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The Melbourne singer-songwriter spills the beans on why Cactus Room, Northcote Social Club and Some Velvet Morning are so special to him.
You may know Winter McQuinn as the frontman from Melbourne psychedelic pop/rock purveyors Sunfruits and as a musician in various bands including Ruby Gill, Candy, Feign Jima and more.
Winter has just released his debut solo album
A Rabble of Bees via Third Eye Stimuli Records which has been described as “a showcase of free-spirited and light-footed paisley boogie reflecting on friendship and environmentalism that’s been pollinated by the lysergic tones of Syd Barrett”.
Time For Dreams
‘Death to All Actors’ – the latest single from duo Time For Dreams – is a song so hazy and lo-fi it sounds like it’s coming to you from a tiny AM radio in the corner of an antiques shop. It’s the third single from their forthcoming album
Life of the Inhabitant, which if ‘Death to All Actors’ is anything to go by, promises to be filled with themes of pandemics, plagues, rituals and spells.
There’s a dense, thick fogginess to ‘Death to All Actors’ a bit like someone burning too much sage in a room where Portishead are working on Aphex Twin covers. It’s the sparsest of songs, but Tom Carlyon’s crunchy instrumentation is held together firmly by Amanda Roff’s magical vocals, which drift in and out like a poltergeist imitating Victoria Legrand.
The Vovos
“This song is a silly rant about how weird and small our capital city is,” say Melbourne five-piece The Vovos about ‘Compromise’ – a song that’s more of a love-hate ode to Canberra, “
a big small town” as the chorus goes.
The Vovos are everything you want a lo-fi indie rock band to be: sharp, witty and sporting kick-ass hooks. ‘Compromise’ will have you yelling along from its first chorus: “
Canberra/
Canberra/
Nobody likes you,” they sing, as if graffitied and dart-riddled posters of our country’s capital adorn their bedroom walls.
Like Vivian Girls or Dum Dum Girls before them, The Vovos share the charm of that mid-2000’s lo-fi indie rock scene without ever falling into pastiche or nostalgia: ‘Compromise’ sounds fresh and exciting, even if its message is as old as the city itself.