De Porsal SOFT COWBOY

Album Reviews by Alex Callan

For the last issue of Forte, I compiled a list of Victorian up-and-comers worth keeping an eye on. After hearing De Porsal’s newest release Soft Cowboy, I wish I had written that article a week later. Not only are the Torquay-based four-piece well and truly deserving of being included in the list, but they also are one of the few acts hailing from around the region to be bringing a genuinely different feel to the local scene. In many’s eyes, this is the most important characteristic for an up-and-coming band to possess.

Pulling elements from country, rock, psychedelia and indie, De Porsal mark themselves as a truly unique act. Having played together since they were children, the Torquay-based outfit comprised of the Willingham brothers (Cooper, Chay, Rory and Xander) boasts an array of stylistic changeups, often bouncing between genres to create ambient, cinematic-inspired arrangements.

From the slow drawl of Cooper’s baritone vocals on ‘Spur Of The Moment’, to the creeping rock n roll swagger of ‘The Soft Cowboy Pt 1’, it’s evident that the group have dabbled heavily into a country/ western rock sound for this release, however, in its entirety Soft Cowboy stands out as much more than your standard country rock record.

Instead, its output leans more into the spacious arrangements; effortless, meandering guitar licks and left-of-centre instrumentation that you’d expect from modern psych-rock outfits such as Khruangbin or Kikagaku Moyo. From the use of a jaw harp on ‘Pickersgill’, to the shoegaze-inspired distortion of ‘An Offer’, there are many moments that borrow from the free-flowing, experimental nature of psych-rock, helping Soft Cowboy to feel like a professionally curated cinematic score. The inclusion of violin; jaw harp and synths, utilised alongside the group’s assemblage of folk rock instrumentation further enhance the evocative, cinematic landscape of their sound. This seems to be a very intentional characteristic with the up-and-comers employing both Eve Wickson and their parents Kylie and Dale Willingham, to provide the foley needed to create such visceral and immersive tones.

This is quite an uncommon credit to see on an album’s liner notes. But at the same time, it’s also quite uncommon to come across a local act with such a fully-fledged vision, executed so flawlessly, so early on in their career. But yet, De Porsal seems to pull it off with ease.

Possessing an all-encapsulating sound that’s as equally suited for radio play as it is for film soundtracks, De Porsal mark themselves as all but a guarantee to be the next newcomers spearheading Australia’s alt-country scene.

Label: Independent Release date: 08/01/23

The Go Set are the first ever local act that I encountered. I was 11; they played in Point Lonsdale and the 2006 track ‘Davey’ live blew my mind. So naturally, I was pretty stoked to find out that the Geelong-based Celtic punks are still making music.

Although upon clicking on the album stream to The Warriors Beneath Us, my mind immediately raced to more negative thoughts. Everything about the album cover resembles the work of a Year 8 viscom student, immediately giving the assumption that the group’s eighth studio album will be quite elementary.

But I guess it’s true what they say, never judge a book (or album) by its cover, because The Warriors Beneath Us stands up as an incredibly solid punk rock album. It may not be the most innovative punk release we’ve seen in recent years, but it does display a significant change-up for the band, who have largely abandoned their Celtic roots for a more accessible pub-rock approach.

Tracks ‘Take Me Home’ and ‘Opportunities’ deliver boisterous pubrock chants reminiscent of Dune Rats, whilst the solos and rapid drum beats in ‘Broken Bones’ and ‘Hearts’ help to maintain a healthy dose of rock ‘n roll bravado. ‘Drink To The Night’ on the other hand, adds stripped-back guitars and a slower tempo allowing for Justin Keenan’s slower vocal cadence and heavy Australian accentuation to shine through.

Overall it’s a fun release and one that’ll undoubtedly resonate with fans of The Living End and Luca Brasi.

Label: ABC Music

Release date: 17/03/23

It’s incredibly important for unsigned acts to come out with a sound that doesn’t put them into a box, and in that regard, it is quite hard to dispute Across The Vine for the admirable effort displayed on +1

Showcasing a diverse vision; and a variety of genres and technical production abilities, the Ocean Grove-based duo mark themselves as somewhat of an anomaly in our local scene, being one of the few acts attempting to revive the late 90’s electro-metal sound.

But whilst the duo have done a commendable job in differentiating themselves from the crowd, +1 lacks cohesion as an album. Although, beyond the muddled and sometimes jarring array of sounds present in ‘Breaking The Skin’ or ‘Dreams of Horror’, some moments truly shine.

‘Let It Rain’ showcases droney Goa-trance synths and raspy, Trent Reznor-inspired vocals; ‘Sanctuary’ offers up art punk rhythms contrasted with guttural screams reminiscent of The Mavis’s ‘Naughty Boy’, whilst ‘Your Hands’ surprisingly sees the duo dabble into pop-rock.

There’s certainly a lot going on, which considering the variety of contrasting layers present, makes it astonishing to think that Across The Vine are only a two-piece. Although in making up for the lack of members, +1 does showcase a tendency to overcompensate, often leading to an output that can at times feel too busy.

Label: Independent Release date: 11/03/23

Having spent the latter half of 2010’s performing backing vocals for prominent Australian artists 30/70; Sampa The Great and Harmony Byrne, Danika established herself as an absolute force to be reckoned with the release of the experimental folk EP, When Love Comes. On her follow-up, the Down Love EP, the emerging pop sensation further expands on her infectious alt-folk sound, showcasing her incredible vocal range between a myriad of atmospheric dream-pop pop sensibilities and haunting gothic-western arrangements.

Opener ‘Coolshit Bullshit’ takes its time, leaning into folk influences by remaining subdued in its approach and allowing for the natural build of vocal harmonizations to act as its driving force. ‘Better Weather’ on the other hand, lends from the 90’s trip-hop sound through jagged rhythms; shuffled snare patterns and a combination of dissonant layers, providing a gradually compounding head-numbing effect akin to Massive Attack’s ‘Angel.’ The stripped-back ‘For My Baby,’ adds a further stylistic changeup by maintaining an ominous; creeping feeling through perfectly paired with the song’s powerful use of vocal effects.

The most memorable moment of Down Love comes in the form of the closer, ‘Fya’, which sees Danika turn trauma into song, in a triumphant yet heart-wrenching display of songsmith candidly unpacking the traumas of her previous abuse. Unafraid to shy away from the truths, ‘Fya’ bears itself as emphatic and profound, cementing Danika as an absolute tour de force as a songwriter.

Label: Endless Recordings

Release date: 10/03/23

Known for her perceptive, self-referential lyrics and dogged rock’n’roll attitude, Jen Cloher has never been afraid to look inwards and bare all. Across four outstanding albums, the Naarm-based songwriter has led listeners along a stark journey of self-discovery, seemingly never ceasing in their unwavering pursuit of both artistic and personal growth. Their fifth record is no exception, with I Am The River, The River Is Me showcasing a whole new landscape for Cloher’s sound. Inspired by their matrilineal line of wāhine Māori, I Am The River, The River Is Me boasts an array of unexpected styles, seeing Cloher branching into uncharted territory as the songwriter experiments with spacious steel guitar licks, robust horn arrangements and bilingual lyricism. Although it’s never sounded so comfortable, Cloher sounds right at home while experimenting with their Maori roots.

Conveyed with wit and charm, the lyrics present contrasting characteristics between tone and subject matter, often requiring listeners to delve deeper as Cloher masks fierce, politically charged messages behind facades of vibrant, coastal soundscapes. This doesn’t come as a surprise considering Cloher is a songwriter known to wear their heart on their sleeve, whether blatantly or subversively.

But that’s what makes Cloher such a masterful songwriter. When vulnerable, their listeners hurt with them; when jealous, they seethe with them. And now that Cloher has seemingly reached a place of content within them, fans will undeniably find solace in Jen Cloher’s emboldened new approach.

Label: Milk! Records

/ Remote Control Records (AUNZ) Release date: 03/03/23