PerthZine

Tag: ep review

  • EP Review – The Off Set: Stars Shift Over Time (2026)

    EP Review – The Off Set: Stars Shift Over Time (2026)

    Off Set Guitars and Stars

    Rating: 4 out of 5.

    The Off Set have released a three-track EP full of jangly goodness. The Perth/Boorloo multi-songwriter four-piece are clearly having fun making the music they want to make, and that sense of enjoyment comes through.

    The EP opens with The places she only wished that she could go, written by Barry Divola and probably the catchiest of the tracks. See our single review of the tune here. It remains an earworm, but there’s enough going on beneath the catchy surface to make you dig a little deeper into what it’s actually about, referencing the strange phenomenon of youths going missing prior to the Tokyo Olympics in 1964.

    Pretty One, written by Zack Yusof Young, presents a somewhat darker tone but no less accomplished. With a hint of Gary Moore’s Still Got the Blues, it’s moody but still features plenty of the guitar licks that define the band’s sound. It’s nice when artists can broaden their palette while still sounding like the same band.

    Dave Wallace contributes the third track, Dusk Till Dawn, and moves back into catchy jangle. The tune sits somewhere between 60s acoustic rock and 90s alternative and features some fine imagery of the sun and moon sharing the sky, juxtaposed against the struggles of a relationship (yep, true literary ascendancy has been achieved with the use of the word juxtaposed). The track proves the band are a triple threat of songwriters, while still managing to sound cohesive as a unit; something that shines through in their live sound as well.

    Stars Shift Over Time shows there’s plenty of songwriting depth within The Off Set, and makes you interested to hear where they go next. If it’s anything to go by, we can expect more quality, varied songwriting in the future.

    The Off Set are launching a limited vinyl pressing of the EP at Lyrics Underground on August 29.

    Tickets are available online now – Tickets

  • EP Review – Elena Dakota: Three Geese (2026)

    EP Review – Elena Dakota: Three Geese (2026)

    Folk Music the Right Way

    Rating: 4.5 out of 5.

    Elena Dakota, hailing from the remote Western Australian town of Derby, has released a new EP featuring some seriously good muso collaborators and gorgeously crafted songwriting.

    The three tracks are a masterclass in nuanced bedroom folk. Opener Shapeshifting is both intimate and expansive at once, with Dakota’s main vocals backed by harmonies full of reverb. She pours her heart out in the chorus, singing “oh what a thing to love you / shapeshifting through these years”, and then yearns further in the verse: “I had a dream and it woke me / the need to tell you I care, I care, okay.” You can hear the room she’s recording in.

    Concrete ups the tempo a little with lead guitar that could have come straight from an early Leonard Cohen record. It’s loose but swings beautifully as she sings about flip flops slapping on the concrete. The mandolin and banjo backing, by Jason Snook and Jack Davies respectively, livens the tune up and it really feels like walking.

    The excellently named daylight pours itself (bright like orange juice) lets us know Dakota is no fluke. The vocal harmonies are rich, while the lyrics are quietly mournful. It could be the most radio-friendly song and wouldn’t be out of place next to songs from Laura Marling and other folk pop mainstays.

    The tracks are bookended with sounds of recording, giving the EP an intimate feel. Meanwhile the production and layering really elevates this record into a class of its own. Dakota appears prolific in her songwriting and has more music coming. We can’t wait and recommend others jump on board. With songs like these, it’s hard to see her music not reaching a wider audience.

  • EP Review – lovemenot: Strike !! Between the Teeth

    EP Review – lovemenot: Strike !! Between the Teeth

    Post-rock goodness

    Rating: 4 out of 5.

    lovemenot have been busy lately, rising up into the Perth/Boorloo post rock scene rapidly. Following the release of a couple of solid singles, they now have their first EP on the table. It’s an intriguing snapshot of the band.

    Opening with Waltz, we immediately get hit by the guitar work of Michael Bourguignon and the scene is set for an album full of punishing riffs. The rest of the band quickly join in the fun and we’re in full swing. The first thing that becomes apparent is how well the band play together; it’s clear they have been playing together for some time. The dynamics are on full display here as well, with the band dropping to quieter parts, letting singer Eleanor Edwards show off her vocal range before the band explodes in the heavier parts.

    The Tower comes in heavy and is relentless in its attack, and probably the strongest song on the record from a radio-friendly perspective. It’s big and heavy with a catchy chorus. It gets interesting in the middle, where it breaks down into gentle keys before going into a jazz freakout.

    The most interesting track on the EP has to be As Above… It’s an unexpected turn from the heavier post rock making up the rest of the record. It’s a gorgeous, stripped back song that sounds like it was recorded in someone’s backyard. With soft acoustic guitar and birds chirping for the intro, the song then proves a showcase for Edwards vocal abilities, with pleading lyrics singing “I’ll try, I’ll try, try again”.

    This is lovemenot, so of course the track doesn’t end with this. The second half of the song has a movie-soundtrack-like build-up as the rest of the band come in. The noise builds to a crescendo that seeps into …So Below. The fourth track is a continuation and clocks in at only forty-seven seconds long. It presents as a bridge between the quiet middle track and the epic finale. The washed-out distorted guitars are reminiscent of Interpol at their most post.

    The EP finishes with the just-under-eight-minute Void. The tune is probably the most punk-rock-influenced and is awash with big guitars, vocals, synths and pounding rhythm work. Extra mention to Qayla Locke for the frantic synth work on the song. It moves at a non-stop pace for the first half, peaking in the middle before the band settle back into a steady jam for the finale. A descent into noise concludes the record, with one little flourish to finish, almost teasing how much further the band can push this sound.

    With everything from hard, fast post rock to quieter, contemplative moments, the Strike !! Between the Teeth EP is a great showcase of what the band can do, and the live show is equally dynamic.

    lovemenot are launching Strike !! Between the Teeth this Saturday, May 16 at The Bird.

  • EP Review – Greta Hat: Silver Lining Heart (2025)

    EP Review – Greta Hat: Silver Lining Heart (2025)

    Folk Gem

    Rating: 4.5 out of 5.

    This gem of a folk EP, released last year, just couldn’t go unreviewed, so it felt right to put a little time aside for this fascinating, wonderful songwriter.

    We love DIY, bedroom music and Greta’s work almost defines the genre. Opening track Love Is A begins with her singing about seemingly ordinary things (“I walk into the kitchen”) accompanied by analogue-warped acoustic guitar picking. The highlight of the track is the brilliant little sliding riff that works as a central solo. And how can simple lyrics work so well?

    Promise? follows and the track is filled with echoes, as Greta sings about “existential crisis” and creates an atmosphere that wouldn’t be out of place on a long lost folk recording from the 20s. It can’t be, though, as she sings about her sweet friends waiting for Ubers on William St.

    The picture these songs paint is so stark it’s almost scary. Ever experience the kind of music that both unsettles and soothes right into your marrow? This does that. Knowing You sounds like she’s writing it on the spot; ad-libbing her thoughts as they arise alongside strange chord changes.

    It doesn’t stop on the final track, Girl And A Meadow, which adds some glorious, heartbreaking vocal harmonies. Don’t overlook the guitar work either — it’s deceptively complex and technical, despite the lo-fi production.

    There is an air of mystery around Greta Hat that adds to the atmosphere of the EP – listen to it with headphones in a dark room and tell us this isn’t something special. More please, Greta, this is the kind of art that inspires the rest of us to want to create.

  • EP Review – Ullah: For Then

    EP Review – Ullah: For Then

    Wear It

    Rating: 4 out of 5.

    The debut EP from Ullah is here, bringing together a mix of previously released singles and a couple of live favourites. The Perth/Boorloo songwriter, now based in Melbourne/Naarm (yep, another one), makes a strong opening statement.

    Opening track I Want It All has been a radio darling since its release, showcasing Ullah’s knack for catchy, singalong songwriting. It’s a declaration of dreams and desire, balanced by the uncertainty that often comes with them. There’s a playful edge to the vocal delivery—especially in lines like “how did you know where to go?”—before the track swells into a climactic, emotionally charged finish. It’s pretty special indie-pop.

    If I Were A Fish leans into Ullah’s alternative-rock side. Full of interesting rhythms and weighty guitar riffs, it digs into self-reflection with lines like “tell me who you think I’ll be, even if it means dishonesty”. It’s a short track that erupts at the end, like a release of pent-up energy.

    Previously released single Shoulder to Shoulder is a gorgeous stripped-back alt-folk song, exploring the subconscious voice that wears away confidence. “I wear it” suggests an acceptance of that inner dialogue—learning to carry it, rather than silence it. It’s a quiet standout.

    How To Dance parts one and two offer a clear indication of what the band are capable of. Pt. 1 is a quiet, introspective exploration of the inhibitions that grow with us as we age, building into a short, anthemic release. Pt. 2 flips this—and is the most energetic and danceable track on the EP. The singalong moment “I’m looking through my own eyes” is punchy and memorable, with soaring guitar work driving it forward.

    It’s clear that Ullah uses music as a vehicle for self-exploration and healing, and the songwriting is raw and honest because of it. The ability to turn these feels into both compelling alt-rock noise and indie-pop hooks suggests there is something genuinely special developing here.

  • EP Review – Wack Mammoth: Wack Mammoth EP

    EP Review – Wack Mammoth: Wack Mammoth EP

    Mammoth’s, Yak’s, Cereal

    Rating: 3.5 out of 5.

    Wack Mammoth, who actually align with the church of the Yak, have just released their first EP and it’s a madhouse. The Perth/Boorloo band lurk in the space between fuzzed-out heavy riffage and full-blown weirdness.

    Let’s get down to the grit – these guys are something different. Think B-52s meets Queens of the Stone Age and you will be part of the way there. There’s definitely more though, and you can hear it in Alina Krasilnikova’s vocals from the get-go. Known as Potato, she sprouts out like a 90s punk-rock rebel girl in Family Dinner. The opener is short post-punk goodness personified.

    James Torpy takes over vocal duties for the riff-heavy, stoner rock Change My Mind. The slow, swinging bassline from Torpy, alongside crunchy, crunchy guitars, brings back memories of early Sabbath. Guitar man Scott Walker’s soloing gets a full display in the middle and could be described as a little Iommi-esque. The band’s originality comes from the weird, character-driven vocal play – with Potato doing excellent harmonies. Mix that with punk and stoner rock and you’ve got something.

    If you want the band’s quirkier side on full display, look no further than Mushrooms. There’s nothing subtle about this one as Potato paints vivid images of eating cake and bumping into poles. It’s humour-based post-punk that straddles a good line between serious rock and parody – the song is a fine chugging walk through the images, with muted guitars giving Torpy and drummer Rhett Robinson (is that his real name or is it Art) a chance to be up front in the mix. It goes full space sci-fi to finish after Krasilnikova sings “you said that aliens must be true”.

    Back to the other side of the spectrum with Broken Arrow, and we get more crunch and fuzzed-out guitar. You can hear the early 00s rock influence, but Mammoth give it their own kind of energy. Torpy sings “I’ll shake you out of your nightmare, and never question why”, in one of the catchiest chorus moments on the EP.

    If you wanted parody, you got it. Cereal is an absolutely ridiculous concept, but they own it and it works. Starting out sounding like Dracula’s Lament (look it up), Torpy walks us through his experience eating cereal in a Transylvanian accent, before the song hits the crunch and opens up. Potato sings “everyone is drunk, I am on the cereal”, while the band hits the fuzz again. You can’t deny the catchiness, and the yells at the end sound like something that wouldn’t be out of place at an Iron Maiden concert.

    You can’t knock these guys for putting it all out there and coming up with something different, this is what makes music great. Take a bit of B-52s, a pinch of Ween, throw in some QOTSA and Foo’s fuzz. Mash it, chop it, swirl it round, crush it. It’s chaotic, catchy, and unique – worth a listen if you like your rock weird.

    Wack Mammoth EP – produced & engineered by Ron Pollard @ Sleepwalker’s Dread Studio

    The band: Alina ‘Potato’ Krasilnikova – vocals, James ‘Turps’ Torpy – bass & vocals, Scott ‘John Smith’ Walker – guitar, Rhett ‘Art Vanderley’ Robinson – drums

    The Wack Mammoth EP will be launched on June 19 at Music On Murray

  • EP Review – Symmetrical Dogs: Birthday Rabbit Foot Wish (2025)

    EP Review – Symmetrical Dogs: Birthday Rabbit Foot Wish (2025)

    Woof

    Rating: 4 out of 5.

    The debut EP from Symmetrical Dogs is here and the creative three piece deliver a hell of a first look at what’s going on in their heads. When a live show and studio sound can be different while still displaying the personality of a band, you know there is something special going on.

    The tone is set from opener James, with singer Claire Stanwix going spoken word. It seems sparse but over the duration the synth sounds build from sweet chords to outer space in a gorgeous minor melody. The backing spoken vocals are a nice touch.

    With Americana we get a chance to hear the guitar drums and vocal songwriting, and the band keep it minimal but intense. Is laid back punk rock a thing? Think a nineties Big Thief (I’ll refrain from any more comparisons as the sound is very original). Hang around until the end for a great little guitar lick from Michael Wooldridge – is there anything finer than a riff played just a couple of times at the end of a track?

    Bossanova follows the sound, and the simple stripped production suits Stanwix’ laid back, confident vocals perfectly. It’s another example of the engaging acoustic guitar work from Wooldridge. Boyd Jarvis’ percussive chops should not be discounted either, especially when we hit the short soundscape that is Birthday Rabbit Foot Wish. Nice choice for the title track.

    Apologies and Grapes is a great song name, and Stanwix shows off she can do more than laid back. It may be a hint only, but I suspect she’s got a pretty serious range. She sings “I’m so sorry I’m too much, I am so sorry I’m not enough” in some of the starkest and best lyrics of the record.

    I suspect closing track 2000 is the sound this band will keep producing more of, finding themselves somewhere between nineties acoustic grunge and modern alt rock (no direct comparisons this time :). The synthscape behind the drums and acoustic guitar is another world, and there is a great vocal back and forth between multiple Claire’s. By the end of the song/EP they get as close to the rock-out sound that makes the live show so energetic.

    The EP is a great first effort from Symmetrical Dogs. Imagine what will happen when they get hold of even catchier hooks. I say when, not if, for a reason.