Held annually in Melbourne each year, this leading independent national music award has granted to artists such as John Butler, Gurrumul, Gotye, Blue King Brown, Hilltop Hoods. Past sponsors of the event have included Yagermeister, Channel V, Coopers, and Faster Louder. Such video content has been integral in securing future and ongoing sponsorship and documenting government investment. AIR awards are performance and peer assessed and they are the industry benchmark for independent artists to strive for.
Q Music Songwriters Awards. Brisbane Australia.
Live at The Tivoli in The Valley.
Shot on the EX1.
Music by: Davey Spicer and the Creatures of Habit
Valley Fiesta – Whilst once responsible for booking and programming of the Valley Fiesta stages under the banner of Q Music, Morph more recently captured the vibrancy of the Valley Fiesta on video to further marketing of Brisbane’s inner city precincts.
BigSound is Q Music’s flagship conference held annually in Brisbane. The international conference plays host to a number of prominent Australian artists and industry representatives together with an impressive list of international guests. With ever growing sponsorship and event attendance this promo video captures the essence of BigSound.
Morph also offers discrete music consulting services. Morph TV director Stuart Watters has been working in the music industry for over 15 years and brings with him a diverse pool of experiences. His experiences vary broadly from being the CEO of the Australian Independent Record Labels Association (AIR), running the Queensland Music Network (Q Music), serving on the Worldwide Independent Network (WIN) and holding a position on the International Honorary Committee at MIDEM for 5 years. In these roles, Stuart has developed a strong foundation in policy development, lobbying and evaluative processes.
Welcome. Morph is a specialist creative industries consulting and digital production company. We provide a broad range of services from international trade and licensing to visual solutions for artists, events, and organisations. Morph contributes to the development and visual positioning of both independent and commercial music clients for global markets.
Creative license – Visual Difference
Media (Film; Festivals; Conferences; Film Clips; Event profiles; Sponsorship tools; Documentary development)
Music Services (Strategic Support; Publishing; Sync; Business Planning; Marketing Plans; Grant Development)
Consultancy (Licensing; Program Development; Program Management; Strategic Delivery; Workshop Development; In-bound tour planning; Business Brokering; Event development / management)
MORPH │ TV │ PRODUCTIONS
This album is genius – it’s lush and beautiful and full of great textural aural landscapes. I also can’t help but hear an early Australian 80s rock sound from time to time. I think the Neil Young / Crazy Horse comparisons are pretty shallow because as this album gets under your skin, it becomes very clear that this is a band who is carving out something that is their own – despite the influences.
While we’re discovering the vibe of regional Australia, this 6 piece from Townsville have stumbled upon a great sound and clever instrumentation and song writing that could be considered akin to the Arcade Fire mixed with Fleet Foxes.
Their track “Blood” and the reported live performances has created somewhat of stir among labels and publishers with a number circling the band for the right to work with them. I believe they’ve signed at least the EP to Spunk and a major indie publisher is a strong contender for the publishing rights
It’s heart achingly beautiful.
Well I’m on this band wagon for sure. Picked up by Melbourne’s Triple R as album of the week last week, Wagons “The Rise and Fall of Goodtown” is a corker. I have to thank my mate Ben for the hat tip. I checked it out nline, popped in to my local JB Hi-Fi, laid out my $20 little Aussie battlers and let it lead me all the way into the weekend last Friday. On this clip below, Wagons has also used one of my favourite music clip directors Lucy Dyson (see more of her work here) particularly the Gotye, the Drones and All India Radio clips.
I can’t even begin to imagine how many songs Tim Steward has written. If he’s as fastidious and organized as he appears then I’d say he’s probably
got them catalogued somewhere in some kind of order.
This is the latest project one does in addition to a solo project and doing a 13 year anniversary of the Kitten Licks album tour. Genius. All out through Low Transit Industries. Get amongst it. Love the clip for this song – how bloody effective is simple? Bloody Genius.
Check them out on myspace here:
One of the benefits of working for an organisation such as AIR is that I get invited to sit on a number of competitions and awards programs. As such I had the opportunity to take part in the Q Song Awards judging this year which in my experience has uncovered some huge depth of talent from this state in much the same way the WAM Song Contest does and the APRAs. It is true that there is a lot of music out there and sometimes you need to sift through the muck to find the gold. Well, I think it is safe to say that in Timothy Hutton’s first full length offering, “For Bread and Circuses” is gold. Read More
This is Decoder Ring’s fifth offering and first since the beautiful “Fractions” released in 2005. It’s been a four year wait and they have delivered a rich, beautiful body of work here that is neatly packaged as a double album. It’s probably less brutal in places than previous work – dare I say it, perhaps its matured. Then again, I’d like to think I have as well!! The album was produced by Scott Colbourn who has done everything from Mudhoney and Captain Beefheart to Animal Collective and Arcade Fire’s Neon Bible. Great company for Decoder Ring to find some additional space in their hugely anthemic music. While Decoder Ring have been heaped with critical praise and recognition both here and overseas, I can help but feel that this album is deserving of the same if not higher level of attention. Read More
Yeah yeah I know – we’ve done this band before but there is more noise out there surrounding The Middle East than we’ve seen from an Australian band in a while. Also, I’ve just been to BIG SOUND in Brisbane where it was a pleasure to see a room full of people watching their magic, particularly the internationals who had heard but not seen them, it was awesome to see them pick their jaws up, roll their tongues back into place.
Well, Now they have a video clip. And it’s completely fitting with the whole vibe of the music. So while I might been a little ahead of the curve on this band a few months back I unfortunately missed the talents of this little production/animation/design house called Greedy Hen – the brainchild of Katherine Brickman and Kate Mitchell. In the short time since I’ve seen this clip, I’ve had about half a dozen examples of their work land in my hands and then its just been basic self discovery since then. Artists such as Jen Cloher, Washington, The Panics, Josh Pyke, Leroy Lee (stay tuned for him!!), King Curly and so on and so on. They have quite the following so it seems. And understandably. Read More
Yet another discovery from Big Sound was Sydney based trio The Dead Sea.
In 2008 the band was great but seeing them this year confirmed a great band was getting even better. To their credit the band says this was most likely the result of having spent a good few months touring in Europe – that kind of workload will get even the sloppiest band match fit!
The band collectively plays in a fair share of other bands (Todd Sparrow, Big Heavy Stuff, Knievel and Decoder Ring to name a few). It’s Decider Ring that draws the most obvious comparisons given the non vocal, compositional nature of the music and a live show littered with a visual images backdrop that creates a great ambience and texture to the music. I think this really highlights a coming of age and maturity of Australian music that demonstrates an un-restrained approach to creating music that isn’t confined to making hit music. Very nice. Read More