1963 is the first single to be released from Heavy Beach's debut album to be released in late 2012. 
Recorded by Matt Storey @ Nick's Warehouse. 
Mixed by Clayton Pegus. 
Mastered by Jack the Bear. 
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Ali E - guitars, vocals
Clayton Pegus - bass, effects, percussion
Mark Renall - drums

1963

Good Intentions

Feature track.
Recorded by Matt Storey and Clayton Pegus @ Nick's Warehouse
Mastered by Jack the Bear
Mixed by Clayton Pegus
Produced by Clayton Pegus and Ali Edmonds
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Ali E - guitars, vocals
Clayton Pegus - Bass, effects, percussion
Mark Renall - Drums

Five Days

Recorded by Matt Storey and Clayton Pegus @ Nick's Warehouse
Mastered by Jack the Bear
Mixed by Clayton Pegus
Produced by Clayton Pegus and Ali Edmonds
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Ali E - guitars, vocals
Clayton Pegus - Bass, effects, percussion
Mark Renall - Drums

Fire

I Know You'll Wait

Recorded by Matt Storey and Clayton Pegus @ Nick's Warehouse
Mastered by Jack the Bear
Mixed by Clayton Pegus
Produced by Clayton Pegus and Ali Edmonds
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Ali E - guitars, vocals
Clayton Pegus - Bass
Mark Renall - Drums

Warm Shadows

Heavy Beach is the hand crafted creation of Melbourne fuzz-songstress Ali E (Damn Terran, Little Athletics), Mark Renall (Howl At The Moon), and Clayton Pegus (Spun Rivals). The band started in 2010 as a duo under the name Ferry Tails, playing gigs all over Melbourne before Clayton joined, adding another creative mind between Ali's guitars her loop pedal and Mark's set of vintage drums.

Driven by unconventional song structures and tunings, Heavy Beach create grooves along which an entire song can float, rip through raucous guitar solos and underpin songs with fuzzy, melodic bass and potent drums. It’s easy to see why bands such as Dinosaur Jr, Dead Meadow, The Clean and Sonic Youth are on their list of influences—they have harnessed the power of dirty guitars and melody in a way achieved by few in today’s musical landscape.


REVIEWS:
"Lead vocalist Ali Edmonds shreds on the guitar but sings forlorn melodies that juxtapose the group’s instrumentation. She plays the guitar fearlessly, letting the higher notes wail during her solos."
—The AU Review
