Artist of the Month


Hideous Towns

 “Hideous Towns got their start post-high school, when members Ryan DeCoite and Chris MacLean moved in together and starting to write music. Drummer Ashley Stirling joined the band next, thanks to a specific pub and a family member with connections to Ryan, followed by Alana West, who was looking to get involved with a band after moving to Melbourne. Straight away it was clear that West’s vocals fit in perfectly with the band’s overall style and direction. Since playing their first show in September of 2013, Hideous Towns have been gigging steady, have self-recorded and self-released two singles (“Don’t Look Up” and “Joy”), and have also released their debut self-titled EP in November of 2014.”

Read the full article from Replicant Ears Magazine.

Hideous Towns on Bandcamp.

Hideous Towns on Facebook.

Hideous Towns

– March 2015 –


“[TV SETS] debuted [summer 2014] with a very brief EP titled Rat Tar Art, which, in a review for this publication, I described as ‘honest and fragile,’ a quality that ‘is hard to find in an industry where everyone’s trying to get noticed by being the biggest, the loudest, and the best.'”

“With the release of a second short EP, GEN POP, so soon after the first, I am filled with a tremendous amount of hope for the project. It signals to me that these two are more interested in progressing than they are in devoting time into one long, same-sounding record. It is very exciting to be able to watch a project take shape like this. I find it’s like the development of a great character in a well written novel.”

“With a lo-fi mask that fails miserably to cover up its intelligent craftsmanship, GEN POP is a groovy bit of artistic charm and promises to be a glimmering chapter in a long series of accomplishments for a uniquely talented group.”

Read the full article from Replicant Ears Magazine.

TV SETS on Bandcamp.

TV SETS on Facebook.

TV SETS on Instagram.

– December 2014 – February 2015 –



“… by far the most well-produced and engineered record I have heard in a long time. All the bells and whistles are crystal clear despite strong, pulsing beats and smooth, rolling disco-style basslines that could easily have overpowered a lot of the more subtle touches. From a production standpoint alone, [Capital Cities’ debut album In a Tidal Wave of Mystery] is worth its weight in gold.”

“… what Capital Cities have done is taken a sound straight out of the late seventies/early eighties and intelligently applied it to said genre in a way that is extremely forward-thinking. Instead of outright copping a style from the past, these gentlemen have seemingly gone back in time, learned the style, and leapt forward thirty years to accurately represent just what that style would sound like had it survived long enough to use modern techniques.”

In a Tidal Wave of Mysery has been a favourite of mine to listen to in the car for some time and a great deal of time to follow, I’d imagine. If all you hear when you listen to this record is a straight-forward dance album with simple jingles, you have been fooled! There is so much more going on than meets the eye (or the ear, as it were). Without a doubt one of the highlights of modern recording and a great example of just how brilliant mainstream music is capable of being.”

Read the full article from Replicant Ears Magazine.

Capital Cities’ official website.

Capital Cities on Facebook.

Capital Cities on Twitter.

– November 2014 –



“Harren’s work ‘takes the science of a composer like Eno, and the spirit of a composer like Oldfield, and combines the two in a bold display of human dichotomy.'”

“That the author has clearly battled with being different throughout his life makes Tentative Armor that much more compelling and listenable. It has its flawed moments where perhaps things are a little too literal, but such things are sometimes necessary to expose the reality of the situation. At those moments, as a listener I’m annoyed that it’s taking away from the beauty of the music, but as a ‘reader’ I’m pleased that the author’s humanity bravely appears every once in a while to remind us that this is someone really opening up. It’s the kind of struggle between perception and emotion that, in the end, is what true art is all about.”

Read the full article from Replicant Ears Magazine.

Michael Harren’s official website.

Michael Harren on Facebook.

Michael Harren on Twitter.

– October 2014 –



“[Darroh] Sudderth, with his veritable tickle trunk of vocal styles and brilliantly abstract and poetic lyrics, soars throughout the disc and thus stands out quite apparently. The damn – DAMN – solid rhythm section of Brett Stowers (drums, percussion) and Jon Dicken (bassist – good beyond reason) stands out in many key places… Guitarist Cliff Campbell pulls out a savage combination of chunky rhythm and awe-inspiring lead hooks… Perhaps most remarkable to me (not because he’s better than the rest but because I simply do not hear a lot of unique keyboardists these days) is Matt Langley on keys. Unlike the work of highly touted modern keyboardists like Jordan Rudess (no disrespect to his talents, but dude’s more than a little overboard sometimes), Langley’s keys creep around beautifully in the listener’s periphery and he uses a range of stunning sounds to enhance the beauty of the songs, even when they are at their most savage… Matt Langley is beyond a shadow of a doubt my favourite modern keyboardist.”

“Late in 2011, drummer Brett Stowers and bassist Jon Dicken left the band and were replaced by Logan Kennedy and Ryan Collier respectively. Unfortunately, the band is currently on indefinite hiatus, with sources offering a variety of statuses. Many of the band members are currently working on different projects. There was talk of Darroh Sudderth releasing a solo album but there don’t seem to be any recent developments to speak of. Of course, I wait with bated breath for another record from the band proper, but the band’s official website claims this could be a while. Until then, we at least have two remarkable masterpieces to listen to. All said, neither of Fair To Midland’s two major-label releases is better than the other. I believe both of the albums and the band itself to be landmark events in the modern history of progressive music.”

Read the full article from Replicant Ears Magazine.

Fair To Midland’s official website.

Fair To Midland on Facebook.

– September 2014 –


“This new line-up of course features the one mainstay, Robert Fripp on guitars, as well as a dream team that is sure to unleash the kind of brilliance we’ve come to expect from Crimso. Joining him are holdovers from the (sort of) last record are Jakko M. Jakszyk on vocals and guitar, Mel Collins on sax and flute, Tony Levin on bass, and Gavin Harrison on drums. With two additional drummers, Crimson alumnus Pat Mastelotto and new addition Bill Rieflin, King Crimson have actually managed to somehow one-up their ‘double trio’ line-up from 1995.”

“Electing to replace longtime vocalist/guitarist Adrian Belew with Jakszyk and having Mel Collins in the line-up has screamed to me that this configuration of the band is very keen on capturing the feel of the first four records. Jakszyk was previously part of the 21st Century Schizoid Band, a tribute band made of former Crimson members that focuses on material from just those early record. As such, he can cover very well the vocals done by Greg Lake, Gordon Haskell, and Boz Burrell…”

“Let me tell you, it’s bloody good to be in Crim mode again!”

Read the full article from Replicant Ears Magazine.

DGM Live official website.

Inner Knot Records on Facebook.

– August 2014 –



“In a world where many great bands have turned into live-from-a-casino-near-you acts, Yes should be receiving praise for continuing to release albums. Good, bad, or what have you, I’m just happy to have a new Yes album and simply putting a disc into the player that has their name on it brings a joy to my space cadet heart that I can’t fully explain.”

Read the full article from Replicant Ears Magazine.

Yes’ official website.

Yes on Facebook.

Yes on Twitter.

– July 2014 –



“Scene was formed at the end of 2012 in London, England and set out intent on blurring the lines between modern dance and pop rock. The band features Tallulah and Sam Bardens (who are in fact descended from prog royalty), both covering the lead vocals, with Sam also playing keys, Aaron Brown, on guitar, and Alessandro Sallis, providing all manner of electronic accompaniments.”

“[Scene blends] traditional elements (the soulful vocals and near classical acoustic guitar playing) with modern electronic glitch to produce an oddly mesmerising dichotomy. The band released a blessedly unique and utterly infectious first single “Hear No Lies” and made their live debut last June. Finally, after what has felt like a very long quiet time, the band is ready to release their debut effort.”

“Do yourself a favour and head over to Scene’s official website… These gentlemen and lady are brewing up something incredible and I can’t wait!”

Read the full article from Replicant Ears Magazine.

Scene’s official website.

Scene on Facebook.

Scene on Twitter.

NOTE: All Artists of the Month are selected based on monthly site statistics. – Editor


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