Paul Kelly and Kasey Chambers go mad, Locket find an Oasis, Beat Hotel go deep and more in today’s Roundup. Can Ricky Gervais please host every single awards show from now on?
SONG OF THE DAY
1 | Paul Kelly & Kasey Chambers | When We’re Both Old & Mad
THE PRESS RELEASE: “Australia’s greatest and most enduring songwriter, Paul Kelly, will release Songs From The South 1985-2019 on Jan. 10, a brilliant career summary. A collection of songs that spans the depth and breadth of his illustrious career including recent studio albums, Life Is Fine and Nature, the track list highlights many of Kelly’s classics: Before Too Long, Darling It Hurts, Leaps And Bounds, To Her Door, Dumb Things, From Little Things Big Things Grow and the finest Christmas song ever written about not being home for Christmas, How To Make Gravy. There is also a brand new duet with fellow Aussie roots rock mainstay Kasey Chambers, When We’re Both Old & Mad.” It’s a charmer — though their bike game could use work:
ALSO ON THE PLAYLIST
2 | Locket | Morning Glory
THE PRESS RELEASE: “Up ‘n’ comers Locket — Brad Garcia [vocals, guitar], JJ Sorensen [drums], Cory Bergeron [guitars], and Travis Morrison [bass] — have shared their sonically thrilling cover of the Oasis classic Morning Glory. “In all honesty, we recorded this cover to help spark some interest in some people who were, at the time, possibly interested in working with the band,” says Garcia. “Turns out we didn’t need to. But since were wanting to cover this song for two years, we figured ‘What the hell! Let’s do it anyway.’ It’s just a perfect rock song, you know?” Um, yeah:
3 | Beat Hotel | Bury It Deep
THE PRESS RELEASE: “UK indie-rock outfit Beat Hotel present their new single Bury It Deep, the second rewarding taste of their forthcoming eponymous EP, set for release Jan. 31. This comes on the trail of their extremely well-received first single Feel It. Their first compositions in a long time, both tracks are upbeat and notably positive songs. This collection of songs is about love and near-death and confronting the very worst aspects of ourselves, facing down those inner demons, the fears that haunt us and our deepest, darkest secrets. And… with one of the tracks beginning it’s recording journey in 1997 and getting its final guitar overdub and mix in 2019 (in all it’s 3 minutes 14 seconds of rock’n’roll glory), this record is also a tribute to the awesome power of getting shit done.” Unless said shit includes shooting a real video, apparently:
4 | The Orielles | Space Samba (Disco Volador Theme)
THE PRESS RELEASE: “Following the recent announcement of their forthcoming new album Disco Volador (out 2/28) & first cut Come Down On Jupiter, today The Orielles are pleased to share new track Space Samba (Disco Volador Theme). Speaking about the track, the band comment: “Space Samba is a song about corporeal experience, something which we feel we are collectively losing sight of in an age of mental existentialism! It is the Disco Volador theme because it relates to the phenomenological thread of the whole album, which tackles the many interpretations of the title throughout. In this instance, it refers to Disco Volador’s literal translation of ‘flying disc’ or ‘frisbee’, using this symbol to reflect both feelings of flight and motion and the notion of human connectivity.” This one’s for the Stereolab fans:
5 | Set It Off | So Predictable
THE PRESS RELEASE: “We’ve all been there before — same argument, same issue, same nonsense, different day,” singer Cody Carson says about the song. “This is one of those songs written out of complete frustration of those kinds of moments — whether it be someone you love who you butt heads with or someone so irritating yet you can’t avoid them. We had a blast making this song because of the overall attitude that surrounds it.” If you say so:
6 | Larkins | Flood
THE PRESS RELEASE: “Rising Manchester four-piece Larkins release their new track Flood — the third offering from their second EP Hit & Run, which follows on Feb. 14. Flood is full of the striking contrasts that make Larkins such a fascinating prospect. Mixing strident synths, ‘80s-tinged percussion and a typically exultant hook, the track perfectly merges the band’s live and electronic elements. The joyous sound provides an uplifting vehicle for its lyrics, which provide a beacon of positivity in a world mired in bad news.” Whatever the hell that means:
