“There was definitely authenticity to the work I’ve done before, but I was more interested in hiding truth amongst fiction… For Native Tongue I just wanted to stop hiding my truth. I wanted to step away from all the bullshit and say all the things that for so long I wanted to write but the industry was telling me it would be too ‘confronting’ or wouldn’t sell.”
Sometimes people walk out of Sarah Mary Chadwick’s shows because they deem them too depressing. There is something in Chadwick’s sparse piano playing and the languor of her voice that makes her songs sound sad even when maybe she isn’t, at least, not entirely, writes Kimberley Thomson.
“Liddiard’s right: the new band’s enlarged sonic vocabulary suits his lyrics, saturated as they are with deranged technicolour allusions to everything from the titular Papuan laughing death to placenta-chewing Toorak mums and hot stuffed pizza crusts.”
Modern Convenience is a frenzied, critical observation of life under late capitalism—best witnessed live.
In spite of their modesty, RVG inspire feverish levels of affection from their audiences. At the launch of their album A Quality of Mercy, at the Tote last year, crowd members embraced and tears flowed.
The second Swampland returned with help from Emlyn Johnson, Biscotti, Spike Fuck and Marcus Whale.
"At every step, looking in from outside, Total Giovanni have seemed like a deliberate project, but so much of it has been the fortuitous accidents of happy experiments."
“From those of us who went prancing off to the big smoke, Smiths albums clutched tightly to our chests as we waved goodbye to the old folk, the bogans and the pub with whalebones out the front, we say thank you 3RRR — you saved our lives”.
Swampland has begun because I think there is a place for a magazine that tells specifically Australian music stories—something that asks intelligent questions about the music that is being made here, or has been made previously, and wonders what that says about the larger context of who we are.
Swampland acknowledges that our publication is made on the stolen lands of the Wurundjeri peoples of the Kulin nation.
We pay our respects to their Elders past, present, and emerging. We acknowledge that sovereignty has never been ceded.