PerthZine

Tag: post rock

  • Single Review – Flora Road: After the Talk

    Single Review – Flora Road: After the Talk

    After the Talk, the latest from Flora Road, is Perth/Boorloo post-rock at its finest. If bands keep popping up with tracks like this, there’s nothing to worry about with the music scene in this city.

    The band have stepped up production since their last single Is, with big guitar sounds delivering memorable, fuzz-soaked riffs. Cooper Wils moves between heavy wall-of-sound riffs and delicate picking patterns with ease, while Bethany Watt’s bass carries the melody duties.

    The point of difference comes from Qayla Locke’s choral vocal work. The blazing heavier bits are broken up by lighter verses, where her vocals shine alongside interesting synth soundscapes. Not to be outdone by the rest of the band, Locke rises with the track as it builds into the second half, launching from the line “so where’s my comfort” into echo-soaked screams.

    Add a horn solo to the mix and the tune is well into expansive post-rock territory, combining heaviness with a touch of the Perthsound — yes, we’re making it one word now. Very keen to hear what comes next.

    The single launch for After the Talk is this Saturday, May 2 at The Bird. Get your tickets here.

  • Single Review – lovemenot: The Tower

    Single Review – lovemenot: The Tower

    The Tower, the second single from lovemenot, opens at full blast and makes it clear this won’t be a mild experience. It only escalates from there with things pushing further into the experimental in the mad middle section. Wait for the horns to kick in, it gets intense.

    Having been written for an 11-piece ensemble there is plenty going on, but it doesn’t feel overcrowded as the current 5-piece lineup has produced a heavy, catchy, post-hardcore tune.

    Eleanor Edwards’ vocals jump in immediately, driving the catchy melodies from the first beat. There are some genuinely big moments – edging into Muse-like territory (so when I say big, I mean big).

    The turning point comes in the centrepiece breakdown where the track moves into a looser, jazz-influenced section. The space opens up starting with some smooth, mellow keys and building to a string and horn frenzy. It’s the clearest nod to the 11-piece origin (I’m not going to list them) and the song’s most compelling stretch, before dropping to the core band to close in a mirror of the explosive opening.

    A strong mix of post-rock/hardcore and experimentation from the Perth/Boorloo band. Hopefully this isn’t getting trimmed down with a radio edit for the airwaves (I know RTR would never do that!). Keep it coming guys.

  • Album Review – The Drowners: Karaoke Alone (2026)

    Album Review – The Drowners: Karaoke Alone (2026)

    Rating: 4 out of 5.

    Formed in 2021, The Drowners are keeping the Perth post-rock / gothic scene alive and let us all thank them for it. This city has a rich history of the style and we want to keep it going. Karaoke Alone is the debut album from the Fremantle 5-piece.

    Sonically the album has plenty to offer. Lots of pulsing synth melodies, jangly guitars & lead licks, and a driving rhythm section.

    Opener House Red, grooves nicely and vocalist Hugo Bartsch enters with lyrics bathed in fantasy symbolism; something like it’s the end of the world and we are apathetic about the whole thing. Let’s sit back and drink and pretend it’s alright.

    This riffy, gothic romanticism continues with Whole Days of Wasps. Daniel Kessler-esque guitar swirling around a pumping bass track, while Bartsch’s lyrics delve into insect-laden hell dreams.

    Dancing for a Dollar feels like the single of the album – catchy and danceable, with beautifully messy out-of-tune guitar moments. It pairs nicely with the heavier Lay Me Down – equally catchy but with more fuzzy bite.

    Things settle a bit for the middle of the album with the slower James Bond Theme and Evening World. There are plenty of lovely melodies running through ‘ballad’ section. Martin Amis and French Exit close this slow dance out and we are back the dancier tracks for the last few. Smiths vibes abundant.

    When I say dancier, let’s be clear I’m talking about either jumping or throwing yourself around, that’s the vibe here in case that isn’t obvious. Biting Nails has that drive which by now has become apparent is a signature of the band.

    Karaoke Alone finishes the album and the title track is an excellent tune that could easily fit in an ’80’s movie soundtrack. Light and airy but building to a driving chorus and finale, it ends things nicely and really sets the bar high for what’s next from the band.

    Keen to see how they develop and how that house red ages with more songwriting and gigging under their belt. For now this is good, raw post rock.