![]() ![]() Nashville, says Alex “is kinda magical for us. Meanwhile, sessions for as-yet-untitled Album #3 continue, with drummer Justin Debrincat, bassist Braiden Michetti and Nashville producer Eddie Spear playing “fifth Beatle” to the band’s creatively democratic, relentlessly expanding visions for the future of rock’n’roll. Their fans, meanwhile, held fast and multiplied as bi-annual appearances at Aussie uber-festival Splendour in the Grass escalated from rookie adrenaline rush to confetti-canon ecstasy.Īnd so to 2018, and a highly anticipated debut appearance at Mondo NYC in early October in New York City, followed by extensive touring (watch this space) through the US and Europe. So radical was the reinvention that Kingswood’s own record company thought they were being punked on first playback. ![]() It took that kind of ambition to follow up with 2016’s After Hours, Close to Dawn: an exquisitely soulful departure that opened with a 4am piano ballad titled Looking For Love and peaked with the creamy electric piano and jazz harmonies of Golden, the band’s biggest hit to date. “In the early days we were like a Led Zeppelin tribute band,” Laska recalled with amusement at the time, reflecting on how far they’d already come before adding, tellingly: “one of our first projections was to be respected by other musicians.” It made directly for the Top 10 in 2014, followed by nomination for that year’s Best Rock Album at the annual ARIA Awards. Their debut album, an electrifying act of hard rock sophistication called Microscopic Wars, was made at Nashville’s Blackbird Studio with multi-Grammy-winner Vance Powell (Jack White, Arctic Monkeys, Kings of Leon). It’s six years since Kingswood first crashed the teeming Australian touring circuit, raising the stakes for iconic headliners as diverse as the Saints and the Living End with balls-out and belching rock singles like Medusa, She’s My Baby, Sucker Punch and Ohio. “We don’t want to make the same record twice and the support we’ve received so far has made us realise that we actually can do whatever we want. “We’re a band that, in a philosophical way, wants to continue to change,” says singer Fergus Linacre. The first taste, Messed It Up - all sinewy synth-soul compulsion with a restless rock undertow - presages another stunning act of evolution. The goal posts refuse to yield on the Melbourne rock quartet’s third album, currently under construction across four studios in Sydney and Nashville. “I know it sounds insane but if you don’t strive for that kind of thing, what are you doing? Seriously, what are you doing?” “We wanted to make something that would rival Abbey Road,” guitarist Alex Laska told Rolling Stone magazine in the throes of their second album, After Hours, Close to Dawn. Like the iconic Aussie car of the same name, it’s all about what’s under the hood. ![]()
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