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Smiling Pools

    Pozi are the sort of band to tackle the creative cycle of deconstruction and rebuilding with relish. Second album ‘Smiling Pools’ is testament to that. An LP that sees them at their most expansive yet, it follows a gradual swelling of their sound across two EPs proceeding the urgent, self-enforced minimalism of their debut album ‘PZ1’ in 2019.

    The trio of Toby Burroughs, Rosa Brook, and Tom Jones quickly established something of a foundational template on that first album: a hyper-skeletal sound palette of drums, bass and three distinct vocals disrupted by Rosa’s churning violins, from which emerged biting social observations and political angst – debut single and angry retort to the 2017 Grenfell tragedy KCTMO still takes pride of place in their live set.

    These hallmarks haven’t fully gone away over time but from that urgent energy there has emerged greater confidence and a playful desire to push further out from the loose genre tag of post-punk they were initially saddled with.

    “We want our music to evoke a feeling and emotion rather than just being a commentary. I feel that the tracks on Smiling Pools demonstrate that we’re taking our music to a different place and we want to bring the listener along on that journey.”


    Barry says: While PZ1 was a statement piece from a band determined to make an impact (and make an impact they did), 'Smiling Pools' shows a development that could only come from a band at ease with their process and inter-band chemistry. It's bold, melodic in parts and yet still true to the moody post-punk adjacent noise we've come to love from them. a stunning and endlessly deep work.


    Side A
    1. What You Came For
    2. Slightly Shaking Cells
    3. Failing
    4. Pest Control
    5. Somnambulance
    6. Through The Door

    Side B
    7. M6 Toll
    8. Heavenly
    9. Faulty Receiver
    10. Shut Up
    11. 24 Deliveru
    12. A Walk In The Park

    MF Tomlinson

    We Are Still Wild Horses

      "a pleasing baritone allied to intricate fingerpicking and interweaving trumpets, cornets and flutes elevates candid storytelling to a higher plane" Mojo Magazine

      London-based, Brisbane/Meanjin-born singer-songwriter MF Tomlinson returns with a new project We Are Still Wild Horses.

      Where MF Tomlinson's breakthrough debut full length Strange Time documented a world in turmoil, with Tomlinson feeling cautiously optimistic about what was to come, his EP We Are Still Wild Horses finds him lost in isolation, embarking on a journey into the self in search of hope and catharsis.

      The carefully plucked notes that introduce “Winter Time Blues” are the songwriter’s first tentative steps into his psyche. Like a Leonard Cohen or Richard Thompson completely shorn of hope, Tomlinson describes his daily drudgery, his voice audibly sagging at his powerlessness to carry the weight of the world’s issues. Spooky synth swells, tense strings and twirling brass leer up out of the shadows like psychedelic spectres welcoming him into the grotto of his unconscious - as he sinks into a depression caused by the cold and lack of light - "After all, for Christ's sake I'm an Australian".

      Uniting the symphonic complexity and lyrical acumen of Lee Hazlewood, the freedom and sonic exploration of Tortoise and Yo La Tengo & the high concept edge of David Byrne, the album draws on a swathe of psych influences - from his contemporary heroes Cate Le Bon and Weyes Blood, to acid folk legends Trees & the Canterbury folk scene (Robert Wyatt, Kevin Ayers) and the equivalent movement in Japan (Haruomi Hosono) - all welded together, forming arrangements that blend progressive rock and jazz á la King Crimson, making the eventual leap towards modern composition and ambient music in the vein of Brian Eno and Phillip Glass.


      A1 A Cloud
      A2 Winter Time Blues
      A3 End Of The Road
      B1 We Are Still Wild Horses

      Robin Richards (Dutch Uncles)

      The Earth Asleep // Birsdsong

        Robin Richards' "The Earth Asleep // Birdsong" comprises his modern classical soundtracks to two eponymous films: Clara Casian’s documentaries about the 2011 Japan tsunami and 1986 Chernobyl nuclear disaster, respectively.

        The Earth Asleep (2021) addresses the ways in which our exposure to extreme live-trauma in the form of rolling news and citizen reportage has resulted in an inability to process grief at a manageable, human scale. Film, poetry and live music intertwine to conjure a pathway by which the human soul might navigate unseen astral dimensions. As the earth sleeps, past and present merge in this live rhythmic montage. The soundtrack features members of two Mercury Prize-nominated bands: Chris Illingworth of GoGo Penguin on piano; and Michael Spearman of Everything Everything on drums and percussion.

        An amusement park in the Ukrainian city of Pripyat was due to be opened on the 1st May 1986, but the Chernobyl nuclear disaster occurred just a few miles away on 26th April. The park’s owners opened the park for a couple of hours the following day for the people of Pripyat before the city was evacuated. Eerie images of the deserted Pripyat Amusement Park now permeate the visual representation of the city’s desolation. Combining the immediacy and energy of live musical performance with the visual impact of film, Birdsong: Stories from Pripyat weaves personal and scientific narratives filmed within the Chernobyl exclusion zone. Combining the immediacy and energy of live musical performance with the visual impact of film, Birdsong: Stories from Pripyat aims to revisit a dramatic and devastating historical event using personal and scientific narratives to draw out the tensions and truths at play in our collective, cultural memories of this unfathomable event.

        Robin Richards, principle composer in the band Dutch Uncles announces Castel, his debut solo EP. A stunning six pieces, Castel draws on everything from Gregorian chanting to Steve Reich-esque minimalism and rhythm-led musique concrète. Robin Richards: ""Toompea" is set during the Estonian fight for independence, and is an exploration of the impact political that Soviet oppression in the Baltics had on native artists in the 70s and 80s. It's written in three movements, and named it after the ancient castle which houses the parliament of Estonia."


        Matt says: We always knew Robin Richards was one wacked-out quirky weirdo (in the best sense!), but this proves it! Completely uncategorizable but genius in every way!


        1. Cofi
        2. Arvo
        3. Gefail Yr Ynys
        4. Toompea
        5. B-R
        6. Llongau Caenarfon

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