August 2020

“Buildings” is the third single to be taken from Key Out’s Anthropomorphia album which was released this year. The band says of the track, “Buildings was always the obvious album opener. It’s got a hopeful momentum, escapist lyrics and a fuzzy accidental-guitar line that survived from an early demo.”

The single has a ‘b-side’, a remix of “Chorus” by An Heirloom from Brisbane. They reimagined it as a dark and moody song with glitchy beats and arrangements that wash over you.

May 2020

Key out is a 3-piece indie pop band from Sydney, Australia. Its members have previously played in Ides of Space, Sounds Like Sunset, and with Sarah Blasko. The band have a new bass-player, Caroline Wake, due to Saskia moving to Melbourne.

anthropomorphia

Their new album, anthropomorphia, was recorded by the band at
home, and mixed and mastered by Wayne Connolly in his Sydney studio.

anthropomorphia is a loose concept album about animals and suburban existence. the entire self recording and editing took songs in new directions – electro, acoustic, and indie rock. Synths and sequencers take a prominent role, along with acoustic guitars. Its 10 songs clock in under 25 minutes. It will be available through Half A Cow records on 26 June 2020.

A second single from the album was released in May 2020, “Stray”, and here is what they’re saying about it:

‘a hypnotic and mesmerising song – yearning vocals floating through a wall of fuzzy, sparkling guitars infused with reverb and regret. The accompanying video seems to perfectly encapsulate the late afternoon Sydney sun, yards that go on forever and romping pets – in the summers where the blinking lights don’t sleep: Absolutely gorgeous.’ – Backseat Mafia

‘An exceptional wall of sound that would easily fit in the discographies of either Kev Shields or Steve Albini, the Wayne Connolly-mixed track sees the trio dishing out a mesmerising mix of post-punk instrumentation, wrapped up in a slick two-and-a-half minute package that truly commands your attention.’ –
Tone Deaf

The first single, “Chorus”, was released in April 2020. It has angular post-punk guitars in front of the beat, 80s ballad synths behind, held together by a rogers and a 909. It’s influenced by New Order and Daft Punk (80s drums, stringy bass and fm synths) yo la tengo and the Screamfeeder (jangling, bent guitars), Chvrches and Blonde Readhead (space and pop).

What (do) you see

In 2018 Key Out decamped to Greg Walker’s (j walker/machine translations) General Store in rural Victoria to record What (do) you see, their debut album and first release on Half A Cow Records.

The studio’s remoteness and sense of space colour the ten track LP as much as Greg’s collection of old analogue equipment and sophisticated production. Paddy Haid’s detuned, angular strumming darts around Saskia Clapton’s almost independent basslines, both anchored by Rohan Geddes drumming. The result is a sometimes dark and unexpected indie pop record.

The band’s unusual dynamics are illustrated in the first single off the album, “Nameless town”. A locomotive beat and off kilter bassline set the scene. Layered melodies and counter-melodies hover long enough to catch the listener’s ear before retreating into silence or dissonance. The influence of Sandpit, Blonde Redhead and Art of Fighting is clear (under a certain light), as is band-members’ previous work in Ides of Space and Sound Like Sunset.

Greg Walker has a beautiful studio in an old bakery in rural Gippsland called The General Store,” Haid says. “Greg ended up playing some guitar, bass, keys, ocarina and other quirky things. It was always exciting to get his ideas and snippets, and they pushed the songs in different directions.”

From the upbeat, hooky “Nameless Town”, with its starring rhythm section, to the beautifully haunting “Colours” and sublime dream-pop of “I See”, the set is an assured and evocative listen that’s testament to the players’ and producer’s experience.

“We’re really happy,” Haid says. “We wanted to catch moments, good-sounding mistakes, interesting accidents. Greg’s approach was excellent for that, and I think we stayed on that path.”

The 12″ vinyl LP comes with a limited edition companion zine with liners, lyrics, guitar tunings and notes.

– bio by Bronwyn Thompson