you found somewhere in the Sahara Desert. You have no idea where you found this person or how you got to a tribe in a desert of Africa, but really who cares? You’re listening to the new King Gizzard record, and that’s more than enough to make anyone melt with excitement and do a bunch of crazy shit they normally wouldn’t do.

On their fourth record in approximately two years, the Jizz Masters of the Universe evolve themselves again into a psych-pop convent. Whilst Attempt at Awesomeness III, 2013’s ‘Float Along-Fill Your Lungs’ went hard and heavy into the murky waters of psych, often emerging from the black lake with a tasty riff bared in its teeth, ‘Oddments’ takes the San Francisco route through psychedelica. Whilst there are moments of danger and disparity, the feel and rigour of the album is one of irreverence. King Gizz wanna have fun! They’ve fought their fair share of battles, and bed more than their fair share of women, and now its time to regale those tales for the plebs. We’re all entertained by the simplest of things, and King Gizz twist and contort those simplicities in a hotbox of psych until we’re on our knees begging for more ticklish delights.

If you’re confused, then just check out the single ‘Vegemite’. That song pretty much holds the key to understanding ‘Oddments’. Childish squeals about Australia’s favourite tar-flavoured toast accoutrement, spread haphazardly over some kinky fuzz and brain-fucked finger plucking. It’s this kind of simplicity that the Gizz revel in, at least for now. And they do it with refreshing originality. They’re unafraid, they don’t care whether you’ll look down on them for whittling back on the complexity or ferocity of previous albums. For now, it’s time to take a breather, and by Santa Claus’ Victoria Secret catalogue do they make that entertaining.

Like all King Gizz records, ‘Oddments’ is suitably all over the place. There’s sonic freakouts like ‘Alluda Majaka’ (complete with ‘Knights of Cydonia horse cries), placid, shut-eyed exploration through ‘Work This Time’, and groovy, anthemic psych like ‘Hot Wax’ that would make Frank Zappa want to come back from the dead just to smoke a joint to this track.

But, as iterated before, its the rooting in a relative calm and peeled back King Gizz that gives ‘Oddments’ its flavour and identity. It allows for some solid soul to shine through-with the fuzz skinned off, the gruff beard gives way to a handsome leading man. That was a Zach Galifianakis metaphor. If you didn’t understand that, then we can’t be friends.

Pick up this brilliant record from King Gizzard’s Bandcamp. And do the right thing and go see them play at either The Roller Den on April 10, or at FBi Social on the 12th. Schweeeet!

New Australian Music: The Preatures + POND + King Gizzard & The Lizard Wizard + Pirates Alive + Horror My Friend

In celebration of ‘Straya Day, where everyone in the nation gets drunk and berates the Hottest 100, I compiled a bunch of awesome new tracks by some of this nation’s finest. And then I delayed the shit out of posting it. ‘STRAYA!

The Preatures-Better Than It Ever Could Be

In my own opinion, The Preatures released the best pop song of last year, with their single ‘Is This How You Feel?’ coming in at #9 on the Hottest 100. That’s just one of the many accolades that particular song has received, but because they are by no means a one hit wonder, The Preatures have gone ahead and released another song entitled ‘Better Than It Ever Could Be’.

I feel like this is kind of a reaction to the band’s year in 2013. It was basically the best year a blossoming young band could hope for. And to celebrate, they penned a song that showcases what they do best: a shimmering, loud and happy pop track. It reminds you of a Cocoa Cola advert done by Blondie or something. A giant bottle of coke explodes like a volcano, and Debbie Harry rocks sunglasses and the sun shines, and everyone is impossibly happy. Because ‘Better Than It Ever Could Be’ brings that image to mind, it gets a 10/10.

POND-Colouring the Streets

Motherfucking POND. Is there any other band quite like them. The short answer is no, because they are a shapeshifting group of wizard musicians, and you’d be a fool to fuck with whatever powerful elixir pumps through their veins.

Even though they released a record last year, the jizz-inducing ‘Hobo Rocket’, they’ve released a brand new track for a compilation, the song being ‘Colouring the Streets’. This track tends towards the softer psych side of POND, the Slowdive-counterpart to the balls out Bowie that the band are more well-known for.

Don’t worry, the reverb drenches this bad boy like a squirting porn star, and the jizz-levels are still at an all-time high. So, really, there’s nothing more but to let yourself drop into that coma in the only way a band like POND can.

King Gizzard & The Lizard Wizard-Vegemite

How fucking ‘Strayan is this!? It’s a song that’s chorus goes ‘I liiiiiiiikkkkeeeeee Vege-miiiiiite!’ over a thunderous, psychedelic platter of instruments. And its executed by one of the finest bands this side of Sabbath.

That’s right, the eight-piece monolith King Jizz are at it again, having announced a new record and pushing ‘Vegemite’ into the world to be the first taste of said record.

Despite the ‘Annoying Orange’ set up of the video clip, ‘Vegemite’ rules harder than Uncle Chopper riding a Chopper (motorbike) into a Chopper (helicopter) whilst T-rexes clap politely in the background.

Pirates Alive-Love Drunk

Whilst King Gizz alternate between a whole bunch of styles, Pirates Alive are a go-to garage band for me. If ever I want to hear some back to basics, super-simple surf rock, Pirates Alive are one of my first ports of call. See what I did there? Hueh, hueh, hueh.

Anyway, ‘Love Drunk’ reminds me a fuckload of ScotDrakula, Step-Panther and Dune Rats. There’s  just casual riffing, an emboldened bass line and an Aussie slacker accent tying it together. The chorus of ‘Ah’s is a technique that’s used in pretty much every garage song, but when something remains as fun as it did since the 60’s, why the fuck would you change it?

Basically, ‘Love Drunk’ is the summer garage track that’s missing from your life right now.

Horror My Friend-Nothing

And now, for some spidery but striding post-punk from Radelaide. Horror My Friend sound a bit like Die! Die! Die!, which is another way of saying they sound absolutely fucking rad.  It’s also a little bit back-in-the-day emo, circa Taking Back Sunday, without all the cutting yourself imagery.

Their new single ‘Nothing’ combines toe-tapping high-hats with a sludgy bass and climbing guitar riffs. And then that chorus hits, and you have an intuitive feeling that if you’re not moshing, even by yourself on the toilet, then you’re wasting your time, and you should be listening to a Greatest Hits by Michael Buble instead.

Top 10 Australian Albums of 2013

Whoomp, there it is! Or, to be more grammatically correct, here it is. Because, y’know, you’re reading this off some sort of screen, which is on front of you, and not somewhere else, which is what the preposition of there implies.

Look, I was trying to make a reference to Tag Team’s 1993 smash hit, and smoothly initiate an article about the best Australian albums of 2013, but it failed in a brutal showing of grammatical error. Anyway, as I clumsily try to regain my poise, let me say that 2013 has been a killer year for Australian records. On the International scene, there haven’t been absolutely tonnes of records that have held people’s gaze for the full year, but in Aussie-land, home of snuggies and the ‘ocker’ stereotype, there have been leaps and bounds in every genre available. Its cruel to pick just ten, but here we are, in a state of despair. Woe is I, for we art doomed to live in a state of existential pit of despair wrought by picking just ten albums for lists. Please….empathise.

Super Dooper Special (as in all tied Equal 11th) mentions go to Scott & Charlene’s Wedding, The Ocean Party, Day Ravies, Unity Floors, and Ooga Boogas.

Special Mentions go to Clowns, Amateur Drunks, Standish/Carlyon, Pikelet, The Living Eyes, Golden Blonde, Ausmuteants, The Drones and The Native Cats.

Super Duper Ultra Special Metal Album: Zeahorse-Pools

The sludge! The intensity! The gruel! Its like Jack Black once said in Tenacious D’s ‘The Metal’, ‘…you can’t kill the metal, the metal will live on’. As it does on Zeahorse’s debut record ‘Pools’. Stagnant marshes of filthy reverb and disgusting bass-lines make this a riveting listen, plunging you head first into a swirling world full of blackness and awesome sludgery.

10. Yes, I’m Leaving-Mission Bulb

Not since Fugazi has a punk band come so blindingly close to marrying the intense anti-establishment message of punk with blindingly good melodies. For Yes, I’m Leaving, a band with both an excellent name, a fantastic live show and even greater songs, its just another day making great fucking songs. Yes, I’m Leaving don’t really make a misstep on ‘Mission Bulb’, just chugging out those razor sharp punk songs like they’re a supergroup made from Patti Smith, Ian McKaye, Keith Morris, and Jello Biafra, and the old guy with a sledge hammer on the cover is replaced by Henry Rollins. Perfection!

9. Primitive Calculators-The World Is Fucked

Never have you heard something as vicious and in-your-face until you’ve witnessed the sheer terror of a Prim Calcs track. Finally, after all this time…the band have gotten around to releasing a debut studio album. Its not like Australia’s been waiting over thirty years for this thing! Thankfully, the album paid off like robbing a bank vault Die Hard 3 style, both a physical and emotional pay-off. Not for a moment do the band let up, blasting our brain cells one super charged synth-punk anthem after another.

8. Bed Wettin’ Bad Boys-Ready For Boredom

Another debut record, another awesome band name. You could say its a combination of the previous two entries, but you’d be wrong because the Bad Boys sound fuck all like the other two bands. Instead, they pick up where The Replacements left off on ‘Pleased to Meet Me’-emotionally charged everyman’s rock n roll. It belongs in a pub, three-schooners-down, with one eye on the rugby game in the corner and one eye on its uncertain future. However, if the band can keep churning out the hit factory and overall nice package that is ‘Ready For Boredom’, they should be sorted for a very long time.

7. King Gizzard & the Lizard Wizard-Float Along-Fill Your Lungs

I’ve said it once, I’ve said it a million times-King Jizz are the Darwin Evolution theory in practice. Starting out with bare-bones ramshackle rock n roll and slowly developing into the psych rock band we now see a year and a half later. However, they never lost any of the zeal and flavour they had on the ‘Willoughby’s Beach EP’ way back when, and can still manage to excite and boner-ise with their longer stuff as they can with any two minute electric shock.

6. POND-Hobo Rocket

Its a mini-album, deal with it. It was still too awesome to leave off the list. Its over-the-top glam rock, but not as you know it. If David Bowie was gobbled by some sort of psychedelic monster, and laid to waste by a plethora of Wayne Coyne clones, then you might get something as fun, frantic and off the fucking hook as ‘Hobo Rocket’. It dodges, dips, dives, ducks and dodges between all different sorts of vibes and frequencies, a restless creature if you’ve ever heard one. And boy, does it fucking sound amazing.

5. Cut Copy-Free Your Mind

‘Free Your Mind’ can’t really be defined as a return to form because Cut Copy never lost their form (go listen to ‘Zonoscope’ again, and try to feel any inkling of disappointment). Instead, ‘Free Your Mind’ continues the Cut Copy legacy, leaping and bounding into acid-house territory. The Madchester warehouse vibes are certainly there, mingling with the indie pop sensibility that Cut Copy own so hard like I own a massive Sonic Youth poster so hard. You’ll dance, you’ll think, you’ll cry and you’ll dance again, all within the confines of ‘Meet Me in a House of Love’. Isn’t Cut Copy just the greatest invention?

4. Violent Soho-Hungry Ghost

The cover-a skeleton engulfed in flames. Now that’s how you garner some fucking attention. Or, you could just stir up some of the most heart-pounding, adrenaline-inducing, mouth-watering rock songs this side of ‘Smells Like Teen Spirit’. Most of the songs on ‘Hungry Ghost’ are anthems, no doubt about it. Try to listen to a chorus of ‘Hell FUCK YEAH!’ without forming some sort of death circle in whatever location you happen to be in. In completely unrelated news, death by moshpits have gone up 215% in nursing homes that play Triple J. But that’s not all there is to ‘Hungry Ghost’, as the team manage to cook up a couple of heart-warming surprises throughout. More delicious than an angel made of bacon.

3. Palms-Step-Brothers

I guess the reason why Palms are such a great band is because they’re doing something that’s been done so many times before, but putting such an original stamp on it, that you can’t help but do a quintuple take. That’s right, your head will spin a minimum of five times as you try to reconsider your life without Palms in it. There’s so much to swallow when listening to ‘Step Brothers’, but not in a bad way. No, going through this, you’ll be gulping through as much musical content as possible to get all that Palm-y goodness in your spirit ASAP.

2. The Gooch Palms-Novo’s

Speaking of Palms, The Gooch Palms came in with one of the strongest musical entities of the year. However, whilst Palms channel Springsteen, Goochies are all about The Ramones. Bratty, snotty punk, farted out into the willing ears of all lucky enough to listen. However, The Gooch Palms show a surprising diversity, and with the mixture of shameless pop ballads, rain-soaked bummer ear-catchers and leather-jacket FUCK YEWWW’s, you can’t feel bored, even for a second. Rock n Roll runs in the veins of Kat and Leroy and to deny them of that would mean to say that this album doesn’t make you immediately want to strip off all your clothes, run down a highway and spread the word of the Almighty Gooch.

P.S The Gooch Palms and Palms are teaming up for a tour called Palmarama, and they’re playing Oxford Arts Factory on Friday, 28th February. Miss this and perish in a pit of regret.

1. TV Colours-Purple Skies, Toxic River

Surprise, fucking surprise. The album that I can never stop blabbering about comes in at No. 1 on my list of the top Australian records of 2013. Bias aside, if you don’t like this album, then seriously, nothing can be done for you. You are a lost cause. A total travesty of a human being. This album is perfection, a lulling, mesmerising concoction of deadly riffs, lo-fi production, cheesy synths and samples, rolled into a bundle of delights that the world has never seen before. Even though Bobby Kill took two years to make this record, it was worth every minute of waiting for this fucking masterpiece. God Bless TV Colours!

Album Review: Sagamore-Sagamore EP


Sagamore are the kind of beautiful Australiana treasure that only exists in Banjo Paterson poems. They combine luscious guitar atmosphere with a little organ flair and enough Aussie accent to kill Ben Cousins. Sagamore’s music is, frankly, gorgeous. Like, if late 70’s Iggy Pop went to Adelaide for a couple years and hung out with Ben Folds and Brian Wilson for a bit, then re-located to Melbourne (as Adelaide musicians are wont to do) and hung out with Twerps and Dick Diver, then I feel as though a band such as Sagamore could have come to fruition.

As it happens, none of that shit happened, and unless time machines, kidnapping and luck all happen to suddenly exist as legal and plausible entities, it looks as though Sagamore will exist as the only thing that sounds like Sagamore. Which I guess is a good thing, because on their debut, self-titled EP, oh boy do they sound fantastic, and it would probably be shit if a strung out, self-entitled late 70’s Iggy Pop got thrown in the mix.

The opening track for the EP, ‘Good Love’ sets the scene for what will be the most pleasant 20 minutes and 55 seconds of your day. ‘Good Love’ slowly slides up and down in a mesmerising fashion, and lackadaisical guitar plucking its way along like a rowboat on the Mississippi River. It shimmers and shines with the sort of holy, naturalistic vibe of a thousand fireflies in the sky at night. It has the rollicking, personal feel of a couple mates at a campfire in the middle of Fuck Knows Where, just hanging out with a couple instruments, and having a laugh.

The next track, ‘I Had A Dream’, is a sorrowful and tear-stained regret anti-anthem, a solid but not illogical departure from the opening track. The muddly guitar rolls on its back, whilst the harmonica cries whispers. Seriously, and I’m about to say something I’ve never said before, but the harmonica makes this song what it is. All the warbled trouble and pain that is so well-held in the vocals, guitar, organ and other instruments is completely let loose in the moments that the harmonica gets to take the limelight. The result is a song that will make you weep like you just watched Ryan Gosling get ugly in slow motion.

After a stellar double kick of two stunning songs, the EP slows into ‘Carry On’, a track that could have been created whilst on a train going cross-country. The slow song drags along in a delightfully entertaining way, whilst the sharp bursts of organ and vocals for the chorus ensure that it never gets boring. ‘Oh My Love’ is sort of similar to ‘Carry On’, in that it shifts between plodding and swelling in a friendly manner, albeit it does this in a more upbeat manner. Finally, the closer ‘Lover Got Another’ does a fine job of summarising the EP, with a swishing rhythm and alt-country vibe that would put Blitzen Trapper to shame. 

Although the EP might only get the attention for the first two tracks, Sagamore have put out an EP that is full of well-thought out and incredibly produced music. Everything about Sagamore shows a quiet beauty that one can’t help but admire, and get kind of jealous over.