Press Club’s sonic calling cards are all present on their second full length, Wasted Energy; the fuzz-addled, kicked-in speaker bass of Iain MacRae, the razor sharp guitar tones of Greg Rietwyk, the merciless drumming of Frank Lees, not to forget the emotionally charged vocal deliverance of Natalie Foster.


Wasted Energy approaches the microphone through a lens of extrospection. It examines the negative behaviours in the world around us and how we’re all learning to exist in today’s ever-evolving socio-moral landscape. Wasted Energy is broadly about change, and life’s watershed moments that change its course. These shifts are laterally represented lyrically and sonically in many of its songs. Sweeping about-faces and musical departures are an expansion of the musical fibre that make up the Press Club repertoire.


"From the writing and recording to the design and video making... I couldn't be more proud of every single part of this album."  Natalie Foster


Wasted Energy follows on from acclaimed debut album, Late Teens, which thrust the group into life on the Australian and European touring circuits. 


With a hard-earned reputation for relentless touring, Press Club celebrate the release of Wasted Energy is coupled with the announcement of a massive Australian tour slated for later this year which will see the band play shows in NSW, VIC, ACT, QLD, SA, TAS and WA, shortly after their second assault on Europe and The U.K for 2019. 


“For some reason being on the road is a tranquil place for us. We’ve all always been pretty intrepid people. To be able to spend another stint in Europe this year, after the first one was so flattering is brilliant. Everything is different from place to place. New cities, new people, new music scenes that operate in completely foreign ways. The one thing that seems to be a unifying constant is music. I can’t wait to hit the tarmac again.” - MacRae

Release: Friday August 16th, Independent
​Words: Little Giant PR

The new album from Perth based Erasers sees the duo continue their exploration of immersive, rhythmic and mood-driven music. The record gently sits between kosmische and post-punk in that sweet spot of mellow, vibe engulfed cool.
 
Forming as a home recording project in 2009 Rebecca Orchard and Rupert Thomas released a steady flow of CD-Rs, tapes and a 7” before eventually releasing their debut full length Stem Together in 215. In 2017 the duo followed up with a tape release Fault Lines, originally recorded as a soundtrack commissioned by FBi radio’s Ears have Ears and in April 219 released a five track EP Forecast.
 
Erasers have honed and refined their live show, sharing the stage with the like of Low, Grouper, Acid Mothers Temple, Prince Rama, High Wolf and The Soft Machine as well as multiple shows with long time musical heroes My Disco, Love Of Diagrams and Pikelet. In 2017 the duo supported Methyl Ethel on their sold-out Australian tour.
 
After an extensive recording and mixing process, Erasers have released their second full length Pulse Points. Pulse Points was recorded and mixed at home on Noongar Boodja and mastered by Lawrence English (Eluvium, Ben Frost, William Basinski, Xiu Xiu).

Release: Pouring Dream/Fire Talk, July 12th, 2019
​Words: Erasers

KOKOKO! began in 2016 in Kinshasa. Electronic artist Débruit was in town working on a film soundtrack and began collaborating with Makara Bianko, a charismatic singer who performs with his dancers to electronic loops, and separately with a number of ingenious musical instrument creators and artists. They threw a spontaneous block party, and though many of them hadn’t known each other previously, the energy really clicked between Bianko, Débruit, Boms Bomolo, Dido Oweke, Love Lokombe and Bovic Mwepu (who has since passed away), and together they became the founding members of the group KOKOKO!, which is part of a wider collective of multidisciplinary artists.

Their distorted polyrhythms and spontaneous lo-fi sounds provide a chaotic soundtrack to their home country. KOKOKO! represent the antithesis of tradition, and their debut album Fongola - which translates to “the key” - is a torrid, anarchic, youthful journey smashing a new path through modern life in Africa’s third most populous city.

Life in Kinshasa is tough. Since its inception three years ago the band have lost their drummer to lung cancer, a dancer from their wider collective to electrocution, had homes destroyed by police, safety concerns at election time, visa struggles and a lucky incident with a crocodile. Their lyrics explore love, sorcery and magic, the need to take things slowly in life, greed and corruption and the importance of being heard and understood.

Without access to imported guitars and drum kits, Imitation wasn’t an option, which necessitated innovation. The resulting album is experimental electronic music, but it doesn’t fit neatly within any genre. Most of the sounds on this project can’t be replicated - sardine tins, water bottles and engine parts. What started as a financial challenge resulted in a creative advantage.

Release: Transgressive Records/Inertia, July 5th, 2019
Words: Transgressive