Adelaide’s Best New Music: June 2022

We’ve rounded up Adelaide’s best new music for June, including Annie Bass, Madura Green, honeybeam and Magajie.

Heaps Good Friends — ‘Snake Charmer (DJ TR!P remix)’

Last month we presented you a single from the second EP of Heaps Good Friends, heart to heart, and within hours local electronic musician DJ TR!P dropped a remix on us. TR!Ps take the tone of the hyperpop glow of the original and slow things down enough to find some softer rhythms with R&B feel. Emma Fradd’s vocals have also been lowered and chopped to accentuate the light-hearted moments of her performance. The remix lasts nearly six minutes and at times sounds awash with audio grain akin to a Washed Out song, but will occasionally break with a clear drum fill, making for a kinetic listening experience(JVE)


Annie Bass – ‘Owe You’

An overlooked late May release (Look, we’re busy folks), “Owe You” is Annie Bass in ballad mode. It builds slowly from a spacious, echoing void to a warm, swelling ocean. Vocally, Annie is dark and distressed – she creates a song to wave to alone in the pitch black darkness of a crowded larger venue(JVE)


Magajie — ‘Feeling like’

While we love artistic and opaque lyrics, it’s refreshing to hear completely clear lines. †I feel so healthy / I just want to be rich‘ serves this purpose. These mates can be found on the new strangely dissociative single “Feeling Like” from Magajie, who also runs record label Adverse Resign, and the Word on the Street and SV’s parties. The rapper writes on Instagram that he released the track – one of two – to mark a “new era” in his music career. Interestingly enough, ‘Feeling Like’ is sparse SoundCloud hip-hop, with Magajie raving about fluttering beats over capitalist dreams. Why be excited when you can be honest. (AS)


Tilly Tjala Thomas — ‘Mansion’

It’s with great regret that we missed this latest from Tilly Tjala Thomas in our May roundup, but given that it was released within a few days of June, we’ve decided this month’s worth including to become. Tilly’s earlier releases were playful, youthful and with a simple melodic structure, yet imbued with purpose. ‘Mansion’ sounds like a much more mature Tilly, venturing into club-ready pop beats and lyrics that explore interpersonal dynamics. We’re excited to see the many sides to Tilly that we’re sure to love as her singles list grows(JVE)

https://www.youtube.com/watch?v=t4SCayhZ6vw


honey ray – ‘those friendly people’

Honeybeam’s psychedelic sound has a voyeuristic quality to it. The music of the curiosities seems lyrically close to the solid, without all of them giving shape to it. ‘Those Friendly People’ is the latest single from the colorful indie pop outfit, swelling in abstract and clever lyrics, plus crisp guitars, muted synthesizers and dreamy electronic drum pads. (AS)


Workhorse – ‘No Photos’

Harriet Fraser-Barbour really puts the “work” in Workhorse. We’ve said it before, but with the festival organizer and musician on vocals, guitar, drums, bass, organ, harmonica and lap steel on a new single from a debut album of the same name, there’s only a total of two instruments she doesn’t play here: violin and pedal steel guitar. The result is a whining dream of four minutes and twenty fevers, with faded vocals and sun-bleached guitars providing a fitting backdrop for Harriet, aka Adelaide’s musical masterpiece, to do her thing with surreal self-confidence.


Ricky Albeck – ‘It’s normal’

The prodigal son of country rock Ricky Albeck summons Big Pub Rock Energy with breakneck guitars and blistering screams for his latest single, “It’s Normal.” With the help of an all-star lineup of local musicians, Jesse Davidson and Jess Johns, the four-minute burner is a departure from the musician’s former (and softer) single “Hollywood.” ‘It’s Normal’ is a fast, feverish, brazen maelstrom with the musician in mind. (AS)


Mother’s Favorite – ‘Joan of the Arcade’

For Smokelovers last week, City of Mag spied a bunch of youngsters dressed in stereotypical ’60s and ’70s regalia—camp-collar shirts with billowy muddy brown designs, bright and busy thigh-high dresses paired with bright white go-go boots and the like. Rather than costume, it read as a heartfelt tribute, but it’s a curious decade for Gen Z to hark back to. I can’t remember feeling displaced nostalgia for my grandparents’ heyday. But maybe, due to the influence of the internet, time really means nothing. Each decade can be explored in detail with a smartphone — outfits studied and entire musical eras condensed into a shuffling playlist — and so what appears to be mimicry is simple sight and influence. The Smokelovers gang carried these influences well, and the same can be said of Mum’s Favorite, which is their own blend of ’60s and ’70s (and today!) psych-pop-rock. “Joan of the Arcade” is full of throwback references—the arcade being one, as is the construction of a magnetic femme fatale as the song’s central character—switching between funk-inflected verses and psychic choruses. It takes you back to places you’ve never been(JVE)


Madura Green — ‘Wedding Finger’

Adelaide’s neo-pop-punk well continues to overflow, while Madura Green’s upbeat alt-emo returns to the airwaves in the form of ‘Marriage Finger’. The band is savage in its energy as vocalist Jordan Tito says he no longer feels contact (despite killing some of the most fun genres of music in recent memory)(JVE)


color blind – Soak

Anthemic vocals, crushing guitars and fiery hi-hats make ‘Soak’, of four-headed colorblind people, the actualized fantasy of a hardcore punk fan. Lyrically rooted in hurtful themes – the song opens with the line wring my neck when i breathe‘ – the single is interspersed with a fun and funny video clip. Together they are dripping with sweaty and heavy summer mania. (AS)


Lauren Bull – ‘Dreams are for sleeping’

Ok, again, apologies – this was a late May release that we missed, but it’s too interesting not to include. In just one minute, Lauren Bull paints so vividly with such a stark canvas—just a piano, choral backing, and a calm and intimate delivery from the singer, covered in flange. The lyrics total about 50 words, but in them all the insecurities and fears of a burgeoning perhaps wasteful young adulthood are palpable: “lost in time, never knowing what to do to make it right. I’m afraid they’ll tell me dreams are made for sleeping† The sound production is rough, but the portraits are masterful(JVE)


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