ASTREETLIGHTSONG

THE ZOO: 28.11.09
Sydney three-piece Astreetlightsong warm up The Zoo’s early crowd with ambient synth-driven rock. With singer/synth player Craig Wilson’s dominant synth and sonorous tenor the band swell into soundscapes textured by guitarist Sam Bright. Changing dynamics, drummer Ryno Madern lays down a stomping beat as Craig sequences his synth and joins on guitar for older song ‘The Lighthouse’. With Madern repeating an electro drum groove the band double synth and guitar during a more sparse number. After airing a new untitled song with a choppy guitar riff, the band follow with darkly lumbering new single ‘Remind Me’. Beginning another new track the band layer watery and squeezed digital synth with acoustic guitar. Maintaining the layered synth for their final number, the band change acoustic to electric 12-string guitar and close with an energetic song featuring jackhammer slides for the contemplative audience. - Bill Johnston - Time Off Magazine

TUESDAY, 01 DECEMBER 2009
The Great Northern Hotel - Fri Nov 27
A legendary live venue, Byron Bay’s Great Northern serves as a welcoming shelter from the marauding throngs of schoolies this Friday night. Unbothered by the alcohol-fuelled pandemonium outside, Sydney dream-popsters Astreetlightsong treat us to songs from the well-received Ocean Floor EP and some punchier new material. Singer Craig leads the Depth Charge (also the set’s best number) from behind his keyboard as the trio revisit the ‘80s with huge drums and melodic electric 12-string breaks – in short, all highly appropriate. - Denis Semchenko - Rave Magazine

Reviewed by Simone Ubaldi for BEAT Magazine in Melbourne
SINGLE OF THE WEEK

ASTREETLIGHTSONG
I Never Knew EP (Space Junk)

Young women, prepare to be wooed. Disturbingly fresh-faced and market-ready,
the boys of Astreetlightsong have been organising themselves into a powerful
force in Oz indie these three years past and they are about ready to blow.
This, their first EP, is a darkly melodic outing of familiar but elusive
strains, summoning the Verve as much as Placebo, but steadfastly unique.
With near-prog sensibilities, they can evoke the cold futuristic landscapes
of Bladerunner (Epitaph), while their single (I Never Knew) comes close to
The Strokes in its barrelling, bleak pop sensibilities. Much credit to
"TimEbandit" at Space Junk studios for the production job, which is
world-class, and my hearty applause for the boys of Astreetlightsong, who
deserve all the success that's coming their way.
- Beat Magazine Melbourne

Reviewed by Michael Smith for DRUM MEDIA in Sydney
ASTREETLIGHTSONG
I Never Knew
Spacejunk

There's an inescapable kind of quirky looking back at the dark early 80's post-punk, Cure/Joy Division, churning, urgent downstrokes vibe about this local four-piece, to my ears at least across this début EP, particularly on the title track, which follows a wonderfully jangly, soundscapey instrumental that bears all the aurally sensitive and innovative hallmarks of the record's producer, Tim Powles of The Church - and thats all good. Their music palette is far broader than that implies though, weather its the yearning of Prelude, the disconcerting edginess of Scene Stealer, or the Floydian outro.
- Drum Media

Reviewed by STEPHEN GOODWIN for RAVE Magazine in Queensland
I Never Knew
Astreetlightsong
(Spacejunk/MGM)
Inveigling debut of genre-crossing contrasts
This inveigling EP from Sydney four-piece Astreetlightsong invites comparisons. There's the Brian Molko-like vocals of Craig Wilson. The atmospheric mood is reminiscent of the Church (unsurprising – Tim Powles is the producer). And the synths hold distinct Floydian echoes. But Placebo would surely sound even darker, the Church would be less direct and prog-rock like Floyd's far more self-involved. Instead, this engrossing five-track hybrid teases with stylistic twists and clever balancing acts. Shimmering percussion dominates instrumental opener Interlusion then devolves abruptly into the more meat-and-potatoes rock of lead single I Never Knew. The heady mixture of infectious bass grooves and guitar riffage offers an appropriately big chorus while synth hints add spice. Restrained acoustic-electric territory is skilfully trod with Scene Stealer before sprawling twin-song opus Prelude and Epitaph blends hypnotic synths over echoing guitars. The final 90 seconds push the edge of art-rock dissonance with intriguing effect. Nice.
- Rave Magazine

Not to be confused with Perth outfit Streetlight (or, for that matter, New Jersey�s Streetlight Manifesto), ASTREETLIGHTSONG are a three-piece from Sydney who have been plying their trade since 2004. This is their third EP, its seven tracks in 24 minutes produced once again by Spacejunk�s TimEbandit � actually Tim Powles of The Church. With their combination of layered guitars with plenty of keyboard and synth effects over precise percussion, they�ve come up with a strong blend of pop melody and ambition. Depending on the angle you come from, different reference points emerge. At times, I see links going from �80s Kiwi notables such as The Chills and The Clean � especially the echoey guitar ping of Little Mirrors � through to Interpol. At other times, there�s a touch of The Church�s psychedelic aloofness sprinkled through the material. Meanwhile, vocalist Craig Wilson�s slightly distant emotiveness draws a line from those Kiwi bands again through to Luke Steele. He�s pivotal to the point where instrumentals like Atlantis, though neatly contrived, meander a little. The standout song for me is The Lighthouse, which brings all these elements together in one tight package � dynamics, drama and even a little mystery in four minutes. - BILL HOLDSWORTH for RAVE Magazine in Queensland

Prog rock and post-punk are reasonably disparate genres, yet Sydney trio ASTREETLIGHTSONG manage to combine the textural considerations of both without faling into the traps and excesses of either. Their new EP, 'The Ocean Floor' is a selection of tight, well-handled and evocative songs from a unique band.

Kicking off with a swathe of 'seventies synthesiser tones which wouldn't sound out of place in a sci-fi film with Depth Charge, the EP starts proper with The Lighthouse. Combining tightly controlled drums rhythms, rumbling bass and squealing synths with one hell of a cool chorus, it's immediate and effective, yet shows layers of depth just beneath the surface.

Unfortunately, nothing else on display quite manages to match up to the majesty of The Lighthouse, but there's plenty else on offer here worthwhile of your attention. Little Mirrors, in particular, has a thumping drum sound and a simple but effective interweaving guitar line, somewhat reminiscent of Interpol's (and, by proxy, Joy Division's) swirly gloom pop. Meanwhile, Crosstalk offers a quieter, more introspective moment, with its slower tempo and more organic instrumentation.

The band also show another side altogether on the acoustic Atlantis - one which, with careful time and nurturing, could turn out to be a new and interesting avenue for them. However, by the time the closing I Never Knew (Closer Mix) rolls around, the band have returned to doing what they do best - combining organic thump with a cautious, clever use of electronic and manipulated sounds, all rolled around quality songwriting and intricate production. If that sounds like your bag, then 'The Ocean Floor' is definitely a record you should check out, and ASTREETLIGHTSONG are a band to watch. Closely.
- Patrick Lang for DB Magazine in Adelaide