Listen: Berlin Bar Hounds - "Heights"

It's been a bit since we've heard from former Jinja Safari member Jacob Borg's side project Berlin Bar Hounds but luckily for us the wait's come to an end. While most of Borg's output so far has made extensive use of his Matt Berninger-esque baritone, "Heights" offers up a new dimension in Borg's vocal capabilities. Though he rarely if ever sang as a member of Jinja Safari, with Berlin Bar Hounds its evident it wasn't due to lack of ability. "Heights" is Borg's strongest outing to date as he aims higher both in terms of his vocal register and the song's energy. It begins at a steady plod but gathers up steam that's sure to pull you in. Borg's project has largely been defined by a quiet, sparse calm but on "Heights" he goes full on indie rock subverting his characteristic tension/release with new bits and bobs like the use of samples and more dynamic builds. With the end of Jinja Safari firmly behind him, hopefully we'll be hearing a lot more from Berlin Bar Hounds as "Heights" is pretty indicative that Borg is widely capable of reaching his own great songwriting heights.

Listen to Berlin Bar Hounds' new single "Heights":

Listen: Berlin Bar Hounds - "Skeleton"

It seems like ages ago now but back in 2014, the members of Australia jungle pop outfit Jinja Safari started to emerge from a break after their debut self-titled full length record with solo and side projects. Pepa Knight and Marcus Azon's side projects were more or less a given considering their roles as co-songwriters within the group but Jacob Borg's emergence as Berlin Bar Hounds was perhaps most surprising because the man was the only member of Jinja Safari without a microphone.

But Jacob Borg decided with a heck of a lot of prodding from Azon to give the singer/songwriter thing a shot and released "Le Rambles" and I'm certainly glad he did. In addition to revealing Borg as a decent songwriter it also showed that Borg possesses a svelte baritone that's sure to draw comparisons to The National's Matt Berninger. While his duties as part of one of the most energetic live bands has probably interfered with the more atmospheric appeal of Berlin Bar Hounds, the dissolution of Jinja Safari finds Borg back once again with a new tune. "Skeleton" is a much more rambunctious offering than Borg's past efforts and effectively utilizes his percussive chops. Where "Le Rambles" warmed up into his pop trimmings, "Skeleton" begins with them right out of the gate - blending keys, drums, bass, and a slight electronic hum that grows more and more prominent as the song progresses into full on synth melodies in the climactic instrumental breaks.

Pepa Knight - Hypnotized Vol. 1 (2014)

When I first discovered that Jinja Safari co-frontman/songwriter Pepa Knight was embarking upon a solo career, I could barely contain my excitement. Though he and songwriting partner Marcus Azon both draw from various regional musics, Knight is often the one manning the instruments procured from their travels - harmonium, sitar, reed flute, they all have a place in Knight's at home studio. Essentially what I expected from Knight's solo venture was more of the same with a wider array of instruments and Pepa Knight's first ever single "Rahh!" seemed to offer that up in spades.

It's not until you get into the nitty-gritty of Knight's debut solo EP Hypnotized Vol. 1 that you get a real sense of Knight as a solo artist. Beginning with the epononymous "Hypnotized" Knight commits heavily toward the album as a cohesive medium. Where "Rahh!" introduced us to Knight's solo effort by throwing fans and new listeners alike right into the deep end, "Hypnotized" takes a much more languid approach with a notable exception - like "Rahh!" or any of the other singles released ahead of the EP, Knight paints his songs in vibrant technicolor. Even with it's unfurling development, we're introduced to a bright, dynamic lushness before the first words are ever sung.

Without the full weight of Jinja Safari's five person manpower, Knight is freed up a bit for a much more subtler approach. The layering is carefully arranged, providing a sense of widescreen openness - reminiscent of the wide open plains Knight calls home in his native Central Coast, Australia. Similarly to Jinja Safari, it's easy to get lost in the immersive radiance of the album, swept along in the kaleidoscopic vision and diverse textural palette and not realize that in terms of actual songwriting, Knight has a unique but subdued voice. Pepa Knight takes not only what he's learned as a band member and intrepid world traveler but also as an adult human being for lyrics that stripped free of their resplendent poppy dressings are quite affecting. Each song builds on the idea of coming into your own and it's a theme that's given as much time to gestate as it does to actually do so - with album tracks substituting for years. "Do you feel alive?" Knight posits in "Hypnotized" before offering answers in each subsequent track from the subtle ("Fortress", "The Desert Guide") to the extreme ("Rahh!", "Clams").

Pepa Knight's debut solo EP Hypnotized Vol.1 is available on cassette, limited edition 12" vinyl as part of a deluxe bundle, or digitally through Knight's website or via the standard digital retailers. You can stream the album here:

Listen: Husky - "I'm Not Coming Back"

About two years ago, Aussie quartet Husky arrived toting their debut Forever So on Sub Pop. What was contained within was an oddly atmospheric and yet driving brand of folk pop. The most notable thing about them was the subtle way in which singer/songwriter Husky Gawenda's doleful tenor seemed to caress his carefully chosen phrases. On new track "I'm Not Coming Back",  Husky essentially offer up a souped up version of more of the same defining characteristics. "I'm Not Coming Back" is the most fast paced the band have allowed themselves but even as the track speeds along there's no denying the regard for space and care that's downright refreshing. It's good to know that even as the band grows there's still an element of their discerning nature that'll no doubt aid what might be a far poppier direction of their yet to be announced follow up record by grounding it in sincerity.

Listen to Husky's latest single "I'm Not Coming Back:

Listen: Young Dreams - "Feels Like We Only Go Bachwards" (Tame Impala Cover)

Just when I didn't think I could like Young Dreams any more stronger than I already did they prove they're not quite done impressing me and reaching previously unknown levels of devotion. The Norwegian orchestral-pop collective decided to cover label mates Tame Impala's already pretty fantastic track "Feels Like We Only Go Backwards" and put their own little spin on it as well they should've including a clever bit of wordplay hinting at their orchestral flair: "Feels Like We Only Go Bachwards" was born.

After a rather similar intro, Young Dreams zig when you think they're going to zag exploding into a dreamy but still rocking take on Tame Impala's track. Tame Impala's sunny, backbeat jam becomes a slightly-quicker moving beasts with Young Dreams lovely harmonic arcs thrown in for good measure. And reminding us it's still very much a remix we're given a little afrobeat musical outro which pulls more unexpected tricks. There's a pretty awesome tail that quotes Bach. Resolution both compositional and in that "a-ha!" moment when you get the name change? Yes. Young Dreams, don't ever change. 

Listen to Young Dreams spin on Tame Impala:

Listen: Unknown Mortal Orchestra - "Swim and Sleep (Like A Shark)"

Last year, Unknown Mortal Orchestra made a real splash with their debut self-titled full length and as they gear up to release their sophomore record (which just went into mastering last week), we're given our first preview with new track "Swim and Sleep (Like A Shark)".

With it's pleasant, tuneful soft-rock lilt, it's the sort of track that would've be out of place on a sound of the 70s music compilation mix and yet something about it is still so quintessentially UMO that it makes total sense that it comes from the now Portland based band. It's short, sweet, simple and sample-less and is just right to get you properly keyed up for their sophomore effort which will be out on Jagjaguwar when it's finally complete. Here's hoping that's soon.

Pitstop: High Highs

My introduction to High Highs happened almost a year ago as my first taste of Rawkblog's Mercury Music Digital Record Club. Since then the Brooklyn trio by way of Australia have put out their self titled four song EP via Small Plates Records and have been winning the hearts of plenty with their brand of immersive, quiet folk pop.

What sets High Highs apart from the myriad of other folk pop troubadours is perhaps their subtle pairing of acoustic with electronic elements to achieve dreamy soundscapes not unlike dreampop champions Beach House. Each song on the EP is stunningly arresting and artfully engaging to the point of near confusion: when the last song ends it's like being jerked out of a sound sleep of the most pleasant variety.





Despite the trio's pervasive sense of soft, melodic quiet however there is an awe-inspiring lushness. Full and rich, and delicately arranged as to keep it from ever becoming overwhelming. High Highs draw from an impressive sonic palette that manages to engross all the senses and engages more in four songs than some bands manage to do in years of music-making.



And as can be heard in High Highs latest single "Once Around the House", their musical competency is more than just a four song fluke. High Highs are here to stay with their dazzling brand of subtle, captivating folktronic pop and I for one couldn't be more pleased.



You can grab High Highs self-titled EP from Small Plates Records here.

Watch: Jinja Safari - "Toothless Grin" + Like A Version Live Set

Last night (or earlier today if you happen to be an Australian), Australian folky world pop band Jinja Safari played Triple J's Like A Version an in addition to playing their latest single "Toothless Grin", they did the unexpected - they busted out a cover of R. Kelly's "Ignition". Let that sink in for a little bit. Jinja Safari with their collection of world folk instruments like a harmonium that co-frontman Pepa Knight picked up in Indian, bamboo flute, and sitar took on R.Kelly's "Ignition". It's pretty darn great. Check out the evidence down below.

Not too soon after, Jinja Safari also premiered the video for their aforementioned latest single. Instead of taking place among the beaches and the forests like their videos are apt to do, "Toothless Grin" takes things skyward as a wacky tale of doomed scientists, an astronaut sent to save them, a cloud guy, and a party on the moon unfolds. Watch the video for "Toothless Grin":



Watch Jinja Safari perform "Toothless Grin" and R. Kelly's "Ignition" for Triple J's Like A Version:

Jinja Safari - "Toothless Grin"

One of the pitfalls to falling in love with a foreign band is pretty obvious: Their music isn't all the readily available to you. Or at least maybe that's just a problem I have with the foreign bands I fall in love with. Another pitfall is well, you're subject to them doing things at the time it's most convenient for them i.e. when Jinja Safari premiered their new single "Toothless Grin" on Triple J about two weeks or so, it was a completely normal time there but here? Here it was 4:30am. And despite my attempts to stay up that late to hear it, I wimped out and fell asleep and then could find no mention of the premiere even happening. Other than some very happy Australian's giving the new single rave reviews but that was it. No record of it, no radio rip, no proposed release date, nothing.

It made everything seem rather like it had never actually happened or that for the first time no one was paying attention to Australia. And then Jinja Safari posted where you could listen to the track and all was well. I was over my conspiracy theories and just let another one of their bright, unraveling jungle jams envelop me. In "Toothless Grin", Jinja Safari prove rather effectively beyond any shadow of a doubt that they're no one trick ponies - the new tune is far from rehashing their same old concepts while avoiding a drastic change of direction that's simply not necessary. Another enjoyable tune from Jinja Safari with some mighty fantastic bamboo flute action.

Pitstop: Jinja Safari

I apologize in advance for what I'm about to do to you. I mean, someone certainly should warn you that the music of Australia's Jinja Safari is absolutely going to overtake your life. It's a basic courtesy I wish someone had extended to me. And you may be looking at me dubiously and may seek out their music to prove to yourself and maybe me that you won't be reigned in. That was my downfall when Sam at MiddleClassWhiteNoise mentioned how much he loved them and I, unamused and curious, attempted to listen to them just to say I did.



The music of Jinja Safari is surprisingly easy to explain: Jungle pop. Plain and simple. Inspired in part by co-frontman Marcus Azon's African roots but it's what they infuse into it that's what's so addicting about it. Each and every Jinja Safari song radiates with an undeniable and overwhelming excited energy. In "Mermaids", there's a sort of dreamy unraveling before the exhilarating rush of percussion sweeps you in. It's a track that is almost offensive in its catchiness saved by it's deliberate pacing and switches from over-the-top party-rock to quiet mostly narrative-spewing plodding at a moments notice.



But it's a method shared by the vast majority of the band's music that I've had the pleasure to hear, the frenetic euphoric climaxes are just that and are earned rather just placed in front of you unceasingly and that's what makes Jinja Safari a noteworthy band, they balance blatantly fun music with exceptional musicianship. In songs like "Forest Eyes" and "Peter Pan", the songs are brilliant even at their most basic level - containing little ear-catching music moments that compose the unquestionably great whole.

Jinja Safari's aesthetic seems that to be that of pure unadulterated revelry using bright, bursting sounds and turning to any means to do so, mostly in the form of a notable folk influence. But it's the folk music that we rarely think of anymore: the kind reserved for celebrations and rites of passage in places where music isn't treated as a commodity but as a simple and unavoidable way of life. And that's what comes out most in the music of Jinja Safari, a completely unavoidable sense of enjoyment, of joy, and an almost debilitating desire to want to dance. If you listen to Jinja Safari, you do so at your own risk but it's a risk that's certain worth the reward.



Unfortunately if you're not in Australia or New Zealand, their debut double EP Locked By Land is pretty unavailable to you, unless you import it. But hopefully a recent short US tour the band just completed means there's something far more accessible to come. Here's to hoping. Until then you can get your fix via the songs and videos at their website here and Soundcloud.

Isaac Graham - "Nomads" video

I have many a musical weakness and everything that Australian singer/songwriter Isaac Graham does seems to fit the bill. Punk-inspired folk, recording simply but masterfully on a Tascam 8 track player, being Australian; there's not much to dislike about Graham. His new video for the debut single "Nomads" off his debut album Empty Vessels is just lovely. Scenes of Graham alone with some recording equipment are featuring alongside him in a record store, walking around as his band members form more-or-less around him. It's the same simplicity that had me regretting my decision to ignore Graham for the better part of a year. Never again.

Enjoy the video for Isaac Graham's "Nomads":

The Middle East - I Want That You Are Always Happy (2011)

It's been two years since the release of The Recordings of the Middle East from Australian indie darlings The Middle East; an EP that has managed to be both incredibly diverse yet strangely similar that it could single-handedly define the sound of The Middle East.

And yet time has an uncanny knack for changing people, artists, and bands. I Want That You Always Happy, The Middle East's proper full-length debut, is a drastically different beast than 2009's The Recordings of The Middle East. Gone is the pleasant exuberance exhibited in "Blood", instead you get stripped back contemplativeness that pervades the whole album (even in substantially more active rock-esque "Jesus Came to My Birthday Party"). The album is quite listless and yet, from this comes some of the most beautiful melodies and makes the more energetic portions of the album that much more enjoyable.

One of the things that struck me about The Middle East on Recordings was their fusion of different elements of ambient, folk, rock, and pop to create this distinct sound. And though done a bit different this time around, it's nice to see that The Middle East still retain their knack for genre-synthesis. And even though they're doing things differently this time, the haunting vocal harmonies of Recordings aren't that far removed. Add that to The Middle East's uncanny knack for emotionally evocative imagery and you get a mature record that's not afraid of taking things slow. It's not an album made up of potential singles but rather one of gradual growth and an earnest effort from the rather young band. I Want That You Are Always Happy may only be their first album but it makes me look forward to so many more.

Get a taste of The Middle East's new material with a live video of them performing two of the album most folky tracks "Mount Morgan" and "Hunger Song":

Isaac Graham - Empty Vessels

After what seems like months of my friend Joe (of Music Industry Earthquake) mentioning Australian musician Isaac Graham, I just got around to checking him out. After hours or listening to music that seemed a bit insincere, too generic, and occasionally forced; Isaac Graham and his simplistic, laid-back style of punk-inspired folk was a welcome change.

Armed with just a Tascam 8-track recorder and microphone, Isaac Graham's Empty Vessels has a smooth recording sheen that belies the album's lo-fi nature allowing it to shimmer with an honest truth and pervasive intensity that's a definite rarity. Whether in the folky "When I Found Gold" synth-poppy "Heat Exhaustion" or country-ish "Hurricane", Graham wears his genre influences on his sleeves but rather than coming off contrived, they inform his songwriting past the point of mere mimicry and make Empty Vessels into a feat of modern storytelling. Here's hoping there's more to come from Graham.

You can listen to Isaac Graham's album on his Bandcamp and if you like it, download it for free.

The Middle East announce US album release

After Australian band The Middle East announced the release of their proper debut I Want That You Are Always Happy a couple months ago, I've been eagerly awaiting when they would announce worldwide or at least US release. Well that day is today. Now fans of The Middle East can expect to see the album out in the states on July 12th and on honor of this special occasion, The Middle East have revealed a new song from off the album. The Middle East have always been folk-influenced but "Hunger Song" takes the cake. It's pure folk in and out and yet, the song is undeniably The Middle East. It makes me that much more excited for the new album.

Here's hoping the updated news also means they'll be taking their Australian tour, worldwide as well.

You can hear the new tune via their Facebook or Myspace pages.

The Middle East announce debut album

The Middle East are my favorite band that almost wasn't. They released The Recordings of the Middle East, a 5 song EP, right before they decided to break up in 2009 and it generated enough buzz to convince them to get back together. Since then The Middle East have been taking it relatively slow. Relatively. They played their first US tour with Mumford & Sons, played a couple shows in Europe (where they also played with Laura Marling and Frightened Rabbit) and then laid low for while, playing the occasional show in their native Australian. Now they're announcing the release of their debut album I Want That You Are Always Happy on April 8th in Australia and New Zealand. While this is unfortunately for their fans elsewhere, it's also great news considering they haven't broken up and a worldwide (or at least US/UK) release might not be far behind. Here's to hoping.

You can also listen to new songs "Jesus Came to My Birthday Party" and "Black Death 1349" on their Facebook page. And if for some odd reason you don't have a Facebook you an listen to "Jesus Came to My Birthday Party" at their MySpace page here.

Pitstop: The Middle East

One of the inevitable fates for a band is that they will eventually break up. Well, Aussie band The Middle East almost ended before they really began. Luckily after a short break up the band got together and has since endured an immense amount of renewed interest. Releasing their debut EP The Recordings of the Middle East in 2008 before splitting up, the band then reunited re-releasing an abridged version in 2009 leading to a massive surge in popularity. The band's genre is hard to describe, fusing together elements of ambience, folk, pop, and rock with haunting vocal harmonies and a vast array of instruments such as guitar, trumpet, glockenspiel, and various types of percussion. The band's sound is unique, emotionally invocative, and altogether charming. Here's hoping the band has another release in the works as I certainly can't wait to hear more from them.

The Middle East are opening for reunited Pavement on April 15 as well as embarking on a US tour with British folk rockers Mumford & Sons beginning in May. Stay tuned as this probably won't be the last you hear about the band.

Hear what they sound like with the track "Blood" from The Recordings of the Middle East and make sure you check back for tour dates: