With a knack for flow and re-inventing, the past 12 months has seen Close Counters turn in remixes for the likes of Denzel Curry and Bag Raiders (which was premiered by Phil Taggart on BBC Radio 1) as well as fellow Melbourne natives 30/70 Collective (on Rhythm Section). “SPEAK IN TRUTH”, from their newly realeased ‘FLUX EP’, sees 30/70’s Allysha Joy step to the microphone, lending her ethereal and mystic tones to the track’s rich sonics. A perfect opportunity to grab a wonderful Back To Mine where the guys big up some of their favourite female artists…
Allysha is one of the most talented artists and kind humans around and we’re lucky to have her as part of the family in Narrm/Melbourne. Watercolours is an exceptional example of her poetry and songwriting that gets inside you and guides you on its journey. The soothing rhodes, crispy drum sounds, liquid synths and warbling sax lines colour the sonic palette as she paints from heart a picture of hope from an intimate place. Doesn’t get much better than this.
This whole record has an air of high-class Aussie neo-soul. Love Light radiates golden sunlight with constant flow and control – especially in the vocals. Produced at the Grove studios in Coburg, Narrm by Simon Mavin.
This has been a household banger since it came out and it never gets old. The neo afrobeat groove is infectious and the vocals and horns float over the top. A melodic and catchy transformation of self-reflection into positivity. This one always picks up the vibe whatever time of day
This stuff just hits next level. Such intentional art, body movement, an expression of blackness and feminine energy and every bit is worth celebrating. GLO’s flow draws you in and keeps you there. It glides naturally over the beat by Mohi and Dieyoungs that shuffles and grooves like mad.
Led by four frontwomen that absolutely slay it from beat one, backed by the tightest rhythm section ever. Funk masterpiece that is just 100% sass and pocket the whole way through with an air of Chaka Khan. Feels like a funk slap in the face in the best way. Play this as you walk away from quitting your lousy job.
A bit of an underrated banger produced by Roy Ayers in 1980.
Matter is a deep and wavey dance-floor thumper. The tempo pulls right back leaving space for the layers of strings and samples that swim around Abbey’s shimmering vocal. It’s a gem of a track by two amazing friends and collaborators in Narrm/Melbourne. Forward thinking collision of sonic worlds.
IN2STELLAR is a duo comprised of Georgia Bird and Sarah Morgan – known for their legendary dj sets at festivals and their own monthly Neurotiq Erotiq parties. Their debut original production “Dreamworld Syncrasy” is in collaboration with veteran DJ Mike Callander and appears on the WAT Artists At Clouds Length compilation. This song has a tasteful array of influences, ranging from the janky dub style guitar stabs and duke style drum grooves.
Yollks is the moniker of Elle Tayla – who is also a member of the Melb/Naarm tastemaker trio FLUXX who run club nights and recently released their first compilation. Rotate sees Yollks combining big sweeping filtered breakbeats and 808s with sweeping synth pads and ethereal vocals. This song puts the listener into a deep trance, especially thanks to the droning single note vocoder that recites spoken word, which is resampled throughout the track.
Suns by Melbourne / Naarm based producer Felicity Yang shows her ability to draw from an incredibly diverse pallet of sounds – listen out for the wonky indie drums, rainforest/nature samples and a nostalgic xylophone that flutters throughout this hypnotic jam.
At 22 years old, Imogen Jones has well and truly found their groove – having released music under their project Lupa J since they were 15. Obliterate is Imogen’s latest track from December last year, which uses classic techno drums and arpeggiated synths against very polished vocal production. Accompanying the clip is a gorgeous gothic video directed by Lupa J themselves.
Apophenia is half of RITA BASS’ debut two track release. This brooding song has slamming break beats reminiscent of the mid-2000s, and vocals that draw from the styles of post-punk. As the track builds and transcends in to further dissonance, there are moments where I can’t tell whether a sound is coming from a human scream or a wailing synth.