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THE STROPPIES

The Stroppies

Look Alive!

    Originally starting as the DIY home recording project of Angus Lord and Claudia Serfaty, The Stroppies have now evolved into what some might call a “proper band”. Following on from their 2017 demo cassette and a sling of singles, 2019 saw the release of their debut LP Whoosh!, a studio-based affair that evolved The Stroppies sound, underpinned with a newly discovered melodic classicism. Look Alive!, their latest effort which was recorded only months after the bands return to Australia after their second European tour of 2019, represents a marriage of the two different styles of Stroppies recordings and rounds out an incredibly productive twelve months for the group. Look Alive! Is the sound of The Stroppies honing their craft under new and unfamiliar conditions.


    Written mainly on the road then finished and recorded at home with whatever was on hand with only three of the four members present, it is according to the band’s singer/guitarist Angus Lord, "an EP forged in circumstance. A sum total of fleeting vignettes on scraps of paper, voice memos and iPhone notepads all collated between soundchecks and long stretches in a tour van rolled pieced together over weekly jams. We didn't want to waste much time when we got home so we opted to record it ourselves". For a band who began with the initial idea to create what the band called “open-ended music, collaged quickly and pieced haphazardly together”, it is in some sense a return to their true self. If Whoosh! glimmered and sparkled with tight production and succinct pop songwriting, Look Alive! is a somewhat darker shade, employing a more diffuse, impressionistic sonic palette and a more obvious penchant for experimentation.


    Tracked by the band and long time friend/collaborator Alex Macfarlane (Twerps, The Stevens, Hobbies Galore) at home and then mixed and mastered direct off the tape at Phaedra studios in Coburg by John Lee, it’s also a somewhat collaborative project, drawing in influence and inspiration from myriad sources. Such means of production are evident in the resulting eight songs. The title track sees acoustic pianos duel with synthesizers over Pavement-esque guitar wig outs, whilst ‘The Aisles of the Supermarket’ employs tape loops to forge loose ambient foundations. Though these ideas may reflect the band’s noted “stream of consciousness creativity”, remarkably the songwriting remains as sharp as ever. Album opener ‘Burning Bright’ gallops forward with the propulsive energy of ‘77-era Talking Heads and is transported by a casually brilliant chorus delivered by shared vocalist Claudia Sefraty.


    Elsewhere, lead single ‘Holes In Everything’ presents the band at its pop best: "If I could disappear into the atmosphere, I would be around you all the time" sings Lord, before swiftly throwing shade on the sentiment in the chorus, "It's always frightening what I think". It's this penchant for push and pull of light and dark splashed against the backdrop of trepidation and humour that make The Stroppies records so endearing and open-ended. Though undeniably pop structure orientated, the bands propensity for re-inventing and re-appropriating their recording and writing process ensures that nothing starts to fossilize. Indeed, Look Alive! is that most intriguing of records precisely because it represents two ideas at the same time - the sound of a band in flux, but also the sound of a band becoming more sure footed as they walk their crooked line.

    The Stroppies

    The Stroppies - Repress

      Starting out as a recording project between Angus Lord, Claudia Serfaty and Stephanie Hughes, the germ of what would eventually become the Stroppies was formed around a kitchen table in Melbourne's inner west early 2016. The initial idea was to create open ended music, collaged quickly and haphazardly together on a Tascam 4 track Portastudio that drew on stream of consciousness creativity and a DIY attitude a la Guided By Voices and The Great Unwashed. The desire to move beyond the pre programmed drum patterns available on their Casio Keyboard led to the addition of Rory Heane on drums and a more conventional band dynamic.

      In Late 2016, Alex Macfarlane recorded the band in their lounge room direct to 4 track, capturing 7 songs that would become their 2017 self titled cassette tape debut. The songs were bounced back and forth from tape machine to computer to tape machine to computer again. In keeping with the bands initial aesthetic, dubs were laid over a 4 month period incrementally on different devices as members had babies, explored intercontinental love affairs and set up homes together. Since the release of the tape, Adam Hewwit has joined the group on third guitar as they settle down into exploring the new band dynamic and focus on their next recording project. The Stroppies is composed of members of many Melbourne and UK bands (Claudia is originally from London) including Dick Diver, Primetime, Possible Humans, White Walls, Boomgates, The Stevens, See/Saw to name a few. They make modest, idiosyncratic pop songs that reward with repeated listening. 

      FORMAT INFORMATION

      Coloured LP Info: Frosted clear vinyl.

      The Stroppies

      It's A Hit!

        It's A Hit! brings together four songs recorded by The Stroppies at home on their Tascam 4 track in mid 2017. Permeated by dystopian imagery of machines building machines and cats driving cars, It's a Hit! is perhaps the Stroppies most idiosyncratic release. Indeed, the title is a humorous nod to the inherent lo-fi quality of the recordings, a sound that some might not consider to be "radio friendly". Surley though, the songs contained herein are still unashamedly pop, albeit adorned in crackle and hiss. For reference think Alex Chilton's "Like Flies on Sherbert", early Swell Maps, and a touch of Loaded-era Velvet Underground shuffle. Originally released only in Australia via Hobbies Galore as a limited edition 7" in a hand stamped sleeve, the long sold-out EP is now being given an international release on the eve of the band's debut UK tour. Limited to 300 copies on white vinyl, and with a different sleeve to the first pressing. 

        FORMAT INFORMATION

        7" Info: 7" EP on white vinyl, limited to 300 copies only.

        “There is something completely nonsense about it, especially when removed from any kind of context. For me it conjures up images of something absurd and transient - two things fundamental in the experience of listening to or making good pop music.” Whoosh may indeed be a silly word but it almost onomatopoeically captures the sound and essence of The Stroppies first proper debut album, one that breezes along with boundless energy, a refrained pop strut, infectious grooves and the sort of jangling guitar melodies that sound like a prime-era Flying Nun band. Between them, the Melbourne-based band - currently comprising of Gus Lord, Rory Heane, Claudia Serfaty and Adam Hewitt - have been in countless bands such as Boomgates, Twerps, Tyrannamen, Primetime, Blank Statements, The Blinds, White Walls, See Saw and Possible Humans.

        The band formed together around a kitchen table in 2016 with a heavy focus around the essence of collaboration and a DIY ethos. This led to an acclaimed cassette release of lounge room recordings, which was then pressed onto vinyl to more acclaim. The Stroppies next step was then taking their DIY approach to home recordings into the studio to make a transitional leap to what would become their proper studio debut. “Whoosh is our first concerted effort to make something with a bit more sonic depth,”says Claudia Serfaty (the bands other primary songwriter). It’s a record that possesses all the spunk and gusto of a young band hurtling forward yet also knowing when to take their foot off the accelerator.

        It’s an album that simultaneously feels young and fresh but wise beyond its years. “Whoosh is the most robust sounding release we have ever recorded,” Serfaty says. Combining taut post-punk rhythms, indie jangle, seamless melody and sugary pop, it’s a record that Lord says is influenced by: “All sorts of things - life, work, relationships, old cartoons and the last 60+ years of guitar-based pop music in some form or another. This includes everything from Bill Fay to the Clean to Stephen Malkmus.” We utilised whatever was on hand to pull sounds, including but not limited to vintage synths, rain sticks and an old door frame that we used for percussion.”


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