MadfaMusic Feature Albums June 2014
Conor Oberst - Upside Down Mountain (Feature Album 30 June 2014)
First Aid Kit - Stay Gold (Feature Album 23 June 2014) Straight Arrows - Rising (Feature Album 16 June 2014) Hospitality - Trouble (Feature Album 9 June 2014) Ought - More Than Any Other Day (Feature Album 2 June 2014) |
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Conor Oberst - Upside Down Mountain (Feature Album 30 June 2014) By Fee B-Squared
Image courtesy of Pitchfork
Since talking about First Aid Kit and their influences last week, I couldn’t help but dip into the latest offering from Conor Oberst. Upside Down Mountain is really beautiful, and probably his most straight up and accessible release to date.Oberst grew up in Omaha, Nebraska and was only seven years old when he first got up on a stage to sing out front of one his Dad’s cover bands. Soon he was learning the guitar and writing songs. His debut album Water was released on cassette in 1993 by Lumberjack Records (which later becameSaddle Creek Records). Oberst was just 13 years old. While still in high school he and a few friends formed a post-hardcore band (who were also referred to as an “emo” band) called Commander Venus. Oberst was being noticed, and the fact that he was so young was obviously a factor. After a couple of brief projects, he teamed up with producer and multi-instrumentalist Mike Mogis and multi-instrumentalist Nate Walcott to form indie folk/rock outfit Bright Eyes. Oberst then dropped out of university to go on tour.
To say that he is a prolific artist is a gross understatement. One of my favourite Oberst projects is post-hardcore/indie rock outfit Desaparicdos, (check out "Poppin’ Off At The F" and "Man And Wife The Latter (Damaged Goods)"), and there’s also Monsters Of Folk and the Mystic Valley Band. It’s easy to lose count of all the outfits he’s involved with.
With early success comes great expectation, and some will argue that Oberst’s best albums were in the early 2000’s. Speaking to Spin recently he said "Maybe it's stubbornness…Maybe it's because I'm a brat. Maybe it's because I like to try new things. But I have the opposite impulse: If something gets a positive reaction, that I do, I tend to want to do something else, immediately. Maybe that's shot me in the foot career-wise, a few times, but that's just the way I am.” His poetic lyrics have earnestly tackled themes of love, loss, obsession, dependence and politics - all the things that come with growing up, I guess. These themes are familiar and they resonate. We all want to wallow in a shared sadness or rejoice in a shared happiness at times. We want to share those connections and he has facilitated this well in the past. Sometimes as we grow older though, these themes perhaps become a little more worn in and maybe they don’t hold the same intensity they once had. While I give credit to Oberst for always wanting to try new things, his last release (2011’s The People’s Key) did not work for me so I’m happy to say that Upside Down Mountain is the return to raw form I was hoping for. It feels like he’s realised that just because your life changes as you grow older, it doesn’t mean it’s any less interesting.
With early success comes great expectation, and some will argue that Oberst’s best albums were in the early 2000’s. Speaking to Spin recently he said "Maybe it's stubbornness…Maybe it's because I'm a brat. Maybe it's because I like to try new things. But I have the opposite impulse: If something gets a positive reaction, that I do, I tend to want to do something else, immediately. Maybe that's shot me in the foot career-wise, a few times, but that's just the way I am.” His poetic lyrics have earnestly tackled themes of love, loss, obsession, dependence and politics - all the things that come with growing up, I guess. These themes are familiar and they resonate. We all want to wallow in a shared sadness or rejoice in a shared happiness at times. We want to share those connections and he has facilitated this well in the past. Sometimes as we grow older though, these themes perhaps become a little more worn in and maybe they don’t hold the same intensity they once had. While I give credit to Oberst for always wanting to try new things, his last release (2011’s The People’s Key) did not work for me so I’m happy to say that Upside Down Mountain is the return to raw form I was hoping for. It feels like he’s realised that just because your life changes as you grow older, it doesn’t mean it’s any less interesting.
Throughout his career, one thing never changes, and that’s Oberst’s voice. To some it’s a whiny annoyance, but to most it has an unwavering beauty, a fragility that sounds like it’s slowly cracking, like he has to swallow the emotion that rises from the subject matter just to get the words out.
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Take a look at his recent early morning Tiny Desk Concert where he performs four tracks from the album and you’ll probably think he is going to cry.
Opening the album with the reflective “Time Forgot” feels so perfect: “They say everyone has a choice to make/ To be loved or to be free. I told you once I felt invisible/ And I’m sure by now you see/ That what I meant is I’m not all there until I finally leave/ Some loneliness is acceptable and some’s just outright mean”. |
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Following these lyrics, the First Aid Kit girls chime in on vocals as he says “It gets even.” This is an artist who seems acutely aware of how his diary-like confessional writing means that he’s documented growing up and fucking up and he acknowledges the importance of talking about being wrong. The single “Zigzagging Towards The Light” opens with the obvious yet powerful observation “I’m blessed with a heart that doesn’t stop.” While “Hundreds Of Ways” is immediately catchy, don’t be fooled - Oberst can be surprisingly menacing (”Don’t contradict me. Don’t make me cross the line. If you feel threatened, it’s only ‘cause I might…….”). Might what? It has me wondering what he’s capable of before he tells us “there are hundreds of ways to get through the day… so you best find one.”
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 Image courtesy of Conor Oberst
Other immediate stand-outs on this offering for me are the twangy “Double Life” where First Aid Kit are used to beautiful effect (as they are for a great deal of the album) and the poppier “Kick” (with the great line “Pleasure’s not the same as happiness”). My other favourties are the uber sweet “You Are Your Mother’s Child” that has me grappling for the tissues and before I can tidy myself up, the last track “Common Knowledge” has me fogged up all over again.
With guitars, percussion, harmonies, occasional horns, added First Aid Kit and a more pared back approach to lyricism, I think this will show itself to be one of Oberst’s best albums. Rather than sum it up myself, I think Oberst articulated beautifully to Spin what Upside Down Mountain might be: "Maybe a 17 year-old won't be able to relate to this new album, if they love Fevers and Mirrors, but my guess is, when that 17-year old is 27, they will. And hopefully this album will be waiting for them when they get there." By Fee B-Squared |
More about Conor Oberst
Check out the reviews of Upside Down Mountain courtesy of Consequence of Sound, New York Times, Absolute Punk, Rolling Stone and Pitchfork.
First Aid Kit - Stay Gold (Feature Album 23 June 2014) By Fee B-Squared
Image courtesy of First Aid Kit
Stay Gold is the shimmering third full-length album from First Aid Kit. In comparison to their previous releases, this album is a little darker in themes and a little shinier in production values. It is also (as expected), absolutely dripping with their ostensibly effortless harmonies.Siblings Johanna and Klara Söderberg grew up in Stockholm. Their father Benkt was a guitarist in a band called Lolita Pop and somewhat fortuitously, had his own home studio. Klara, the youngest of the sisters, had started to write songs at the age of 13, becoming interested in various country and folk artists like Bright Eyes, while Johanna had a penchant for German techno. Klara eventually persuaded Johanna to sing with her and First Aid Kit was born. Klara came up with the name while looking through the dictionary. When chatting with Under The Radar, she said “I think music should be like a consolation to help you get through everyday life, and it does for me. I thought, if I ever make music, that's what I want my music to do.”
The first time I heard them was when I stumbled across "You're Not Coming Home Tonight", which subsequently became my favourite track from theirDrunken Trees EP. I remember how stunned I was when I found out the girls were still only teenagers, their voices and lyrics seemingly betraying their youth. In August 2008, just after they’d seen Fleet Foxes live the previous weekend, they travelled out into the forest to film themselves performing a cover of the Fleet Foxes track "Tiger Mountain Peasant Song". When lead singer and guitarist Robin Pecknold stumbled across the clip, he posted it on the Fleet Foxes website and shit got a little crazy from there. For Swedes, they do Americana remarkably well.In 2010 First Aid Kit released their debut album The Big Black And The Blue, finding that their older-than-their-years sound and lyrics continually surprised the critics.
The first time I heard them was when I stumbled across "You're Not Coming Home Tonight", which subsequently became my favourite track from theirDrunken Trees EP. I remember how stunned I was when I found out the girls were still only teenagers, their voices and lyrics seemingly betraying their youth. In August 2008, just after they’d seen Fleet Foxes live the previous weekend, they travelled out into the forest to film themselves performing a cover of the Fleet Foxes track "Tiger Mountain Peasant Song". When lead singer and guitarist Robin Pecknold stumbled across the clip, he posted it on the Fleet Foxes website and shit got a little crazy from there. For Swedes, they do Americana remarkably well.In 2010 First Aid Kit released their debut album The Big Black And The Blue, finding that their older-than-their-years sound and lyrics continually surprised the critics.
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When they performed a cover of Patti Smith’s “Dancing Barefoot” directly in front of the Godmother of Punk herself at the Polar Music Prize awards ceremony in 2011, it reduced Patti to tears. When asked about that moment in an interview recently, they said they had no idea Patti had cried as they were so nervous they couldn’t even look at her for fear she mightn’t like their rendition. They needn’t have worried, and that’s certainly one story to tell the grandkids. By the time The Lions Roar was released in 2012, I had already been lucky enough to have seen their stand out track “Emmylou” performed live at 3RRRFM in September 2010, before they’d even settled on the name of the song.
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To hear them perform live is an undeniable real treat. There’s nothing hidden, no smoke and mirrors, just pure, unadulterated talent.
As with the last album, Stay Gold is once again produced by Mike Mogis from Bright Eyes and Monsters of Folk. It continues to demonstrate their strong sense of melody, beautiful harmonies and excellent songwriting skills. They sing about loneliness and heartbreak over a lush background of instrumentation from their regular acoustic guitar, autoharp, keys and drums through to pedal steel, woodwind, viola and more. The title is taken from Robert Frost’s Nothing Gold Can Stay, reminding us that everything is fleeting, and they say that while that may be scary to some, it can be comforting to others. |
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 Image courtesy of First Aid Kit
I think the lyrics speak volumes about where they’re at and where they’ve been. A life on the road can be fun, but it can also make you homesick and reflective. “My Silver Lining” opens the album with lush strings as they speak of restlessness ("I don't know if I'm scared of dying but I'm scared of living too fast, too slow/ Regret, remorse, hold on, oh no I've got to go"). They also note that whilst moving around is not always easy, there are positives about it too (“Something good comes with the bad/ A song’s never just sad/ There’s hope, there’s a silver lining”). They consider the possibility that they could have settled for a quieter life on “Waitress Song” singing "I could move to a small town and become a waitress/ Say my name was Stacey and I was figuring things out".
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One of my immediate favourites is “Master Pretender” where I get some weirdly perverse pleasure when the expletive falls out amongst the sadness ("I always thought that you'd be here/ But shit gets fucked up/ And people just disappear"). I love The Mamas & The Papa style opening on “Cedar Lane” while “Heaven Knows” feels like a real hootenanny is happening in the hayshed before the last track, “A Long Time Ago” pares the instrumentation right back and takes it down a notch with the lyrics “Now I know/ I lost you a long time ago.”
 Image courtesy of First Aid Kit
Although this album has lyrics full of questioning and melancholy, it’s pretty hard to feel down when you’re listening to such satisfying arrangements. On the title track “Stay Gold” they ask “What if our hard work ends in despair?/ What if the road won’t take me there?”. I don’t think they need to be concerned. Their hard work continues to deliver beauty and their road seems paved in gold.
By Fee B-Squared |
Image courtesy of First Aid Kit
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Want more info about First Aid Kit?
Read the reviews of Stay Gold by Consequence Of Sound, Pitchfork, Exclaim, The AU Review and CMJ.
Watch First Aid Kit perform "My Silver Lining" live for Latitude In The City.
Catch up with First Aid Kit via Facebook, Twitter and Instagram.
Watch First Aid Kit perform "My Silver Lining" live for Latitude In The City.
Catch up with First Aid Kit via Facebook, Twitter and Instagram.
See First Aid Kit live
First Aid Kit are playing shows throughout Europe in July, including visiting Australia for Splendour In The Grass on 27th July, and doing sideshows in Sydney (at the Metro on 29th July) and Melbourne (at the Hi-Fi on 30th and 31st July) supported by Marlon Williams. They'll then tour Europe and the USA. For full tour dates, visit their website.
Image courtesy of First Aid Kid
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Straight Arrows - Rising (Feature Album 16 June 2014) By Fee B-Squared
Image courtesy of The AU Review
Who said there’s too much garage out there at the moment? Everyone, huh? Well, there may be a lot of garage being produced lately, but that doesn’t mean it’s a bad thing which I’ll prove by telling you about the new Straight Arrows album Rising. It was only four years ago in 2010 when Sydneysiders Owen Penglis (guitar), Alex Grigg (guitar), Angie Garrick (bass) and Adam Williams (drums) released their first album, the thrashy, garage-punk gem “It’s Happening”. At that time, the Australian garage scene as we know it today was in its infancy, to the point that Straight Arrowscouldn’t find anyone to play gigs with. This wasn’t such a bad deal for them though, as they organised their own shows and played parties to get themselves seen and heard. Considering the healthy Australian garage scene now, I’m gladStraight Arrows have stuck to what they love, to produce another kickarse album. But why did we have to wait four years?
Image courtesy of Herald Sun
Rising was recorded over a three year period both at front-man Penglis' house and at his new studio in Potts Point, Goliath Professional Record Studio. Penglis is in demand as a record producer (Royal Headache, Bearhug, Palms, Angie, Nuggets compilation) and had been recording at his house for years until one day he got a new neighbour who took quite a dislike to the noise, calling the fuzz to constantly complain, so they needed to find new digs. It was during that tumultuous time that he stumbled across the new space, so it kind of worked out well in the end.
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Penglis recently said, “Writing a song in front of others sounds like your [sic] wanking, no one wants to see it,” so he writes the songs on his own and records them as demos before the band then works together to knock each piece into shape. So given Penglis’ time spent producing other acts and his bandmates also being involved in their own projects (Griggs with Palms, and Garrick with her solo project Angie plus her other collaborative efforts with Circle Pit, Ruined Fortune and Southern Comfort), it’s understandable they took some time in releasing Rising. |
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This is a progressively better album than their first. It sounds more psych in parts and is sometimes a little dark. It’s more measured and considered but don’t think for one second that it’s time to roll the rocking chair out onto the porch and sit with a blankie over your knees in the afternoon sun. No dude, this is a 13 track fun time that intends to party (then puke) in your ears. From the fuzzed out “Fruit Of The Forest”, straight into the crash riddled “Can’t Stand It” it’s hard to sit on your arse listening to this record. Petrified is the saucy, Troggs-inspired first single from the album (and comes complete with a clip shot by Penglis and Lawrence Hall and edited by Garrick) and “Rotten Teeth” packs a considerable and repeated punch for it’s entire 1.17 minutes that has me fearing for my neck muscles. There isn’t one track on this album that I don’t love and after hearing how they totally kill it live (at times wrapped in a paper rainbow) I am seriously amped for their tour, which has just kicked off in Sydney.
Take my advice and use the first track “Introduction” to limber up and stretch because it’s the only chance you’ll get to save yourself from a buzz killing dance floor injury before the cacophony kicks in. By Fee B-Squared 
Owen Penglis and Alex Grigg image courtesy of Rod Hunt
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See Straight Arrows live
Friday 20th June - The Brightside, Brisbane; Saturday 28th June - Fishbowl, Newcastle; Saturday 12th July - Northcote Social Club, Melbourne;
Friday 29th August - Power Lunches Arts Cafe, London; Sunday 31st August - Bethnal Green Working Men's Club, London.
Friday 29th August - Power Lunches Arts Cafe, London; Sunday 31st August - Bethnal Green Working Men's Club, London.
Read more about Straight Arrows
Read interviews with Angie Garrick (courtesy of Pitchfork) and Owen Penglis (courtesy of Mess & Noise). You can also check out the reviews of Rising courtesy of The Music, Three Thousand and Herald Sun plus a Sunday morning themed mixtape put together by Owen Penglis for
Two Thousand.
Two Thousand.
Angie Garrick image courtesy of Elliott Lauren
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Adam Williams image courtesy of Elliott Lauren
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Hospitality - Trouble (Feature Album 9 June 2014) By Fee B-Squared
Image courtesy of Hospitality
One album I keep going back to this year is the second release from Amber Papini (guitar, vocals), Nathan Michel (drums, percussion) and Brian Betancourt (bass, vocals) who make up Brooklyn based trio Hospitality. In case you missed it earlier this year, strap yourself in.Trouble is the incredibly catchy follow up to their self-titled debut from 2012, which garnered lead vocalist Papini many comparisons to the twee indie-pop leanings of Camera Obscura’s Tracyanne Campbell. While twee is often bandied about with negative connotations, probably because few can really pull it off, Hospitality work it to their advantage. While their debut waxed lyrical about love and life in your early twenties, Trouble continues to tread the same path as they document love and anguish in their late twenties. Hospitality continue to expand on everyday surroundings and how they can sometimes create anxiety. When asked about the lyrics, Papini has said “The ocean isn’t meant for people; we aren’t supposed to be there, and some of the animals that live there are much bigger and faster than we are in the water. I think a lot of the songs deal with this ‘out of place’ kind of theme, feelings of unease and the questions of what is under you or what surrounds you.” Alrighty then.
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Recorded at Vacation Island Recording with Matt Boynton (Sonic Youth, Deathcab for Cutie), the name of the album was loosely based on the creative process during that time. According to Papini “We disagree a lot, but I think everyone is open to hearing and trying different ideas. I think the creative conflicts help make good music.” She also added “Though the process can be troubling, it’s extremely rewarding when it sounds good.” Rewarding it most certainly is. Trouble isn’t as busy and in your face as their debut, giving the listener a bit more space. Their shift in sound was a conscious decision made to gain a more natural sounding album with minimal editing on the computer.
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What you hear on Trouble is probably more indicative of what you might hear from them in a live setting. If you want to delve a little deeper, you can also go back to how their sound has developed since their first EP was released in 2008 and read why Stereogum labeled them “Band To Watch” way back in 2009.
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This album is full of surprises. Starting with “Nightingale” we hear Papini’s sweet and slightly dark opening gambit “If you go to sleep dear/ you’ll see ghosts in your bed” before we’re hit with a brief interlude of sludgy, early Black Keys-esque guitar and then return to Papini’s vocals with keys and strings not too far behind.
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“Going Out” takes it down a slinky notch, with a smooth bass line, handclaps, and Michel’s understated percussion throughout, which I love. You would be excused for getting carried away with the pace of “I Miss Your Bones” before it dawns on you that those lyrics are about leaving someone you love “And all the stars will / Twinkle in the midst of a sea / Of black and lonely /An everlasting loss lack abyss.” Sweet lord, pass me a tissue.
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The short, synth-driven “Inauguration” shows some emotional toughness with “And if I’m lost and low / And need you / I’ll disconnect the line.” Musically, this album is like some sort of delicious onion - as you peel away its many layers with each listen, it delivers something new. Crash cymbals are used to great effect on the beautifully meandering “Sullivan” and don’t even get me started on how well placed the trumpet is when it comes in perfectly timed on “Sunship”.
I’ve been listening to this album repeatedly since its release and I can safely say that whether it’s the pace of a track that sets you off, or the lyrics that resonate with you, or both, Trouble delivers something for every mood. Go on, let Hospitality take you for a spin. You won’t be disappointed. By Fee B-Squared |
More info about Hospitality
Read the reviews of Trouble by Consequence of Sound, Pitchfork, Drowned in Sound, Paste Magazine, Rolling Stone and NME or read an interview with Amber courtesy of Bowlegs.
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Images courtesy of Eric Ryan Anderson
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Ought - More Than Any Other Day (Feature Album 2 June 2014) By Fee B-Squared
Image courtesy of Ought
Post-punk quartet Ought have released their debut album and it’s a sweet surprise package. Not what it seems on the surface, More Than Any Other Day features eight tracks that feel more like a journey than a quick punch in the face. Although based in Montreal, Ought is made up of four expatriates who came to meet up thanks to Canada’s independent music scene and it’s affordable university tuition. Guitarist and vocalist Tim Beeler, was originally a poet and folk musician from New Hampshire who met up with New Jersey native Matt May (keyboards) and Australian Tim Keen (drums, violin). They soon became housemates, sharing an apartment that they also used as a rehearsal space. Not long after, they were joined by Portland’s Ben Stidworthy on bass. In 2012, Ought not only recorded their New Calm EP in the apartment’s biggest bedroom, but that space is also where they played their first gig. Their bond and energy was further fortified while taking part in Quebec’s mass student strike and protests against the proposal to raise university tuition by almost $2000. Ought will certainly not be the last band to have the fire in their belly stoked by politics and activism but in a recent interview with Impose, Beeler claimed “There’s no such thing as a non-political band, or a non-political entity. We aren’t political rock, because that’s diminutive. It’s more that we’re just making our art, and expressing ourselves as we’d like to.”
Ought have gained a few interesting comparisons, and while I agree with most of them, I think it’s important to note that they aren’t replicating anyone in particular. They definitely have their own thing going on. I hear touches of everything from Gang Of Four, Television, Violent Femmes and David Byrne through to Clap Your Hands Say Yeah, The Dirty Three and Clinic.
“Pleasant Heart” is an awesome choice to kick the album off and is the only track that also appears (in a slightly altered form) on their EP.
Essentially the title track, “Today More Than Any Other Day” reminds us that we’re all in this together and no matter how banal choices are at times (“today, more than any other day, I am prepared to make the decision between two percent and whole milk”), we also need to remember that “today, together, we’re all the fucking same.”
Ought have gained a few interesting comparisons, and while I agree with most of them, I think it’s important to note that they aren’t replicating anyone in particular. They definitely have their own thing going on. I hear touches of everything from Gang Of Four, Television, Violent Femmes and David Byrne through to Clap Your Hands Say Yeah, The Dirty Three and Clinic.
“Pleasant Heart” is an awesome choice to kick the album off and is the only track that also appears (in a slightly altered form) on their EP.
Essentially the title track, “Today More Than Any Other Day” reminds us that we’re all in this together and no matter how banal choices are at times (“today, more than any other day, I am prepared to make the decision between two percent and whole milk”), we also need to remember that “today, together, we’re all the fucking same.”
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My immediate favourites come in quick succession. “Habit” is not as dark as the title may suggest because sometimes habits are good. Habitual self expression? Why the fuck not? Just unload. “I feel a habit forming. Do you feel it like I feel it ‘cause I need to know I’m not alone.” I’m with ya.
"The Weather Song" is as catchy as all hell, as Beeler cleverly declares “I believe in keeping more than time.” A slight change of pace comes when “Forgiveness” starts out in an atonal way, where the clashing notes have you feeling a little uneasy. This is actually used to interesting effect throughout the album, but predominates on this track. |
 Image courtesy of Ought
Although you might feel uneasy listening at times, it tends to be shortlived and Ought never get too heavy. They have a way of uplifting you and making you feel like no matter what, everything is going to be ok, as long as you just get out there, take part and feel it all. The juxtaposing lyrics on “Gemini” seem like they’ve been stolen from my very own brain too “I retain the right to be disgusted by life/I retain the right to love everything in sight.”
While we might sit back and stroke our collective chins about the clever use and unifying nature of the cover photo, it’s interesting to note that the DIY ethos continues with the photo found on top of a rubbish bin. The fact that they salvaged something from someone else’s waste, is yet another example of the inventiveness of this band. It’s hard not to think of this as a punk album for people who aren’t usually fans of punk. No matter where you stand, I highly recommend you get amongst this brilliant debut. By Fee B-Squared |
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Want more Ought?Read reviews of More Than Any Other Day by Drowned In Sound, Consequence of Sound, Exclaim, Pitchfork, Clash Music and All Music.
Read an interview with Ought courtesy of Impose or watch the band perform "Clarity" live for Montreal Gazette. |
Image courtesy of Montreal Gazette
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Image courtesy of Impose
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Listen to the MadfaMusic Feature Albums from May 2014 here
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Sylvan Esso - Sylvan Esso (Feature Album 26 May 2014)
Chad VanGaalen - Shrink Dust (Feature Album 19 May 2014) tUnE-yArDs - Nikki Nack (Feature Album 12 May 2014) The Murlocs - Loopholes (Feature Album 5 May 2014) |
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Listen to the MadfaMusic Feature Albums from April 2014 here
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Ghetto Ghouls - Ghetto Ghouls (Feature Album 28 April 2014)
Woods - With Light and With Love (Feature Album 21 April 2014) EMA - The Future's Void (Feature Album 14 April 2014) Mac DeMarco - Salad Days (Feature Album 7 April 2014) |
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Listen to the MadfaMusic Feature Albums from March 2014 here
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Teeth and Tongue - Grids (Feature Album 31 March 2014)
The War On Drugs - Lost in the Dream (Feature Album 24 March 2014) Sun Kil Moon - Benji (Feature Album 17 March 2014) Real Estate - Atlas (Feature Album 10 March 2104) Angel Olsen - Burn Your Fire For No Witness (Feature Album 3 March 2014) |
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Listen to the MadfaMusic Feature Albums from February 2014 here
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Beck - Morning Phase (Feature Album 24 February 2014)
Sharon Jones And The Dap-Kings - Give The People What They Want (Feature Album 17 February 2014) Dum Dum Girls - Too True (Feature Album 10 Feb 2014) Warpaint - Warpaint (Feature Album 3 Feb 2014) |
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Read the MadfaMusic Features from January 2014 here
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In January, rather than feature albums we did features on four great Melbourne Independent Record Labels.
Chapter Music (Feature 27 January 2014) Mistletone Records (Feature 20 January 2014) Remote Control Records (Feature 13 January 2014) Aarght Records (6 January 2014) |
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Listen to the MadfaMusic Feature Albums from December here
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Dick Diver - Calendar Days (Feature Album 30 December 2013)
Parquet Courts - Light Up Gold (Feature Album 16 December 2013) Beaches - She Beats (Feature Album 9 December 2013) Phosphorescent - Muchacho De Lujo (Feature Album 2 December 2013) On 23 December we published our Best of 2013 lists. Listen here. |
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Listen to the MadfaMusic Feature Albums from November here
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Cave - Threace (Feature Album 25 November 2013)
Swearin' - Surfing Strange (Feature Album 18 November 2013) Arcade Fire - Reflektor (Feature Album 11 November 2013) The Poets of Rhythm - Anthology (1992-2003) (Feature Album 4 November 2013) |
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Listen to the MadfaMusic Feature Albums from October here
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Best Coast - Fade Away (feature Album 28 October 2013)
Cass McCombs - Big Wheel & Others (Feature Album 21 October 2013) Zeahorse - Pools (Feature Album 14 October 2013) Mazzy Star - Seasons Of Your Day (Feature Album 7 October 2013) |
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Listen to the MadfaMusic Feature Albums from September here
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Adalita - All Day Venus (Feature Album 30 September 2013)
Sebadoh - Defend Yourself (Feature Album 23 September 2013) Ty Segall - Sleeper (Feature Album 16 September 2013) Washed Out - Paracosm (Feature Album 9 September 2013) Horrorshow - King Amongst Many (Feature Album 2 September 2013) |
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Listen to the MadfaMusic Feature Albums from August here
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King Krule - 6 Feet Beneath the Moon (Feature Album 26 Aug 2013)
Laura Veirs - Warp and Weft (Feature Album 19 August 2013) Pixies - Doolittle (Feature Album 'from the vault' 12 August 2013) Pond - Hobo Rocket (Feature Album 5 August 2013) |
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Listen to the MadfaMusic Feature Albums from July here
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Pluto Jonze - Eject (Feature Album 29 July 2013)
Ben Mason - Holes and Corners (Feature Album 22 July 2013) Jessica Pratt - Jessica Pratt (Feature Album 15 July 2013) Kieran Ryan - Kieran Ryan (Feature Album 8 July 2013) Jagwar Ma - Howlin' (Feature Album 1 July 2013) |
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Listen to the MadfaMusic Feature Albums from June here
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Tricky - False Idols (Feature Album 24 June 2013)
Junip - Junip (Feature Album 17 June 2013) Jen Cloher - In Blood Memory (Feature Album 10 June 2013) Laura Marling - Once I Was An Eagle (Feature Album 3 June 2013) |
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Listen to the MadfaMusic Feature Albums from May here
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Hanni El Khatib - Head in the Dirt (Feature Album 27 May 2013)
James Blake - Overgrown (Feature Album 20 May 2013) Super Wild Horses - Crosswords (Feature Album 13 May 2013) Matthew E. White - Big Inner (Feature Album 6 May 2013) |
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Listen to the MadfaMusic Feature Albums from April here
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The Black Angels - Indigo Meadow (Feature Album 29 April 2013)
Yeah Yeah Yeahs - Mosquito (Feature Album 22 April 2013) Kurt Vile - Wakin on a Pretty Daze (Feature Album 15 April 2013) Unknown Mortal Orchestra - II (Feature Album 7 April 2013) |
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