Perch Creek | Gold Shop

Perch Creek's Gold Shop is an eclectic take on a Dubai heist. One of the more unusual subjects to pay homage to, Perch Creek's own quirks and instrumental strength makes them the an unlikely, but perfect fit for such a track. A frolicking ride with serious vocals, combined with 70s inspired backing, makes this a ride you'll be itching to repeat. The tune rocks along, twisting the intriguing tale of the aforementioned heist, and takes the listener on a journey of seriously epic proportions. Perch Creek is a band easily recognised, and staying true to their individuality is paying off.

You've turned somewhat of a corner with this album compared to some of your previous tracks, did the sound evolve naturally or was it a decision to change things up?

The bluegrass and showy tunes in our live sets had started to feel a bit repetitive, and we wanted to make a bunch of new songs that were different. We set out with the intention of being open-minded and rolling with different ideas that came up while we were jamming. We started writing this album in the middle of a UK tour, in a rented house in Wales. Listening to and playing the songs now I can see how it was a natural evolution too, there is still a similar vibe and spirit there that must be inherent in Perch Creek!

Just to get it out of the way, can you briefly explain where the name Perch Creek comes from?

Perch Creek is the name of a little creek that runs around the property where four of us grew up, in Midginbil, Northern NSW - a place with no shops, and a cow to human ratio of about 5:1. We started out as kids and used to be called The Perch Creek Family Jugband (band name chosen by our Mum: cute!) and a few years ago decided we were officially grown-ups now and it was time to strip it back to a more simple and less limiting version.

The new album is self-titled, why did you decide to release it this way?

We were looking for a title for the album, scouring song names and lyrics, but nothing was meaningful or relevant enough. We then thought about releasing it as a self-titled album and that felt perfect. It's our first release under [our] new name Perch Creek.

Gold Shop is a serious groove, but it's got such an interesting back story, too. Can you explain the concept a little more?

We performed in Dubai a few years ago at the most random of gigs - a shopping festival, in a deserted mall with a pyramid/pharaoh theme; you can only imagine. We learnt there had actually been a robbery there in 2007, complete with stolen Audis smashing through glass doors. This story, combined with the unbelievable bling of the "gold capital", Dubai, got us to writing this song. We let the story expand in a more surreal way when coming up with the video clip. The song is about a gold shop heist, when a moustachioed 1970s dude (singer Eileen's male alter ego) gets unknowingly framed by a sneaky criminal woman (who turns out to be his own alter ego) - it's narrative genius on par with Scooby Doo.

The accompanying clip is very retro, very 70s, and very cool - who came up with the concept and how did it evolve?

We knew we wanted a lot of action, with street chases through the Coburg North industrial area and we knew we needed 70s outfits - [they] were not optional. James [bass] showed us the Beastie Boys Sabotage clip for inspiration and from there we took the concept to Sasha Kane (of Honey Edit), and we worked together developing the script and character ideas. My brother Christi has a [Holden] Kingswood, vintage BMW motorbike, and a Volkswagen Transporter, so we were all set to go with vehicles that looked the part. We asked the owner of a Gold Shop in Preston if we could film there, he said he might be dead by the time filming day came around but if not, then yes. Luckily for us he was still alive and kicking.

The vocals are shared amongst all five members, how do you manage so many voices without the tracks sounding crowded?

The lead vocals are shared between Eileen, Lear, and Christi Hodgkins, however we all sing harmonies in most of the songs. With four of us being siblings, there is a similar sound in our voices that really blends together. I think this helps with it not sounding too angular.

Being a family band, how do the dynamics of being related impact your art?

With our writing process I feel the dynamics of being related  have been really positive and helpful. We wrote this album collaboratively, with musical jams and lots of lyric brainstorm exercises, including stream of consciousness writing. We would take turns reading aloud what we had written, which was really confronting at times. It was cool getting more practice at letting go and braving it with a close group of people - even though we pay out on and often criticise each other's ideas: you know it's a family thing. Being related does mean we can lean towards complacency sometimes, it's easy to make excuses not to rehearse, and easy to slip into engrained roles, but overall we are a pretty good unit.

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Pete Murray on Life, Music, and Making Sacrifices

It’s been fifteen years since his first album, Feeler, debuted and became the marker by which Murray admits he’s been measured against ever since. The album, which is perhaps always going to be the first thing people think of when they hear the name Pete Murray, climbed a slow, 42-week burn to number one. The 2003 release (re-released in 2013) has stood the test of time and it’s what he’s been trying to top ever since. “We probably suffered a bit, Feeler was so just so big, and everywhere. The songs got smashed on radio, and then when the next album came out it got the same thing, so we probably suffered a bit just from overexposure,” Murray says. “It just got flogged to death. By the time the third album came out I think people were just a bit over it.” 

“No one was really saying anything, lyrics or content or anything like that. It was more just ‘oh well, this will be successful. He writes mid-tempo songs and this will just be successful.” By the time Summer at Eureka was released in 2008 (his third studio album) Murray felt like he was stalling. 

 But this new album, Camacho, which was released in 2017, is finally changing people’s opinions. (The follow-up, a remixed version of single Heartbeats is not doing any harm, either.) 

When Murray started work on the album, however, he wasn’t playing for anyone. “I just didn’t give the record label a choice, I didn’t tell them. I was recording the album by myself and probably 60, maybe 70 percent of the album was already done by the time I played it to them.” 

With a six-year gap since the release of his last album, Murray was nervous. After all, not many can take such a long hiatus, come back with a rebranded style of music and expect to stick the landing. “Music’s changed so much, the industry had changed so much. The whole streaming thing had become way bigger. Everything’s so different.” Except that’s exactly what he’s managed to do. Murray has ended the album with both feet planted firmly on the ground. 

“It’s a bit different, but it still has my flavour to it,” he says. “If you turn it up, the album actually has a fair bit of punch to it.” The critics agree, with a majority of positive reviews and recommendations Murray is confident he picked the right direction to take his music in. “It’s actually the same comments I was getting about Feeler,” proving if nothing else, Murray has successfully come full circle. 

Fame in the Australian music industry is a special kind of beast. Its isolation means to have any kind of longevity a move across oceans is warranted more often than not. (Gone are the days of good Aussie rock, with the rise of pop music, the world has shrunk to include the United States and occasionally England.) And that, often without exception, to break into the US market you have be in the country. (At the very least, the right hemisphere.) “You know, I would’ve loved to have moved overseas,” Murray says, with the voice of someone who understands this. “At least if only for a little while.” But life happened, as not even recording artists can avoid, and the complexity of children meant a long-term move became a whole lot harder to fathom. 

Two children from a previous marriage, boys, fourteen and eleven, whom Murray talks affectionately about, are a tie to Australia that he just can’t shake. The difference between Murray and those who make the move overseas is simple: he’s a family man, and music isn’t enough to risk that. His children are settled in their Byron Bay life and shared custody means uprooting them isn’t an option, even if Murray had the heart to do it. “It’s a bit hard,” he says. “I can’t just go and leave them.” 

“My perfect day is probably just getting up, going for a surf and hanging out with my family,” Murray says. “At a quiet a beach, with not many surfers, maybe just [my] mates. And then maybe having a jam at night. It’s all just about family, surfing, and music.” 

Instead, he compromises. There’s potential plans to spend a few months abroad in 2019. (“Here and there,” he says, further emphasising his committed role as father.) Murray doesn’t hide the excitement that working internationally brings, but his family in Australia, and his responsibility to them, never seems to be far from his mind. If he had to list the most important things in his life, it’s obvious that his boys, not his music, would take the top spot. 

 He concedes, too, that a life in Byron is not a hard pill to swallow. As far as consolation prizes go, Murray has done pretty well. 

And of the impacts of his life on his kids: “I think they figured it out pretty early on,” he says, referring to his two sons. “They had to, with kids at school asking them ‘is your dad Pete Murray?’” And their answer? “Yeah. So?” Which is exactly how Murray likes it; to Charlie and Pedro, he’s just dad. 

“It was great actually, a couple of years ago I was playing some shows with Rob Thomas from a band called Matchbox Twenty and I had a guitar change. My guitar techs gave it to my youngest son, Pedro, who would’ve been eight or nine at the time,” Murray says, recounting a previous show his sons had tagged along to. “Next thing I know the crowd starts cheering and I’m like, ‘what’s going on here?’ And there’s Pedro, bringing out my guitar for me. [The guitar] was almost as big as him.” 

Now they’re older, they understand the crowds. But when they were younger they just knew other people said, “Pete Murray” and it meant something to a lot of people. “Now they’re older, they can see the crowds and kind of appreciate what it means.” Charlie and Pedro might be the apple of the apple of their dad’s eye, but they’re catching on that Australia feels the same about Pete Murray. 

Murray got his start in music somewhat by accident. After a series of serious rugby-induced knee injures sidelined his dream of a rugby union career, he was left without any real idea of what he wanted. He did, however, know what he didn’t want: “a normal job.” So, despite studying sports medicine (his more “serious” career option) he started learning guitar. 

The year was 1993. 

Murray has always had a competitive streak (he didn’t get selected on the Queensland Sevens side without a desire to win) and it was this that really drove his music. He was going to be good. 

 Despite having no real desire to be a rock star, he had clear talent from the start. And people noticed. By the time he’d hit 27, he was playing and singing and had started dabbling in song writing. (His ex-wife is alleged to have locked him in a bathroom until he finished writing a song.) “It all started off as being a bit of fun.” 

Then, in the first half of the noughties, Feeler was released. 

Its success shocked a lot of people, and Murray wouldn’t listen to it in its entirety again until eight years later. “I got a text from Darren Middleton (Powderfinger’s lead guitarist and songwriter) saying, ‘I’ve just been listening to Feeler, what a great album’. After I got that text I thought I better give it another go.” 

Murray may not have had a desire to be a rock star, nor to even listen to his own album, but he was heading the right direction. Even after spending fifteen years in the spotlight, his career shows no signs of letting up. As always, he speaks of it with the humility that seems only to be found in the Australian industry. 

“I’ve always been a big fan of albums,” he says, explaining away any speculation he wants to be known for releasing singles. Sure, they get the radio play but music lovers, real music lovers, are in it for the body. And that’s where Murray sees himself: putting out bodies of work that people want to play over and over. Producing the music that he’d listen to, that he’d share with his wife and kids, is more important than Jane Doe hearing it five times on her drive to work. “Probably the hit singles aren’t your favourite songs,” he explains. “It’s just not, it’s the album tracks that are the best songs.”

Above everything, Murray is looking to build a connection that goes beyond the limited lifespan of radio play or streams. “That’s what you really want, something that, for whatever reason, people connect to. They’re the ones that will keep going back to the album.” 

Most special though to the doting dad is teaching his eldest, Charlie, to play the guitar with his own tracks as the backdrop. “They kind of have to listen to my music, thankfully they always have liked it,” he says. “Now I’ve started to teach Charlie some of my songs. He’s starting to get the feel for it.” Whatever Murray is doing, it always seems to come back to love he has for his sons. 

His advice to them is to try as many things as possible in life. “You’ve got to try and do things while you’re young. You just need to do things that make you happy,” he says. “I think the main thing though, is to have a bit of a backup plan.” After the end of his rugby career and realising he didn’t want to work in a medical clinic (“I didn’t want to be in that environment solving people’s problems.”), he went overseas to decide his next move. Murray was ready to give up on music, it just hadn’t been working out. “I didn’t think my music was going to go anywhere, so I was in the process of ringing up school and re-enrolling to finish studying,” he explains. “And then music worked.”

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Jade Alice | Heartbreak Club

Jade Alice isn't the type of girl to sit around and wait for her life to work itself out. Having just finished up her time at the Victorian Academy of the Arts (VCA), this exuberant songstress from Melbourne is keeping the ball rolling with her newest track Heartbreak Club, released today. Written in her last year of uni, the track is an empowering vessel for the soft-hearted people of the world, of which Alice counts herself. She explains, with a contagious confidence that almost makes it hard to believe she feels this way, that she views herself as a sensitive, often shy person. The song is there to champion this, she goes on to explain.

"There's strength in being vulnerable...especially in music," Alice says. "There's comfort in knowing [there's] people like you."

While she writes about the feeling of vulnerability, there's a self-assured streak to Alice that she credits, almost entirely, to her time spent in musical theatre at high school. It was here that her love of performing was able to overcome her own stage fright and Alice could learn how to handle her nerves. Saying she no longer feels nervous when performing, Alice explains that by playing different characters in theatre she was able to fully find her own. 

Now, six months into her first year as a university graduate, Alice is back from a family trip to Europe. (Which she says featured a few family shows along the way; Alice's musical talents are clearly genetic.) "It was mostly a holiday, but we're all musical people so..." she says. 

Her family trip she chats easily about, the upcoming music video attached to Heartbreak Club she keeps her cards close to her chest. Sharing only that it was shot on location at her old high school and bushland surrounding her home, Alice teases that anyone wanting to view it can head along to her launch on June 24 at The Toff.

"I'm super excited for the concept", she says before the subject is changed.

"The plan is to release new tracks every couple of months," Alice says, the excitement evident in her voice. "We have a few singles lined up already."

The plan is to eventually release an album, but it's clear that Alice understands the business: she's busy building her fan base, putting out long plays isn't on her radar just yet. Talking to Alice, you get the sense she'd rather keep her dreams close to her chest, at least until she achieves them. (Although when pressed she attempts she'd love to write for Selena Gomez and fellow Aussie Troye Sivan.) Alice already has plans in motion to travel to the States and Canada, splitting her time between Vancouver and LA, with the knowledge a relocation is highly likely; she's quietly aware that there's only so far you can get in the Australian music scene.

"I'd almost have to," she says of a move internationally, "even if it was temporary."

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Black Summer | Dream collaborations

Black Summer is the teenage powerhouse ready to take Australia's electronic music scene by storm. Finding his break with Triple J's Unearthed competition at just eleven, the now fourteen year old producer is continuing his rise with his latest track, Sadness, a collaboration with Chloe Campbell.

"[Sadness is] about two people not quite connecting - one of them is in love with the drama of the relationship, but they can't quite figure out how to make it work," he says of the tune.

Today, he's stopped by to share some of dream collaborations, but with a future as bright as Black Summer's, it's hard to believe they'll stay dreams for long.

Skrillex

Skrillex was one of the first electronic musicians I ever heard and pretty much got me into making music.  It would be really cool to work with him as I would learn a lot of new things and it would be a lot of fun too!  He has a unique sound and it would be a cool combination to work with him.

Flume

I would love to work with Flume not just because of his unique sound but also because I take a lot of inspiration from his tracks and he’s Australian too.  He sent me a video message a while ago and he gave me some really good tips on making new tracks. 

Misogi

Misogi has a really chilled sound to his music and I love his beats.  His tracks are really high quality and easy to listen to.  He also produces for other artists so it would be really cool to get some tips because I’m still pretty new to the whole industry.

Getter

Getter’s music can either be really hard core and in your face or really chilled.  I reckon that he could be really flexible working on any track and not afraid to try things out of our usual genres.  He’s also worked with a lot of people that I like.

Florence and the Machine

I really like her voice and I have listened to her music for quite a while and my mums obsessed with her also.  I think the collaboration would work out really well and we would make something awesome!  She also has electronic elements in some of her songs too.

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The Rebranding of Mastin

The night before I am scheduled to interview Mastin, his grandfather passes away. With far too many apologies for someone who has just lost one of the most important people in their life, it's rescheduled. Meet Mastin: singer, songwriter, brother, son, grandson. Genuine nice guy.

Having all but grown up in the music industry - he won The X Factor Australia at 16, released two #1 Platinum albums and had three singles reach the top of the charts - Mastin could be forgiven for the kind of meltdown that catches up with most teen-turned-adult pop stars. But he hasn't succumbed. Instead he's rebranded, moving away from the commercial tracks that guided his teenage years and into the rock 'n' roll roar that first captured the nation's hearts in his onscreen audition. There is no pop star here, there's just Mastin and his captivating pup-rock vocals. 

"I think if A to B is my first record to this EP, the difference sticks out like a sore thumb." 

While Mastin admits that he is worried his fans won't adore his new sounds, he's made peace with the music he loves so much. He's new, rock 'n' roll tunes have also inspired a broader media pack to jump on board. "There's nothing better than hearing somebody really loves and appreciates your music...so in a way I'm okay with letting people find other rivers in the music world but hopefully keep the ones that want to come on my journey.

Currently underway with a national tour, patrons should expect "loud, dirty rock 'n' roll". Mastin is quick to point out that this string of shows will bring new tricks and more of him poured into it. This is the time Mastin has been waiting for, he's cast off old expectations, his first name and has created the album he's always wanted. With a refueled fire of music and the enthusiasm that only being your true self can bring, Mastin is ready to show it off to the world. 

"Reece will always be with me and part of me, but it's time for me to re-enter the music universe as the musician he helped me become - Mastin."

MASTIN ‘SUITCASE OF STORIES’ AUSTRALIAN TOUR

SAT APRIL 7 | TBA, SYDNEY | 18+ | TICKETS THROUGH MOSHTIX

FRI APRIL 13 | SALOON BAR, LAUNCESTON | 18+ | TICKETS THROUGH OZTIX

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FRI APRIL 20 | SHOALHAVEN BOWLS CLUB, NSW | AA | TICKETS FROM THE VENUE

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THURS MAY 3 | LISMORE WORKERS CLUB, LISMORE | 18+ | TICKETS THROUGH OZTIX

FRI MAY 4 | SURFER’S PARADISE LIVE, GOLD COAST |18+ | FREE

SAT MAY 5 | THE BRIGHTSIDE, BRISBANE | 18+ | TICKETS THROUGH OZTIX

SUN MAY 6 | SOL BAR, MAROOCHYDORE | 18+ | TICKETS THROUGH OZTIX

THURS MAY 10 | TRANSIT BAR, CANBERRA | 18+ | TICKETS THROUGH MOSHTIX

SAT MAY 19 | WINTON SUPERCARS, VIC | 18+ | https://wintonraceway.com.au/

FRI MAY 25 | GRAND HOTEL, MORNINGTON | 18+ | TICKETS THROUGH OZTIX

SUN MAY 27| MAX WATTS, MELBOURNE | 18+ | TICKETS THROUGH OZTIX

FRI JUNE 15 | THE GRAND CENTRAL HOTEL MIDLAND, PERTH | 18+ | TICKETS THROUGH OZTIX

SAT JUNE 16 | THE CHARLES HOTEL, PERTH | 18+ | TICKETS THROUGH OZTIX

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FRI JULY 13 | THE WORKERS CLUB, GEELONG | 18+ | TICKETS THROUGH OZTIX

SAT JULY 14 | SS&A CLUB, ALBURY | 18+ | FREE

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Gabriel Vargas

"There is no longer a need to hide from something which is intrinsically part of of you."

Gabriel Vargas is ready to show off. And when you hear his music, you'll understand why and why it's perfectly valid.

Back with Like Wolves, Vargas is here to make people listen and prove why music is one of the most important tools we having in spreading a message. A message that everyone should sit and listen to. Started from a Native American proverb and intertwined with the pain of a childhood trauma, Vargas has woven a tale all too common and made it into a song that will make me people stop and think.

Accompanied by a film clip featuring the artist's own sister, Vargas has created masterpieces beyond song with Like Wolves, and, with his promise to donate all proceeds from song sales to The White Ribbon Foundation, he's well on his way to doing something even more important than singing a song.

Firstly, thank you for sharing such a beautiful song with us all! How long has the song been in the works?

Thank you for your interest in the song! The song was written four years ago but I didn’t make the decision to hone in and make this my debut release until about two years ago. I think I actually started with the concept for the music video and then we went into recording the actual song itself – almost the reverse way of operating really. So it did take a while for the song to see light of day but there was never any rush or deadline…it would happen as it was meant to happen.

It’s obviously a deeply personal narrative, what do you hope people will take from it?

Yes, it is a personal narrative with topics that deal with childhood trauma but it is also authentic – that is, there is no longer a need to hide from something which is intrinsically part of of you, or hold onto a shame that is not yours to carry. When we come to terms, or find peace with these parts of us we have previously tried to avoid or suppress, we move towards a place of freedom. We shift from victim-hood to empowerment. We connect with our true selves and in doing so, our connections with others also become deeper and more authentic. I think this what the song and music video aims to capture …and I would hope it inspires people to be open enough to share their own experiences…because the more we offer our authenticity to these discussions, the more we can support one another through the journey. How else are we to heal our hearts and elevate our self-concepts if we cannot be truthful with ourselves?  

Can you explain a little more about the Cherokee Proverb that helped build a base for the track?

I was familiar with the Cherokee Proverb “Two Wolves” for quite some time and when the phrase “Wolves in the Fire” became the main lyric or essence for the song it was a natural connection for me to make. As it turned out, the Cherokee proverb of the “Two Wolves” was probably the most influential intertextual source, in that it really helped shape the conceptualization and direction of the song and music video.

Using your sister in the music video also helps build on how personal this track is, why did you choose her to help bring the song to life visually?

I chose her because she is beautiful, she is amazing and she is one tough and powerful woman. She has overcome a great deal yet she still carries such grace…and that really is a testament to the strength in her vulnerability.  It also helped that my sister is an amazing dancer too and I think she embodied the theme of the music video so well because she is “that theme”….and she is that story. She is the universal feminine spirit who has been suppressed far too long by a system built on the foundations of unhealthy and toxic masculinity, and she has had enough. She is making a stand and unapologetically pushing back…and she is bringing her wolf pack with her…

How has the Native American background helped to shape the song?

Well it was the Cherokee Proverb that started the ball rolling towards including Native American elements in the song and music video. I reached out to Red Horse Rivera ,who is of the Apache tribe but now living and based in Melbourne, to appear in the music video and add a Native American flute to the song. Both he and his lovely wife Natalia jumped on the project with whole-hearted love and enthusiasm. Having Native American elements was really about grounding the song in spirit and giving it an earthy “feel.” I have deep respect and love for all indigenous cultures of the planet and believe there is so much knowledge and wisdom to be gained from their understanding and harmonious connection to the earth. Unfortunately white colonialism has absolutely obliterated these cultures and with it, a lot of the ancient knowledge… I feel it is important for all of humanity to embrace the indigenous cultures and begin making that connection back to the earth, because if we keep going the way we are going there will be no earth left!

You recently had the launch show for Like Wolves, how was it received?

Oh it was great! A full house of around 200 people….it was really a great opportunity to bring people together and thank those who have supported me so far on this journey.

How do you feel playing and sharing something so personal to an audience?

I think music is the perfect vessel in sharing something personal because it allows you to say things in ways that words alone can’t. ...and even though the details of the story may be personal, the over-arching theme is usually always collective.  The beauty of this is when the music aligns to the intention behind the song, then a space is created for it to permeate through all those present and open to receive it….including myself. It goes from being “my story” to “our story” and the song is no longer performed “by” me but rather “through” me.

And finally what prompted your decision to donate all the online sales profits to The White Ribbon Foundation?

I think music has the power to influence positive social change and raise awareness about matters of cultural, political and social importance, and due to the nature of my background and the story of the song/music video, I wanted to use the opportunity to align music to a cause. White Ribbon work to raise awareness around Domestic Violence and the “toxic masculinity “ that is the root cause of it through educational programs.  It seemed a good fit.

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Percival Elliott - Betty | Single Review

Named for one of the duo's great grandfathers, Percival Elliott is an indie rock group hailing from England's southern coast. With influences such as Queen, Supertramp and The Beatles, Percival Elliott is good company and it's obvious in their music. The duo are gaining momentum in the mainstream media, garnering interest from publications including Clash and Huffington Post. 

Their latest track, Betty, is packed with infectious melody and dirty guitar, all while celebrating the unassuming simplicity that made the music of yesteryear so appealing. This isn't the music that will make young girls scream, but it's the track you'll always turn up when it comes on shuffle. The track is a strong statement for the group, leaving behind any of the insecurities found in previous single Forever. And it works: Percival Elliott isn't a group that can hide out in the shadows.

Of the tune's theme - the feeling of emptiness brought on by fame - band member Samuel Carter-Brazier says, "this track holds a black mirror to society and reflects on how we all dress ourselves up to the world and pretend to be okay when deep down we're not". While on the surface this mightn't appear like a song with a broad reach, the band's seamless lyrical ability and the stuck-in-your-head tune will draw listeners in. And no one's going to want to leave any time soon.

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