Kellie Lloyd
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Kellie Lloyd

Brisbane, Queensland, Australia | SELF

Brisbane, Queensland, Australia | SELF
Band Rock Pop




"Magnetic North review"

Kellie Lloyd starts Magnetic North with just a rhythm guitar and her voice on the lead track How To Get There. It’s a nice warm start up, as it gradually adds extra simple elements until the two-and-a-half minute mark where it kicks into a classic indie-rock rock out, albeit centred around one chord, letting the jammy lead guitars do whatever they want. When it breaks away into the second chord after what seems like an eternity, it gently seesaws between the two as an outro.

She’s spent years mastering this idea – refining her songs into their simplest form, with her subtle vocals gently working around the edges. We Are All Made Of Stars breaks up the rock – a simple piano line signals the main musical element, and she gives a bit more of her voice to us, opening up with a passion she usually reserves. Letting go a bit more makes it all seem that little bit more personal. Your Heart Is A Hunter is produced in a similar way, but her voice recedes into the background again. The piano is a welcome recurring theme and for the middle part of the album continues to be the central instrumentation. Guitars return for Foxes Down A Hole, recalling the classic ‘90s sound of the legendary Sandpit, one-time contemporaries of her band Screamfeeder.

It’s taken Kellie over two years to get this album to the point where she’s ready to release it to the world, Brisbane floods and other commitments slowing down the process. Now that it’s here, I hope she herself has the opportunity to enjoy its release as much as we do in getting the pleasure of consuming and immersing ourselves in it.

Chris Yates - Time Off Magazine Brisbane

"Second Wind"

Kellie Lloyd has been ensconced in the Brisbane music scene for years as part of the wonderful Screamfeeder, but now she’s taken the solo road and, as she relays to Steve Bell, she’s discovered that she couldn’t be happier.

For a while there a couple of years ago it looked like we might lose Kellie Lloyd to music forever, in a creative capacity at least. After a period of relative inactivity for her main project – Brisbane indie legends Screamfeeder, for whom she was bassist and co-frontperson with Tim Steward – she’d stopped playing altogether and settled into an office job, and in her own mind relegated her esteemed music career to the annals of history.

Fortunately, she eventually saw the light and returned to the musical fold, beginning a spree of writing and recording on her own which meant that when Screamfeeder pulled up stumps towards the end of last year it was only a matter of months before she was ready to release her solo album, the gorgeous Magnetic North. What could have been a devastating finale turned into a triumph, but sometimes such things are just meant to be.

“In 2009 I didn’t even pick up a guitar,” Lloyd recalls somewhat forlornly. “Screamfeeder wasn’t playing, I’d quit all the bands that I was in (or they’d stopped), and I just put my mind into working, because I hadn’t really had a career before and I was digging that. It kind of killed my creativity, but I was also really happy to put everything aside. It was nice not to have to go to practice and play shows every weekend, and just not have things that I had to do – I had no responsibilities and just got stuck into the work thing.”

Luckily the office vocation that she’d chosen still kept her around the music industry, and being so close to the action the lure of creativity eventually proved overwhelming.

“I was going to lots of conferences, and I went to Song Summit and that really opened up my eyes – I was just sitting and listening to people, and it was incredibly inspiring. I sat in on one particular interview and after a while I didn’t know whether to stay or go or laugh or cry – I just felt like something fundamentally changed in my head. Around that same time I moved into a house with another songwriter and we rented a piano – I’ve never had any lessons but I love the piano, I could sit on it all day just making up the most depressing soundtrack to my life,” she laughs. “So I started teaching myself how to play the piano and started writing little songs, and I started to focus on actually expanding on those things that I was coming up with and being really disciplined.

“It was really great. The songs just started coming thick and fast, I wrote ten songs really quickly and I had another songs that had been floating around for a really long time that I went back to and finished, and that’s pretty much how it all started.”

As is often the way with these things Lloyd had a different vision in her head for these songs, compared to how they eventually surfaced on Magnetic North.

“I was totally on a songwriting high,” she enthuses. “I felt like I was invincible or something, it was a really nice feeling. But I was writing on either the guitar or the piano, and I was really seeing much further past those skeletal versions of the songs. I’d been listening to a lot of Massive Attack and realised that my songs had this potential to move into another place, another realm of music. So my little pop songs – or the dark little songs I write – I saw as one thing, but getting into the studio we were able to add so many things to them and take them in a different direction. It was sort of freaking me out a little bit, but I think that the songs actually ended up being exactly how they should be – there’s nothing that I want to change on any of them, which is kind of pretty new for me.”

Magnetic North isn’t actually Lloyd’s debut album: she released her first solo record, For Nothing And No One, back in 1995, but although that wasn’t ult - Time Off Magazine Brisbane

"Support From The Crowd"

Kellie Lloyd of Australia is a friend of a friend (Kate Wilson, drummer for the Laurels), and in April she released a solo album: Magnetic North. The album is a true mix of sounds and moods.

On my first listen, I heard quite a lot of Alina Simone in Magnetic North. There is a touch of theatricality in Lloyd's voice, and the pensive brooding that Simone has down pat. But then you bump into a song like "Constellations"; it is joyous in the way that sleeping on an air mattress in your unpainted, first apartment is joyous. There is also something reminiscent of the best of Thievery Corporation and (it may be a bit of a leap to pair these artists, but bear with me) early Sleater-Kinney on much of Magnetic North. Lloyd moves from gnashing guitars ("How To Get There") to understated, yet loyal piano ("We Are Made Of Stars") without the album ever feeling choppy.

It was while listening to "Constellations" and then "Your Heart is a Hunter" that I realized the power behind this album is not driven by a description of "major life events," in the sense that many artists will write break-up albums. Instead, what I love about Magnetic North is that Lloyd skips the grand poetic gestures and focuses on the beauty of truly lived moments. On songs like "Dead Mans Hand" Lloyd recreates a dream sequence from many individual junctures. This sort of collage-ing is what she does throughout the album, and it makes it more interesting with every listen.

- Music Snob blog

"Highlights from The Aussie BBQ @ Cargo, London"

Video: Coming off the back of the Great Escape in Brighton, hair of the dog seemed to be the order of the day – but the sore heads did nothing to hinder some amazing performances nor lovely chats with the likes of Ben Salter, The Killgirls, Bonfire Nights, Inland Sea, Oliver Tank and Kellie Lloyd (ex-Screamfeeder). Check the video to hear from all these acts in our exclusive Aussie BBQ feature. - Backpack sounds blog

"Aussie BBQ, @ Cargo in London 13/05/12"

Kellie Lloyd was the first standout act of the night. Her unfussy alt-rock, driven by straightforward power-chord progressions, her sweet yet powerful voice and instantly memorable hooks borrowed heavily from The Breeders showcased her song writing nuance. Not only does she have an ear for a hook but the structuring of her songs display a keen sense of when simplicity can lead to boredom. She knows when to counter the straightforward nature of the songs with some powerful rhythmic detail, locking in tight with her drummer through a passage of syncopated stabs. - The UPcoming

"Kellie Watch The Stars - musician profile Geared Magazine"

One of the musicians most commonly associated with Brisbane, KELLIE LLOYD really needs no introduction. Back at his former favourite haunt Junk Bar, GEARED talks gear with the Screamfeeder-mainstay-gone-solo-artist.

GEARED: Tell us about the making of your album, Kellie.

KELLIE LLOYD: I started recording in December 2010 and we did most of the tracks in 10 days; we were going to come back in the second week of January, do the finishing touches and start mixing and then the floods happened – the studio flooded, so Darek [Mudge; producer] couldn’t really start working again until March. Then he had to move back all of the things he had booked in, so we didn’t start mixing properly until around August – I had originally planned to have the album out in July. Now the album’s coming out – it’s been a very long process; it’s been interesting to learn patience again, which I haven’t got very much of [laughs].

G: You’re officially launching the album at The Powerhouse – is it going to be with a full band?

KL: I did my single launch with a full band – Tape/Off – and I really liked it; we went to Sydney and played a few shows together. When the shows would come up and the whole band couldn’t do it, I’d just play them with Branko [Cosic; drummer]. I discovered that it was easier to get organised and I really liked the ability to control the show. With Screamfeeder, we had a language of our own – we didn’t even have to speak words sometimes; we knew what we were doing onstage. Now I’m playing guitar and I’ve got a bunch of pedals – I can look at Branko and he’ll know what I’m doing; we can make things up as we go along. I’ve really enjoyed doing that and that’s how I want to do my shows for a while.

G: The guitar you played at the recent Tym Guitars show looked a lot like an ES-335.

KL: It’s a Samick – I bought it 15 years ago brand new, really cheap, and I fell in love with it. I like a certain type of sound, but this guitar is very different-looking for what I thought I’d be playing. I use different tunings and people have said to me, “you should have a couple guitars onstage” – but I don’t want to have different sounds, so I have to do the tunings. It has the most beautiful sustain; the resonance of the body is really important.

In a way, the guitar that I have writes the songs for me – if I change guitars, I’ll probably start writing different songs and I kind of like where I am at the moment. I have my dream guitar; I have my two dream basses and all the pedals that I want. I think I’m a real monogamist with my musical gear [laughs].

G: Is it the same with pedals?

KL: Yes and no. With the bass, I’ve tried different kinds of distortion over the years and I’ve gone back to the Big Muff. For the guitar, I’ve got a beautiful custom-made reverb pedal called the Green Velvet that my friend in France made for me – it’s based on the idea of a spacey Fender Twin reverb tank. I love phaser pedals on guitar as well and I’ve had a few different kinds, but the one I have now is a [EarthQuaker Devices] Grand Orbiter – it’s absolutely beautiful.

I also use a CryBaby wah and I’ve got an [Akai] Headrush pedal, which has two types of delay – tape and normal. There’s also a [Electro-Harmonix] Freeze pedal, which can sustain the chord forever – or until you turn it off – and a custom boost made by the same friend in France called Kellie’s Big Boot Boost. It’s basically a responsive boost pedal – I use that because I don’t really want to have really overpowering fuzz. Having said that, I have a Fuzz Munchkin pedal, which I love, but it’s too much of a brutal sound for what I’m doing at the moment.

G: Which amp have you been using recently?

KL: I don’t have my own amp that I play live through, but I’ve got a nice collection of old beat-up amps: an awesome ‘70s CMG made in Brisbane – which I bought from the op shop a seriously long time ago, but it’s only this big and I use it as a practice amp – and two Coronet amps. I - Rave Magazine

"Magnetic North review 4 Stars!"

Confident solo debut from Screamfeeder bassist

Playing Kim Deal to Tim Steward’s Frank Black, Kellie Lloyd’s vocal harmonies lent an element of sweetness to Screamfeeder’s crunchy post-grunge classics – yet it’s fair to say her first full-length proper was long overdue. Recorded in late 2010 at producer/longtime SF associate Darek Mudge’s studio, Magnetic North took until now to fully materialise with various obstacles such as work commitments and last January’s Brisbane floods. Extended waits do, however, give certain projects an extra punch (unless you’re talking the Gunners’ infamous Chinese Democracy), and Magnetic North is a rather gorgeous neo-lo-fi outing indeed. Playing guitar, bass, piano and assorted percussion, Kellie’s in singer-songwriter mode throughout, her girlish voice – carrying a similar quality to The Triffids’ Jill Birt and (to a lesser degree) Art Of Fighting’s Peggy Frew – switching between fragile and emotive modes. This being a Brisbane recording, Tape/Off’s Branko Cosic and Gentle Ben’s Nick Naughton appear on drums alongside multi-instrumentalist Mudge. Psych-tinged single Your Heart Is A Hunter (available on flexidisc) makes great use of vintage organ tone and is one of the record’s immediate standouts. Full of signature ‘dirty jangle’, cuts like the opening How To Get There and Foxes Down A Hole carry an unmistakably ‘90s indie-rock feel – hardly surprising considering Kellie is one of the genre’s central Antipodean representatives – while the dreamy Lullaby For A Modern World recalls Lush in their prime. A traditionalist LP for sure, but a good one in a traditional way nonetheless.


DENIS SEMCHENKO - Rave Magazine, Brisbane, Australia

"Kellie Lloyd #1 on Triple Zed top 20"

Kellie Lloyd album Magnetic North at number #1 postion - Radio 4ZZZ

"Screamfeeder's Kellie Lloyd Strikes Out On Her Own"

I used to go see Kellie’s band Screamfeeder play when I was in my teens, along with bands like Powderfinger, Custard and (my favourites) Fur. Kellie was one of the first local female musicians I ever saw play, it was definitely inspiring. I was stoked when Rolling Stone Australia’s editor asked if I wanted to interview Kellie about her solo endeavour. Her album Magnetic North is simply put, in a word, beautiful. It has a honesty and vulnerability coupled with a lifetime of experience that makes it a captivating, engaging, heartfelt listen.

Screamfeeder’s Kellie Lloyd Strikes Out On Her Own

Finds her voice, independence and strength on second LP

On December 1st Last year, Brisbane indie stalwarts Screamfeeder celebrated their 20th Anniversary by playing a show in their home city. They did so knowing it might be their last time on stage together; drummer Dean Shwereb is relocating to the U.K. indefinitely. “We played for two hours,” tells Lloyd, “Tim [Steward, frontman] jumped in the crowd and was hugging everybody. It felt like a really important piece of time.”

As serendipity would have it the week the Screamfeeder door closed Lloyd opened another launching “Your Heart Is A Hunter” as the first single from new solo effort Magnetic North. Originally titled Holding Patterns “because I felt both the album and I had been in a holding pattern,” Lloyd admits it took some time to come to where she is at now. “These songs are more grown up,” she muses.

Confessing that 2009 found her with writer’s block and deciding to quit all musical commitments with her bands White Mansions and Warm Guns (“Screamfeeder wasn’t too active at the time”), Lloyd felt liberated in deciding to focus on a day job. “I’ve been in bands since I was 15. It was nice to have my nights and weekends back!” Another long held pattern of drinking was also broken. “I used to drink heavily. Being in a band and touring, what do you do after soundcheck? Have a drink! Giving up drinking gave me a new clarity.”

To read the full feature pick up a copy of the latest issue of Rolling Stone Australia on sale today. - Rolling Stone Magazine.

"Your Heart Is A Hunter single launch review"

Getting the business of the day out of the way, Kellie Lloyd is a methodical performer who introduces her single launch for Your Heart Is A Hunter with a spruik for the special limited edition flexi-discs available today (and perhaps the only in this format available from an Australian artist for some decades). With local boys Tape/Off providing band duties and a range of random photographic ambience in the background, Lloyd is free to lead her solo explorations that cover keys and guitar these days as a point of difference from her bassist role with seminal Brisbane trio Screamfeeder.

Setting an almost ominous atmosphere as organ tones underpin her trademark sweet vocal and sparse percussion until almost petering out, Lloyd’s brand new single suddenly launches into a full-blown band affair of grungey guitars and cymbal wash. As with Lullaby For A Modern World, it hightlights Lloyd’s knack for orchestrating a thoughtfully atmospheric buildup that is ultimately designed to be overpowered by a considered band assault almost post-rock in its intensity, though Branko Cosic’s fervent skin bashing tends to drown the vocal at times. Proving she can do pretty as well as she can rock out, Lloyd makes domestic bliss sound, well, entirely blissful with loops of keys and Luke Zahnleiter’s slide additions assuring that indeed Constellations could soundtrack an evening of backyard stargazing. Insect Wings is a playful pop romp with the kind of enunciation that provides one of the few moments in which Screamfeeder come to mind. Whilst there will generally be times where particularly a singer’s solo project will be unavoidably reminiscent of their project proper, Lloyd unwaveringly holds her own as she shows off a range of styles from dark rock through to the highs of the pop spectrum to be released on forthcoming 2012 album Magnetic North. Allowing Tape/Off a moment to jump up and down and get a bit shouty with the fun of their own track Happen Now, Lloyd closes a beautifully dynamic set with just percussion for support on Paradise. Although the track was written too late to make Magnetic North, Lloyd has more than confirmed today that the album will be a worthy purchase from an enduring Brisbane musical presence nonetheless.

Tyler McLoughlan
- Street Press Australia (Time Off)


• Kellie Lloyd solo album ‘Magnetic North’ released April 24th 2012

• Kellie Lloyd solo flexidisc single Your Heart Is A Hunter (Nov 2011)

• Screamfeeder double ablum Cargo Embargo (2011)

• Warm Guns self titled album (2007)

• Screamfeeder album ‘Introducing’ (2006)

• Screamfeeder EP ‘Delusions of Grandchildren’ (2005)

• Screamfeeder album ‘Take You Apart’ (2002-03)

• Screamfeeder album 'Rocks On The Soul' (2000)

• Kellie Lloyd Solo album 'For Nothing and No One' (1995)

• Screamfeeder album 'Kitten Licks' (1995)

• Carton EP ‘Pin Cushions and Cactus Buts’ (1994)

• Screamfeeder album 'Burn Out Your Name' (1993)

• Screamfeeder album ‘Flour’ (1991)



Kellie Lloyd, well known as the bass player in Brisbane’s Screamfeeder, releases Magnetic North, an album of beautiful, haunting songs, pure sweet pop and at times heavy and dark rock. Having written all the songs Kellie plays most of the instruments and is joined by friends Bridget Lewis (The Gin Club), Kate Jacobson (Texas Tea), Lucas Arundel (Arundel), Jeff Hahn (Los Huevos), Nick Norton (Gentle Ben) and producer Darek Mudge.

Always keen to try new and unusual things, the first single Your Heart Is A Hunter was released on 7” flexidisc, renewing interest in the forgotten format.
As with all of Kellie’s work a strong emphasis has been on the visual aspect of the project and Brisbane artist and musician Alex Gillies was commissioned to create a series of images for the cover. Alex's unique woodcut prints have been featured by the bands Harmony, No Anchor, Violent Soho and His work compliments the feel and mood of the album. Kellie is also personally making a video for each song on the album.

The live shows have been stripped right back with Kellie on electric guitar joined by Branko Cosic of Tape/Off on drums creating a dynamic wall of sound. Kellie’s recent Melbourne shows featured Clint Hyndman from Something For Kate on drums and in Sydney Kellie plays with Kate Wilson of The Laurels.

Kellie has played with Kurt Vile (US), MIke Noga, Harmony, Sounds Like Sunset, Keep On Dancin’s, Tape/Off, Jeremy Neale (Velociraptor), Kate Jacobson (Texas Tea), Valentiine. She was invited to play the 2012 Camden Crawl and Aussie BBQ in London in May and was featured in March edition of Australian Rolling Stone.

Magnetic North is available worldwide on 12” vinyl (with digital download )or CD via my website and is available on all reputable digital download stores.