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“It’s introduction of a new breed stand up and organise”.
www.reverbstreetpress.com.au
JULY 10
20 000 copies monthly to over 400 outlets
gerant
JANUARY 10
Recorded over a mere seven days Greg Graffin’s first solo project outside of Bad Religion is a sincere tip of the hat to traditional American folk. The album has original compositions and songs taken from the 18th and 19th century and not often will you pick between the two. Graffin is backed by The Weatherthans, a group of musicians who use traditional folk instruments recorded live as all the greg graffin musicians sit knee to knee in a cold as the clay circle. Apart from the faultless musicianship upon this album Graffin proves himself as a storyteller likened to only the best. Inspired by Neil Young, Gram Parsons and The Band, this album will sing true to all fans of folk and all those new to the fold since the latest uprise in Johnny Cash sales. gerant
JULY 09
This album blew me away in a lot of different ways. Foremost it was the confronting lyrics that go a long way to explaining the power struggles of our modern day matrix. Feelings of hope flood my heart as I listen to this one. Visions of Bill and Ted’s Excellent Adventure colour my mind, as I ever increasingly notice songwriters such as hed P.E picking up the ball and running with it, in an effort to educate the masses in the best Back to Base way they know how. HED p.e Back to Base’s big production sets off a hard rocking jazz funk album, filled with a swag of tasty blues licks, somewhere in the vein of Living Colour. The melodic agitmetal of System of a Down is also thought, as is Cypruss Hill. KW
JANUARY 09
The first time I heard Karma County I fell in love; east meets west, laid back, unique, Australian and a little left of centre. When The Dead Marines hit my desk I realised the appeal was due to Brendan Gallagher. This short story telling poet is as refreshing as a cold beer on a Brendan Gallagher hot day – a line from one of his earlier songs. On Eve St marks Brendan’s solo debut. Brendan Gallagher Freed from the security and On Eve St comfort of a 3 piece, Brendan delivers an eclectic mix of warm and intensely personal recordings. It’s early days as a solo and that’s reflected in this release but the gems sparkle. Can’t wait for the next one. Stanley Brain
The concept: Invite a band to England and ask them to play their all time classic album front to back live for all to witness. Other bands that have previously taken to the challenge are The Stooges, The Gang of Four, Dinosaur Jr., Mudhoney, The Lemon Heads and The Dirty Three… now it’s the Melvins’ turn with their ear shattering chunk injected Houdini. The biggest problem King Buzzo faced when he was first approached to piece together this event was the fact that the Melvins were without a bass player. Unable to knock back such a great invitation, he enlisted fellow Fantomas bassist Trevor Dunn. Seeing how Fantomas create and compose songs which are next to impossible to decipher, he knew he had the right man for the job. After pulling it all together the new Melvins band hit London and Dublin with shows only the rest of us could dream of, until it was suggested that they record and release the album as Houdini Live… and here we are. The Melvins rented a warehouse near LA, gathered all the sound equipment they could carry and performed the album live for an invitation only audience. With Buzzo style crunching guitars, Dunn bass clarity and Dave Crover sounding his underpants wearing best, this album blasts out a reinterpreted Houdini with some changes and extras. This is the Melvins at their rawest and best.
JULY 08
This album stinks of five star sex, drugs and rock n’ roll. Atlanta’s Nashville Pussy have been whipping their tits and albums out since 1998 and they know exactly what they’re doing. It’s not overtly original, nor is it ground breaking rock n’ roll, but this album is bursting at the seams with riff heavy, ball busting tunes loaded with pussy, whisky and constant chants of “Hell yeah!” Lead vocalist Blaine nashville pussy Cartwright can’t help but sound get some like Alice Cooper and by no extent is this a bad thing. Also along for the ride this time is the Pussy’s fourth bass player to date, Karen Cuda. An all round big night out album which kicks more ass than a drunkard red neck! gerant
melvins a live history of gluttony and lust
JANUARY 08
dan kelly and the alpha males drowning in the fountain of youth
I feel like I am at a four yearold’s birthday, but not in a good way. I’m not falling in love very easily with the repetitive sounds and uninspiring melody. If I heard this single ‘I’m trying to lose my mind’ one more time I just may be inclined to never get it back. If I heard ‘Drowning in the Fountain of Youth’ on the radio it would be impossible to distinguish it from any other mindless pop music getting airplay. LL
cd of the month
JULY 07
“One of the most important albums of the year”, is one way to say it. This album is somewhat of a covert operation taking on various guises in order to fulfil the intent of spreading the message of Soul, funk, R&B, sampling, superior beats and rhymes. An album that is constantly on the prowl, but The Coup not necessarily the pull, well Pick a Bigger Weapon not all the time. Churlish but far from childish The Coup have you pissing yourself as one track goes into another, some tracks best described as the creation of a purple Big Bird like creature, blissed out on the Cookie Monsters secret cookie stash. KW
JANUARY 07
Music is all about sound. Pulling the perfect sound is what all musicians set out to achieve in the recording process something that Fourplay have mastered as an orgy of sound sweeps you away as every sound known to man is reproduced in stunning stereo. It’s so easy to grab hold of the groove within every song as every emotion is expressed on an album that is more akin to soundtrack. Magnetic, Fourplay entrancing, enchanting Now to the Future intoxicating, and magic are some of the words that spring to mind, as Fourplay give definition to artists such as the Strokes and Radiohead. Exhilaratingly exhausting, Fourplay makes you realise that a conductor is like a stuffed suit that is moshing harder than anyone else at the concert. KW
cd reviews
AUGUST 06
Best described as insane/indie/ punk/zombie/rock, The Goons of Doom’s debut album will rip through your speakers and trash your bedroom like a drunk teenager pissed off at nothing in particular. This album travels the entire indie spectrum and it’s an absolute treat. From trashy punk horror rock to catchy neon folk, The Goons have hilarious song titles and a large variety of the goons of doom style; this band sounds like they would put on one HELL the story of of a show. With the comedic dead barbie & ghost sensibilities of Machine Gun volcom entertainment Fellatio and the music ability of unwashed street punks The Goons are appear to be the result of too many parties and not a care in the world; a work of awesomeness in it’s most grottiest sense. gerant
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AUGUST 06
A feel good pop album that is unpredictable. With enough odd sounds to take it out of the ordinary, this album from Melbourne’s strange pop masters is bursting with catchy numbers that become instantly familiar and unforgettable. Mat Creedon’s vocals fluctuate with the music as he jumps The Ribbon Device from indie punk yelling Saturation Day to the crunchy yet casual. Adding extra dimension to the overall sound is the addition of Bar McKinnon providing keyboards and wind instruments. He adds instrumental melodies, painting an extra picture to the rhythms.
cd reviews
Rightfully known as ‘The Modfather’, Paul Weller has a history so deep in Rock n’ Roll that trying to fit a concert onto one CD was impossible. This live concert recording collects songs from The Jam, The Style Council and Weller’s solo career and squeezes it into one massive concert captured on CD. Weller’s guitar sound strums Paul Weller brightly through both discs Catch-Flame! while his backing band compliments this mammoth set (24 songs) by driving tight and steady along side him. This is a must have for Weller fans but a bit of a lengthy excursion for those who don’t know and love his music.
When Aussie rappers first hit the stage their accents were somehow amplified by their slang and location specific lyrics. Hykoo’s approach to rhyme and phrase is at times generic but overall individual. His constant referencing of horror themes is unique and ultimately humorous. Melodies by Hykoo female vocalist Snowflake The Crooked Unseen LP contrast well against Hykoo’s macho bravado. Although Hykoo is the star of the album I can’t help but put turntablists Wax Vandal and Weapon X on the pedestal - your ears prick up for their scratch and sample efforts.
This unpretentious third album from Lazy Susan offers friendly melodies and fun lyrics with poetic influences and musical relationships without being another rehashed or imitative folk/ pop recording. For their third studio outing the band packed up and headed toward rural Victoria where they chose to relax and Lazy Susan take their time recording Every Night with producer J Walker (The Whitlams). The situation obviously awarded the band few pressures as the album calmly sails along through acoustic numbers that carry their own character.
An influential country and folk artist, Ramblin’ Jack Elliot’s legendary status is at first distracting but once you’re done absorbing facts like Elliot’s “San Francisco Bay Blues” was one of the first songs Paul McCartney learned how to play, his busking performances inspired Mick Jagger to buy his first guitar and Bob Dylan has called Ramblin’ Jack Elliot him “his long-lost-father” I Stand Alone you can get down the meat of the music. I Stand Alone couldn’t be a more appropriate title for this latest recording of songs that showcase Elliot’s unique voice, traditional country styling and impeccable acoustic guitar picking.
This album has a great chamber-rock opener, Salty Eyes which offers an interesting variety of stringed instruments and intriguing composition contrived to suck the listener into thinking they may find something this inviting somewhere else within this disappointing childish pop/rock outing. The fact this band used nine The Matches producers to create this is Decomposer incomprehensible. If the idea of Britney Spears picking up a guitar and turning goth blows your mind then The Matches are for you. To be fair, I will admit that perhaps The Matches are too high brow for my hapless intellect.
This cool laid back soul, funk, afro-latin music and hip hop succeeds where the film, of which this is meant to be the Soundtrack failed. By this I mean at least the soundtrack exists. The film for which inspired this music was confiscated by police in Mexico and won’t be released; that’s how Ocote Soul Sounds and the story goes. This aside, Adrian Quesada Martin Perna and Adrian EL NINO Y EL SOL Quesada have created (Soundtrack) the musical equivalent of lounging about carelessly while watching the sun set. Everything you need to satisfy your organic need for stripped back percussion, rich wind instruments and warm bass grooves is given up here.
Max Sedgley is nothing less than a musical powerhouse, his abilities as a drummer and keyboardist are only complimented by his talent as an electronica wiz. Debut albums rarely show this much potential and not since Better Living Through Chemistry have I been so immediately caught up in dance grooves so in your face that you have no option but to admit that this man has some serious funk in his blood. House, hip hop, break beats and electro funk, From the Roots lines it all up for you to eat until you can’t eat no more.
20 000 copies monthly to over 400 outlets
Max Sedgley From the Roots to the Shoots
cd’s of the month
TV on the Radio Return to Cookie Mountain I often ask myself just what constitutes the ultimate musical experience. The last time I contemplated this was during a listen to this, TV on the Radio’s second fulllength album. While not as altogether mind-expanding as 2004’s Desperate Youth, Bloodthirsty Babes, the Brooklyn five-piece’s follow-up is all the more impressive. After a few spins, I’ve reached the conclusion that tuning into innovative songs like “Wolf Like Me”, “Wash the Day” and “A Method” is, as the group’s name suggests, the aural equivalent of watching life rollout on the big screen. Confusing music with life is not hard on Return to Cookie Mountain, especially on opener “I Was a Lover” which is as poignant as anti-war sentiment meets doo-wop electronica gets. An ear, and indeed an eye, for the unusual, and challenging, yet ingratiatingly catchy makes this one of the year’s best.
It is always helpful when a band name says something about the music it brands. You hear Tapes ‘n Tapes, you think mix-tapes. You hear mix-tapes, you think late ‘80s, early ‘90s. And then you think of the glory days of what we have come to term Indie-rock. Now, straight outta Minneapolis come a bunch of young upstarts peddling everything that was good about the Pixies and Pavement in the first place, and putting it on extended play. Radio single “Insistor” is Spaghetti-Western for the retro generation and everything else is one-stepback-two-steps-forward retro-speculative.
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CDs OF THE MONTH
MALCOLM MIDDLETON A Brighter Beat Pod/Inertia
INTERPOL Our Love To Admire Capitol / EMI
CRABSMASHER DOOM+DOOM= OMG!!! Trapdoor Tapes
3/5
4/5
3.5 / 5
THE CAT EMPIRE So Many Nights EMI 4/5 Love them or hate them, The Cat Empire always come up with incredibly infectious material. Their third official album kicks off with a catchy title-track, with a great soul flavour - something freshingly different. So Many Nights doesn’t feel quite as corny as their previous release, which often descended into farce. The Cat Empire are taking themselves more seriously and its translated into better music. By the second song, it hits home that the boys have put together a collection of easy-listening tunes in the vein of Van Morrison. This is a brave exploration of new sounds. Nick Milligan
THE HOT LIES Ringing In The Sane Liberation 4/5 The Hot Lies have been one of Australia’s most talented young bands since their inception. Forming as an emosupergroup, their music has always blended incredible melodic hooks with ‘screamo’ vocals, that have always been delivered by vocalist Pete Wood in an effective way. Their debut album sees the screaming element removed, leaving just the hooks. The song’s are still superb and slick, but that definable sound has slipped away, leaving a more generic, punk-rock sound that’s somewhere in the vein of Grinspoon, instead of The Hot Lies. But songs like ‘Tokyo’ will make you want to re-listen. Nick Milligan
20 000 copies monthly to over 400 outlets
This, the umpteenth release from prolific Newcastle duo Crabsmasher, is hardly the simple arithmetic it purports to be. It drifts along, with inevitable cassette hiss for accompaniment, like Black Dice on a lazy Sunday. With scant regard for typical song structures, the five tracks could at times pass for background noise or random field recordings. Yet, if this is simply the sound of life passing you by, then you must lead a strangely fulfilling existence; one that is based on improvisation but which nestles into repetitive patterns with rather disturbing ease. Carl Dixon
Album #3 from the dapper kings of New York was always going to divide opinion. Phenomenal debut Turn On The Bright Lights heralded the arrival of a new indie super-power whilst followup Antics, for better or worse, reinforced the Interpol empire with more of the same. The walls have hardly tumbled down, but OLTA must be considered a misstep. In attempting to transcend their reputation for brooding post-punk, the band have foregone their traditionally strong rhythm section, and with it much of what made them so dangerous. When, in ‘Mammoth’, Paul Banks unconvincingly cries “spare me the suspense” little did he know his notoriously cryptic lyrics were actually making a salient point. Carl Dixon
SLY HATS Licquorice Night Nervous Jerk/Remote Control 4/5
BRITISH INDIA Guillotine Flashpoint/ Shock 2.5 / 5 British India’s Declan Melia is young and it would appear that he wants everyone to know. The pint-sized singer/songwriter sure knows his way around a big rock hook, but subtlety is not a lesson yet learnt. Take ‘Russian Roulette’ for example: “And last week on Swan Street / People pointed at me / And said boy that’s last week / So I tried last night / And they laughed, had a drink and said ‘Boy, you’re alright.’” The assuredness of the band’s music comes into stark contrast with Melia’s self-consciousness. Guillotine leans more towards that awkward kid pulling the moves than a genuine mover-and-shaker. Carl Dixon
Those Arab Strap lads really were sad bastards, weren’t they? Scotland’s finest pub philosophers are no longer, but life goes on. Malcolm Middleton was the “most things musical” half of the act and while his brogue may resemble ex-bandmate Aidan Moffatt, his solo outings have progressively walked to, ahem, a brighter beat. This, his third, opens with the repeated refrain of “we’re all going to die, we’re all going to die alone”. Set to a searing pop melody, it raises a smile – until the damning reality sets in. The bleakest moments are imbued with such charm that it seems perverse to feel anything but joy. Carl Dixon
As principle singer and songwriter for Melbourne pop-quartet the Crayon Fields, Geoff O’Connor has been responsible for some of the finest (and most underappreciated) indie this country has seen for quite some time. Now under his solo Sly Hats guise, he continues on his unassuming way. This collection is a delightful journey through O’Connor’s baroque pop soundworld. Rich, multi-layered production isolates a wispy voice that betrays at once fragility, innocence and curiousity. Songs such as ‘Vampire Sips’ and ‘Will You?’ mark a special talent. Carl Dixon
OKKERVIL RIVER The Stage Names Spunk / EMI 3.5 / 5 Will Sheff certainly has a way with words. The Okkervil River frontman studiously approaches music like a writer does a novel, the only problem here is that he seems to have misplaced the climax. Previous album, the quasi-conceptual Black Sheep Boy, was basically the pinnacle of the (always doomed/never-existent) ‘literary-rock’ movement. Next to that, The Stage Names pales. That’s not to say there aren’t some beautifully constructed songs – and the prose they entail! – just that something is missing. The attention to detail has suffered, perhaps, as a result of a rawer rock ‘n’ roll sound, but not Sheff’s reputation. Unfortunately great albums do not consist of good songwriting alone. Carl Dixon
SPOON Ga Ga Ga Ga Ga Spunk / EMI
LIAM FINN I’ll Be Lightening Liberation
THE CITY LIGHTS El Sol Ivy League
4.5 / 5
4/5
3.5 / 5
Spoon have long been the underdogs of U.S. indie. While others have risen and fallen, the Austin, Texas, group troupe have continued to challenge the boundaries of conventional rock, without ever really breaking through. Ga Ga Ga Ga Ga could be the album to change all that. Britt Daniel’s scratchy, soulful vocals sit atop songs that retain Spoon’s unique building block approach - but fleshed out like never before. Extensive use of brass and Jim Eno’s steady beats lend the album a classic pop feel that is still totally their own. Hook-laden tracks immediately appeal but also unveil themselves subtly, making Ga x 5 a continually rewarding experience. Carl Dixon
The famous Finn songwriting heritage continues with fine form with this, the former Betchadupa frontman’s debut album. Filled with melodic progsoundscapes and soft lead guitar, it breaks out into flourishes of raw garage rock, with a tempered set of melancholy lyrics. Classy songwriting sets this album apart from contemporaries, as does the sharp vocal material, which has an upbeat brit-rock feel. Gliding around with lofty Lennonesque melodic vocal harmonies, Finn really delivers. Richard White
MADINA LAKE From Them, Through Us, To You Roadrunner
Members of Youth Group, Peabody and Rocket Science, come together to worship the sun and everything tripped out about the 60’s. Acid rock, surf guitar bent with You Am I and The Saints homages. Genuine soul and dexterity about the mood of this album - it’s very easy to get into the groove. Just a group of guys tapped into the same vein of consciousness. A Tarantino sountrack. Wicksy
MERCY ARMS Kept Low Levity
BEN LEE Ripe Inertia
3.5 / 5
3/5
2/5 Uber-clean spangly guitars, and anthemic triple-tracked, clean vocals of the generic ‘emo’ variety, soar with the grace of a lead eagle. Fans of the usual suspects will adore. Occasional hardcore screams bolster some emotion, but it’s soon discredited with lyrics that insult your intellect. Lost in the crowd. Richard White
It’s been a long time coming, but Sydney’s Mercy Arms have finally released some tracks for us to take home. This five-track EP, is a beautiful showcase of their sound. With sharp guitar noise and a broad, spacey atmosphere, Mercy Arms put more focus on texture and ambience than they do melody - but it still draws you in. They have successfully consolidated on their hype thus far, but their next steps are going to be the most crucial. An impressive EP release. Nick Milligan
Ben Lee is still loving life and loving..well, love. Although the tunes are candy-coated, Lee has a way of making you appreciate his ability to craft a genuine pop song. Although the subject matter he chooses, like ‘American Television’, is never particualy deep, the fact that he’s recorded a duet with Mandy Moore, which is essentially about sex (‘Birds and Bees’), is one of his greatest achievements. Although the track titled ‘What Would Jay-Z Do?’ is not. The lovin’ theme returns with ‘Sex WIthout Love’, which features Benji Madden. Ben Lee seems ripe for the picking. Nick Milligan
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022
CDs OF THE MONTH
WHITLEY The Submarine Dew Process/ Universal 4/5
4.5 / 5
4/5
When Brisbane’s The Scare first left our shores for Ol’ Blighty a few years ago, they were an unabashed punk band: raw, thrashy and vital. You could put forward an argument that they’ve since tamed their ways, but you can’t ignore the songwriting leaps they’ve made over time. Singer “Kiss” Reid sounds like an all-screamedout Cedric Bixler, and the band similarly lack the energy of their incendiary live show, but songs like ‘You Should Think Harder’ and ‘Bats! Bats! Bats!’ will appeal to scenesters and seasoned listeners alike. For a debut album, Chivalry sure packs a punch, but one may think The Scare aren’t yet punching their weight. Carl Dixon
TUNNG Good Arrows Pod/Inertia 3/5 UK experimental folk act Tunng have been challenging notions of quantity and quality from some time now. Three albums in three years have caught the Tunng collective plenty of appreciative ears, but their music still lacks enough definite hooks to really get tongues wagging. Good Arrows is their best effort yet and is full of delicate acoustica and misty-eyed melancholy, with the necessary electronic influence to earn the ‘experimental’ title. Effortlessly efficient but little more, Tunng still show the potential for greatness. Carl Dixon
Amidst pulsing distortion emerges the warm voice of Josh Quinn-Watson - and you’re hooked. Brooding energy resonates throughout this spacey, Brit-punk excursion. Although practically every aspect of decent 80s music has been resurrected in recent years, Melbourne’s Dardanelles have carved a distinctive sound. The dreamier moments reflected in Mirror Mirror will give you chills. From its spacey, instrumental intro to the chaotic finale of One + One, this is a riveting journey through space and time. A definite must have for any comprehensive progressive post-punk collection. Nick Milligan
ANIMAL COLLECTIVE Strawberry Jam Domino/EMI 4.5 / 5 There’s a tribe-like charm to Animal Collective, and this sense of togetherness has endeared their musical meanderings for eight albums now, no matter how far off the beaten path they’ve trodden. Consider Strawberry Jam another brave new venture for the critically adored four-piece. Unlike their most recent releases there is more a reliance on ramshackle electronics than abstract folk, as well as the welcome presence of clearer, more discernable vocals. ‘Peacebone’ and ‘Fireworks’ are amongst the group’s most accessible tracks yet, marking the almost perfect marriage of noise and melody. Carl Dixon
TAKEN BY TREES Open Field Rough Trade/ Shock
TIM ROGERS The Luxury of Hysteria Ruby Q
4.5 / 5
4/5
Sweden have been developing something of a reputation for their quality musical output over the past few years, and this new release is no exception. Former singer of The Concretes, Victoria Bergman is the woman behind this project, and her voice alone is enough to put this record in the ‘must have’ list. The songs are effortlessly sweet, folkish and catchy without entering the realm of boring. The album has a little Camera Obscura about it, and occasionally echoes the softer side of The Cranberries. Stripped back and delicate, many of the songs seem to have a melancholy undertone through the lyrics. A stunning solo release from this unique voice. Claire Albrecht
This debut disc has been a long time coming for local favourites Big City Exile, and could be the basis for a sustained push into bigger centres. Tracks like ‘Surprise! Baby’ and ‘Triangle Song’ are begging for wider audiences, but, as it stands, come off as stadium rock in a pub setting. ‘Reset/Medical’ is an aggressive display of subversion, showing a band willing and able to tear away at the rock ‘n’ roll handbook, but apart from Mark Forester’s ever-articulate narration, much of this EP falls on the safe side. At almost half an hour, The Surgeon Dances may be the case of an eager band spreading themselves too thin too soon. Carl Dixon
The Pirate’s Gospel is a collection easily slotted into the slightly eccentric folk category, and is perhaps easily overlooked in favour of Joanna Newsom, Cat Power and the like. But if you were to do that, then you’d really be missing out. The US singer-songwriter’s gentle acoustic style and warm vocal timbre invoke an intimate campfire setting, and maintain a sensory hold throughout. Organic and personal, Diane’s uprooted folk blows a whisper more than a bluster, but may blow you away nonetheless. Carl Dixon
BUMBLEBEEZ Prince Umberto & The Sister Of Ill Modular 3.5 / 5 Bumblebeez are infamous for a live show that is, euphemistically speaking, rather inconsistent. And on record, well, it’s been a similar story. Once the brightest young things outta Braidwood, NSW, it’s only now, years later, that their debut album finally sees release. True to form, this is a scattershot mixing pot of styles – messy indie, messy hip-hop, messy electro. Yeah, Prince Umberto & The Sister of Ill is hardly cohesive, approaching some sort of postmodern urban terrorism, but its 16 tracks make an intriguing statement for the values unrest in the digital age. Carl Dixon
LIARS Liars Mute/Inertia 3/5 With their fourth album, Liars have surprised everyone by taking a new grown-up/ dumbed-down approach. Frustrated at being perceived as inaccessible deviants – a reputation warranted somewhat by a line of obscure concept albums – the New York via Berlin troupe, led by monstrous ex-Melbournite Angus Andrew, have come roaring back with a rockist return to their roots. In taking out their collective frustration they’ve tapped into some serious teenage melodrama. It’s the sound of Liars trying to fit in, which means it sounds an awful lot like it’s influences. It’s a mess basically, yet Liars do pastiche better than most. Carl Dixon
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JULY 10
Domestic life boring you? Want to take the nightclub home? If you are one those who struggle to get your kicks away from the bright lights and loud sounds of the dancefloor, LSD (!) might be the thing for you. The Bang Gang, responsible for shortened attention spans since the early naughties, have come up with an über-cool 2CD mix that really brings the party home. Mashing the so-hot-right-now with the sopainfully-now, listeners are served an earful of Klaxons, Midnight Juggernauts, Cut Copy and Justice, amongst more obscure beats and mixes. For brainless fun – and instant cred points – you could definitely do worse. Get yourself into it! Carl DIxon
BIG CITY EXILE The Surgeon Dances Independent 3/5
ALELA DIANE The Pirate’s Gospel Rogue Records/ Inertia 4/5
JANUARY 10
THE BANG GANG Light Sound Dance Modular 4/5
This is the first time Tim Rogers has released a solo album under his own name. Joined by eleven musicians over eleven tracks, the resulting album is the most laidback offering from Rogers in nearly a decade. There are a wide variety of instruments on the record, from trombone and tuba to viola and French horns. They create a sound landscape in front of which Rogers seems ridiculously comfortable. As always with Tim Rogers’ work, it’s the songs and their stories that carry the album. The first single ‘When You’re Sad’, is pretty catchy, ‘Goodnight Boys’ could rock under a different arrangement and the final track ‘James the Second’ wouldn’t have looked out of place on Hi Fi Way. Kurt Bolglase
Hearing The Wilcannia Mob on the track ‘Mango Pickle Down River’ is a truly beautiful experience, and it’s clear to see that M.I.A is totally smitten with these young Aboriginal talents. Kala is a fresh reminder that M.I.A is the world’s leading songstress in solo electrohip-hop, again infusing her pop vocals with earthy and organic tribal beats. The sounds of the world move throughout her music and every track breathes with a life of its own. You’ll gain more from this release with every listen – it’s a layered and wonderfully textured experience. Nick Milligan
JULY 09
20 000 copies monthly to over 400 outlets
3/5
JANUARY 09
Hailing from Sydney, The Chronics have released this pearler of a mini-album, in the wake of two warmly received EPs. The Chronics bust out a brilliant fusion of surf-rock, funk, pop, and good ol’ dirty garage. They’re not trying to spread a profound message, except simply highlight the importance of dancing, drinking and occasionally...shagging. One of the stand-outs is ‘1234’, a proven crowd favourite, which contains the sense of unbridled mischief that singer Greg Townley seems to commonly project. With a legion of fans on the Sydney live scene, it won’t take long before their touring and popularity becomes more...well, chronic. Nick Milligan
M.I.A Kala Remote Control
JULY 08
THE CHRONICS Switch Me On Independent 4/5
DARDANELLES Mirror Mirror Mosquito’s Tweeter
JANUARY 08
Falling somewhere into the category of electro-folk, Whitley’s a bright new talent with dark stories to tell. His husky voice and introspective melodies belie his 22 years on this Earth, but the music lures you in as seductively as his DewProcess brethren The Panics, or even Sufjan Stevens. The marriage of husky vocals and Jose Gonzalez-style guitar will send more than the occasional chill down your spine – especially his Sufjan-esque cover of Buckley’s ‘Mojo Pin’, with its delectable echoes of banjo. Whitley could turn out to be 2007’s biggest revelation. Nick Milligan
THE SCARE Chivalry Below Par/ Virgin
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ALBUM OF THE MONTH
CUTHBERT & THE NIGHT WALKERS Love Needs Us Warner
MARK CASHIN Bed Of Light Independent 4/5
3.5 / 5
VARIOUS ARTISTS No Man’s Woman Dew Process/ Universal 4/5 Tribute albums are generally very hit and miss – there’s usually a diamond somewhere in the rough, but you have to wade through a lot of pedestrian cover versions before you find a truly worthwhile interpretation. With No Man’s Woman, you don’t have to wade very far. The premise of this collection is to have recognisable male vocalists singing songs that have been written by women and are noticeably from a woman’s perspective. Listening to Expatriate add their spacey polish to ‘Missing’ by Everything But The Girl is a moving experience, as is Powderfinger’s faithful rendition of Portishead’s ‘Give Me A Reason’. The Vines manage to breath fresh life into The Veronicas’ ‘4eva’ and Whitely proves his talent with a stirring version of Bjork’s ‘Hyperballad’. Josh Pyke does a very safe interpretation of ‘Wuthering Heights’, avoiding the vocal acrobatics of the Kate Bush original. ‘Cannonball’, which was made famous by Kim Deal’s Breeders, also sounds very comfortable in the possession of the dynamic Gyroscope. Commendation medals should also go to Bob Evans, End Of Fashion and Lior’s cover of Fleetwood Mac’s ‘Landslide’. The collection ends with Tex Perkins performing Helen Reddy’s ‘I Am Woman’ – which is nothing short of genius. Applying his husky Tom Waits-esque sense of sleazy charm, Perkins croons this feminist anthem in a way that only a hard-livin’ man could. Nick Milligan
20 000 copies monthly to over 400 outlets
When it comes to novelty appeal, this ten-piece have got it made. Half traditional rock band, half all-girl choir, and with a reputation for energetic and joyful (not to mention crowded) live shows, the Sydneybased band have built quite a following. Comparisons abound – Flaming Lips, Polyphonic Spree, Architecture in Helsinki – but unlike their bombastic peers, Cuthbert and friends surprisingly keep their feel-good indie-folk a little closer to home. A track like ‘Newtown (La La La)’ showcases their ability to keep it local, tastefully name-dropping the popular Sydney suburb. Over-the-top, yes, but not without reason. Carl Dixon
SLEEPING STATES There The Open Spaces Etch n Sketch 5/5 Find this album and buy it. ‘There The Open Spaces’ has you mesmerised from its opening, and doesn’t lose focus despite a down-tempo vibe and stripped back atmosphere. Markland Starkie is the man behind the sound and he has created a beautiful and tender album which stands apart from other indie/folk releases of this year. Stand-out tracks include ‘I Wonder’, and even the album’s intro will be running around your head for weeks. Lush vocal harmonies and laid back guitar occasionally meet Casio drum beats - this album has it all. No, seriously. Buy it. Claire Albrecht
AKRON/FAMILY Love is Simple Young God Records 4/5 Akron/Family’s latest release had some pretty big shoes to fill - their previous record was something of a classic last year, with ‘Running/ Returning’ being featured on compilations and all the tracks ridden with lo-fi abstract charm. Akron/Family revel in accapella experimentations, quirky sound effects and simple, stirring lyrics. ‘Love is Simple’ sounds somewhat more produced and layered than its predecessor, which gives a little of the same disappointment experienced by Iron and Wine fans over his latest release. Less IS more - that said, this album is still extremely well thoughtout, written, performed and mixed. You just can’t go wrong with this band. Claire Albrecht
QUAN + SPOD Present Blox Valve Records 5/5
Just the kind of subversive offering you’d hope for from such a pair, ‘Quan and Spod present Blox’ sees the two rifling through hip-hop’s core musical motifs, and combining them with solid rapping and lyrics that deliberately dispose with the manufactured gibberish typical of the genre. With continual profanity and a T-Rex-ish guitar riff, ‘Just Three Minutes’ rallies against the growing social and cultural divide. The surrealishly funny ‘When The Needle Hits’, replaces anticipated drug references with sewing: ‘I’m nimble with thimbles/I’m in the zone when I’m rolling the spindles’. Quan Yeomans’ sheer pleasure in rapping is palpable, while fans of Spod will delight in his kitsch musical flourishes and festive appetite for the ridiculous: ‘Peter Fonda rhymes with Honda’. Jacqui Verrocchio
In excess of two years in the making – it could have taken no less – Mark Cashin has set free his debut album, Bed of Light. Working closely with Suburbia’s multi-talented Simon Tonx and Cashin’s own band the Lil Hussy’s, they have completed an album of sixteen tracks with the potential to be remembered as Aussie classics. This record brings some freshness and indeed light to the adult contemporary genre. Mark’s stories are ones many of us can relate to, without yielding to the methods of those who have gone before. If you can spare three minutes to play the opening track ‘Black and Blue’, I can guarantee both verses and chorus will bounce around in your mind for the next month. Ly Joel
FAKER Be The Twilight Capitol/EMI 3/5 Oh Faker. If ever there was a candidate for second album slump, well, you’re it. But little has changed since Addicted Romantic, led by ‘Hurricane’, stole young, impressionable hearts all over the country. Except those hearts may have withered slightly with age… so we’ll just have to wait and see how impressed they are with the lack of musical growth shown here. If you’re looking for propulsive indie-pop with hooks-a-plenty, you still can’t fault these lads. It’s fun, but you’ve heard it all before – Be The Twilight? How about Be Yourself? Carl DIxon
CLARE BOWDITCH & THE FEEDING SET The Moon Looked On EMI 3/5 The squalling feedback on ‘You Look So Good’ is hardly the opening you’d expect to a Clare Bowditch album, but the surprise is a pleasant one. Although her third album soon settles into a familiar tale of whimsy and introspection, this is her most fulfilling offering since her debut, Autumn Bone. Her songs amble along with tales of personal grief and growth, delicately aided by Marty Brown’s (Art of Fighting) warm production. To borrow from the title of track three, The Moon Looked On sits comfortably somewhere between the tea and the toast. Carl Dixon
MEXICAN INSTITUTE OF SOUND Piñata Cooking Vinyl 4/5 This album is a whole lot of fun - listen to it on a hot, humid day and you would swear you were somewhere near the equator, lazing around the pool drinking tequila and generally being much cooler than you actually are. Awesome. It’s an amazing mishmash of samples, hot beats, Spanish rap and salsa vibes - all compiled by one man, Camilo Lara of Mexico City. A few tracks let the album down with a more Ibiza house-y repetitive sound, but all in all it’s a tasty addition to your summer music collection. Think along the lines of Beck (Guero in particular), but without the negativity. Just get loose! Claire Albrecht
KANYE WEST Graduation Roc-A-Fella/ Universal 4.5 / 5 Like classic Kanye, this third album is rife with thick beats, catchy one-liners and ear-catching wit. One of the many standout tracks is his hit single ‘Stronger’ in which Kanye cleverly incorporates Daft Punk’s ‘Harder, Better, Faster, Stronger’. A mix of dance-techno riffs and hiphop beats teams with classic Kanye self-praise and sounds like nothing heard before. ‘Big Brother’ shows a softer side as he pays tribute to his friend and mentor Jay-Z, while ‘Drunk And Hot Girls’ snaps right back to classic Kanye and his eternal quest for easy sex. In Graduation, Kanye has created an album that blurs the line between the gangster and pop artist. Amanda Douglas
BABYSHAMBLES Shotters Nation Parlophone/ EMI 3/5 Believe it or not, Pete Doherty is a musician. As half of the song-writing force behind the Libertines, our man became the stuff of legend. Everything since then has been lost in a haze of media hyperbole, on-off relationships and rehab stints. And it shows. Shotters Nation, the second album under guise of Babyshambles, is a particularly limp-wristed take on past glories. Doherty’s garbled vocals have certainly seen better times and the music is a stolid retread, but he still knows how to spin a rippin’ yarn or two. After all he’s been through, that’s the least we should expect. Carl Dixon
GREAT LAKE SWIMMERS Ongiara Speak n Spell/ Universal 3/5 Writing music inspired by the Canadian landscape is a pretty epic mission, and Great Lake Swimmers have taken a fair crack at it. Capturing much of the vastness of the country, Ongiara is something of a journey; however, at times, it becomes a little durgey. The vocals in themselves are soft and pleasant, but mix it with the rather stark drumming and it’s an odd combination. Ongiara is certainly worth a listen, but after some of the other folk releases of this month, it’s not quite at the top. This one’s more for fans of the country side of Great Lake Swimmers, rather than the folk. Claire Albrecht
JENS LEKMAN Night Falls Over Kortedala Spunk/EMI 4/5 Ol’ Jens knows his way around a witty line or two. On his new album the Swedish troubadour (who is moving to Melbourne) continues to impress with his ability to imbue the most ridiculous subject matter with composed seriousness. In this sense, it’s uniquely Scandinavian. That is also to say it’s very, very good. Night Falls Over Kortedala is grander than anything Lekman has previously released. Lush strings and carefully picked samples add impetus to tales of hairdresser crushes, regional bingo nights and boyfriending lesbians. Radio favourite ‘Your Arms Around Me’ (you know, the “avocado song”) is included in a suitably glitzed up form. Carl Dixon
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ALBUMS oF THE MoNTH
reverb music news
2/5
DAFT PUNK Alive 2007 Virgin 4.5 / 5 Those unlucky kids that missed out on tickets to Daft Punk in 2007, can at least get a very decent taste of how our two favourite Frenchmen roll, with this mind-bending live release. Recorded ten years after their debut live release, Alive 1997, this is a stellar set from Bercy, Paris. Their splicing of ‘Around The World’ and ‘Harder Better Faster Stronger’ is simply orgasmic. The festivities kick off with the dirty energy of ‘Robot Rock’ and ‘One More Time’ hears the almighty duo turn down the volume to reveal an adoring crowd that’s singing every word. Kneel and worship the High Priests of house. Nick Milligan
MoJo JUJU & THE SNAKE oIL MERCHANTS Self-Titled Independent 4/5 The very first sounds of ‘Dear Darlin’’ are those of an outof-tune banjo, a clarinet and a typewriter, and it’s terrific. Mojo Juju’s album is an amalgam of blues songs that intensify into dark and driven gypsy melodies, like those of the mercurial ‘Transient Being’ and ‘Fisherman’s Daughter’. Juju’s vocals are perfectly suited to the style – growling and wailing she relates her tales with passion and amusement. A definite highlight of this album is ‘Public Announcement’, which reminds you with Slavic politeness to keep your dog upon a leash! Hugh Milligan
20 000 copies monthly to over 400 outlets
It’s been a long time between drinks for these Scottish lads and lasses – some might argue too long, not I. Although, I concur, a few pints certainly could’ve livened things up here. The band that brought us the resplendent Love The Cup EP a few years ago, a rough-and-ready Johnny Cash homage, is no more. Rather This Gift, like The Repulsion Box before it, is meant as some sort of grand expansion of sound. But whereas the previous effort still appealed to notions of rock ‘n’ roll authenticity, the closest this flavour-of-the-month rock album gets is Adele Bethel’s thick brogue. Carl Dixon
GoRILLAz D-Sides EMI 3.5 / 5 This is a two-disc collection of B-sides, demos and remixes that were produced along with Demon Days but went unreleased. Some of the remixes are clever reinventions – namely, those of “Kids With Guns” and “El Manana”, as well as the fully translated Chinese New Year remix of “Dirty Harry” – but the best material is on disc one. Songs like “People” quite obviously evolved into tracks that appeared on Demon Days, and it’s interesting to see how various musical ideas were developed. Original songs like the cruise-along “We Are Happy Landfill” and the smoky and Oriental “Hong Kong” deserve their own place in regular release. There’s plenty here, new and old. Hugh Milligan
VHS oR BETA Bring On The Comets EMI 4/5 With the warmth of the Psychedlic Furs and the undeniable hooks of bands like Suede and Duran Duran, VHS Or Beta are new-wave pop at its finest. Hailing from Louisville, Kentucky, Craig Pfunder have taken a step away from their trademark electronica and come up with a rich, dreamy sound which drifts between cutting guitar riffs and soft moments of brooding reflection. Highlights are ‘She Says’ and ‘Fall Down Lightly’, both with strong lyrics about heartache and relationships.There’s a lot of bands that attempt to recreate the emotive qualities of 80s pop music, but VHS or Beta do it with grace. Nick Milligan
VELVET MoJo Cuppa Jo Independent 4/5
There is no doubt these guys know exactly how to work their instruments! A limited recording budget has done nothing to diminish the ability of this Newcastle band, with the results sounding like a unique mix of classic funk, early RHCP, and Faith No More, creating a debut EP of ultimate chill-out songs. The first 3 tracks are the memorable standouts, uncovering a perfect balance between funky grooves and rock ‘n’ roll beats. Recommendation - grab your mates, sit by the pool, listen to Cuppa Jo, and just chill! Ashleigh Gray
THE WoMBATS Proudly Present... A Guide To Love, Loss and Desperation Warner 3/5
SARAH HUMPHREYS Tea-pot Trees + Love Birds Independent
SoNS & DAUGHTERS This Gift Domino/EMI
3/5 As folk rock goes, this album is finely crafted, sweet and lyrical, but it lacks an emotional punch. There’s a definite honesty to Sarah’s voice, and songs such as ‘Woman’ bring much needed moments of conflict and climax, but there’s a general triteness and predictability to the lyrics and harmony. This is a strong musical effort, but with some edgier chord progressions and a broader depth of emotion, Sarah could easily, as she puts it, “take what’s alright and turn it into a work of art.” Hugh Milligan
The Wombats are one of those shamelessly fun bands that pop up now and again. Lacking the intricate wording of the Arctic Monkeys, and (thankfully) the smug selfimportance of the Kaiser Chiefs, this Liverpool three-piece fall somewhere between straighttalking pop genius and just plain dumb. It’s like a lad’s night out without the 3am moment of self-reflection. You can sing along, dance, maybe even pull a member of the opposite sex… and forget all about it in the morning. No regrets. Carl Dixon
THE GREAT DIVIDING RANGE Into The Light V-Dub
FICTIoN PLANE Left Side Of The Brain Bieler Bros Records
3.5 / 5
3/5
Having formed in 2004 and hailing from Maitland, The Great Dividing Range has released a wonderful taster to the much anticipated second album. Lead track of this EP, ‘Into The Light’ drives along franticly, delivering modern pop with some clever flourishes. ‘JuJu Ride’ lightens the feel with a bounce that comes off all joyous. The remainder of the EP is a different twist altogether. ‘Exercising Demons’ pulls back and is restrained, it shows a side of GDR that I really connect with. There’s a country twang that lifts this above the norm. ‘Starry Stary’ keeps the same laid back feel and it works. Closing with the acoustic ‘Comfort Zone’ rounds off an accomplished release. Kevin Bull
THE STEMS Heads Up Shock 4/5 One of Australia’s enduring garage-rock bands return with a barn-stomping, blues blunderbuss. There’s a bit more gravel in Dom Mariani’s vocals these days, and all the ingredients that made them a popular live act are still rearing their ugly heads. Heads Up is a fine return to form and only goes to show that the old-school Aussie acts were way ahead of their time. ‘She Sees Everything’ is a surf-rock gem, with its instantly catchy tempo changes and call-return vocals. The album displays a Pete Townsend-esque Brit-pop jangle that lets the sound breath and float within a space of its own creation. Nick Milligan
MoRCHEEBA Dive Deep Echo 3.5 / 5
Like water itself, Dive Deep is a formless coalescence of different musical styles. Whether it’s the cool funk of ‘Thumbnails’, the urban rap ‘One Love Karma’ or the quietly intense French ballad ‘Au-Delà’, Morcheeba sticks with their aquatic motif and plumbs the musical depths. For the most part, it’s a smooth sound that drifts along on laid-back drumbeats; ‘Riverbed’ in particular makes for easy listening, complete with ambient underwater echoes. When they sing ‘Enjoy the Ride’, they mean it – switch it on and switch off. Hugh Milligan
Currently in Australia as support to The Police and fronted by Sting’s son Joe Sumner, alarm bells rang as to their worth. Not to worry as this is a fine release, with adult rock stepping over the line into youth. Joe’s voice does have his father’s lilt on occasions, yet is it predominately rock. Lead single ‘Two Sisters’ has a definite Police bounce to it, but this is not reflected across the album. Fiction Plane are also no fly-by-nighters having formed in 2001 and are up to CD number two. It would not surprise me is they become very popular in this musical climate. Kevin Bull
MAYDAY PARADE A Lesson In Romantics Fearless Records 4/5 A Lesson In Romantics is an album where each track is just as captivating and vigorous as the next; fast paced, hard-hitting songs with screaming guitar licks and hardcore drumming that sounds as if drummer Jake Bundrick is trying to draw blood from the kit! ‘Black Cat’ is absolutely fantastic, with its energetic rhythm and sing-along lyrics making it impossible for any listener to sit still. No song really stands out above the rest, but the intensity and emotion behind the music and every word of lyrics is brilliance in itself! Ashleigh Gray
BETWEEN THE DEVIL AND THE DEEP/ CHAINSAW GIRLS
Split-EP Get Poison Records 2/5 Catchy hooks, impressive musical and lyrical ability, and a sound suited to popular radio stations. The changing tempos throughout these energy fuelled tracks contrasts nicely and keeps the songs fresh and unfamiliar. However the singing, and above all the melodies, absolutely butchers this album! The melody does not gel with the rest of the songs, as if trying to fit too many words into the one line. The songs best parts seem to be at the end. The problem is enduring the rest of the song to get there… Ashleigh Gray
info@reverbstreetpress.com.au
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reverb music news
MATT & KIM Self-Titled Popfrenzy
KELLEY STOLTZ Circular Sounds Stomp
3/5
3/5
This is an album that, by all accounts, shouldn’t be as infectious as it is. Matt’s vocals strike the tune as unpredictably as lightning, and the synthesised keyboards sound like an out-of-control Donkey Kong arcade machine, but every track is vitalised by a frenetic energy that you can’t help but be swept along by. It’s the sort of frenzied rock you’re better off jumping up and down to under strobe lighting while screaming “No no, yeah yeah yeah!!” at the top of your voice. By the way, the best part of this album is tucked away at the end of the tenth track. Hugh Milligan
BLACK LIPS Good Bad Not Evil Vice/Etch n Sketch
Six tracks, six nuggets of pure comedic gold. Whether it’s the decidedly un-sensual groove of “Business Time”, the adorably perverse “If You’re Into It” or the postapocalyptic “Robots” (“it is the distant future: the year 2000…”), Jemaine and Bret bring a clumsy hilarity to every song. The music itself is equally artful – the duo’s voices and guitars compliment each other brilliantly, and much of their humour is derived from clever timing and tight rhythms. This is sharp, witty, inventive satire that you shouldn’t overlook. Hugh Milligan
BLACK DICE Load Blown Paw Tracks/ Mistletone 4.5 / 5 Crawling out from the dark abyss that is noise ‘music’ towards dance-floors more accessible, Brooklyn noiseniks Black Dice’s latest album is a truly confounding listen. In some alternate universe, songs like ‘Roll Up’ and ‘Drool’ might conceivably be classified as dance music, but back here… man, it’s out of this world! Load Blown is your record collection chewed up and spat out onto a canvas already splattered with last night’s dinner. It. Makes. No. Sense. Now, about those dance moves… Carl Dixon
UNDERGROUND RAILROAD Twisted Trees One Little Indian Records 3/5
CRAB SMASHER Impossibe Monsters Squeamish Records 3.5 / 5
Twisted Trees has moments of brilliance! Energetic, raw, and with a mélange of male and female vocalists, immediately grabs your attention. Standout track, ‘Saddie’, is a hauntingly beautiful song that evokes feelings of both melancholy and malevolence. Female vocalist, Marion Andrau, belts it out with such conviction that it feels as if Courtney Love is screaming it back at you. However, the momentum doesn’t last throughout the album… Good lyrics, good musical structure, but it is lacking the edginess to complement them effectively. Ashleigh Gray
This duo is one of the few genuinely interesting acts around Newcastle. Usually specialising in the creation of improvised, often harsh, noise soundscapes, here Crab Smasher have a crack at delivering their ‘top 40’ release. Yes, their latest 3-inch is a pleasant surprise – and ‘pleasant’ is a not a word you’d often hear applied to these guys. The third track off Impossible Monsters, ‘The Moon Rattled Inside Her’, is the real winner. A driving, vaguely Kraut-rock, pop song, it is all the better for its conventional nature. Carl Dixon
NIGHTWISH Dark Passion Play Roadrunner 5/5
THE LIBERTINES Time For Heroes: The Best Of... Shock 3/5
4.5/ 5
Carl Dixon
Put simply, each song is a supreme masterpiece of musical and vocal ability! Any emotion that you have ever felt is interpreted throughout this album, by means of masterful yet contradictory concoctions of hardcore metal riffs and melodic orchestral ensembles. It’s sinister sounding music together with the angelic vocals of Anette Olzon and The Metro Voices Gospel Choir contrast superbly and makes you truly feel every word sung and every note played. Think Evanescence, only with more ferocious guitars, faster drumming, gnarlier bass lines, more refined piano work and a voice that could melt icebergs. Ashleigh Gray
The moment Kate Moss became gossip mag Yoko Ono to Pete Doherty’s tabloid John Lennon, most respect for The Libertines – as in their actual music – was forgotten. This cheapo Christmas release won’t change the fact that they only released two albums, including a classic debut. As for cultural impact, these likely lads paved the way for the Arctic Monkeys etcetera, with tunes like ‘What A Waster’ and ‘Time For Heroes’ evoking particularly British values. Their reign was fleeting, their fall too well documented, and it’s the same here – the songs are class but this collection is pure fodder. Carl Dixon
LIGHTSPEED CHAMPION Falling Off The Lavender Bridge Mute Records 4.5 / 5 From the ashes of Britain’s postindie-punk group Test Icicles rises Dev Hynes. Lavender Bridge takes the listener on a journey through indie-folk concoctions that echo alt-country nuances and dark, visceral and poetic lyrics. Hynes’ voice is warm and broods in a similar way to The Dears’ Murray A Lightburn. Each melody is rich and crafted with beautiful instrumentation - Hynes’ acoustic guitar gently idles along at its core, shifting between pop strums and haunting plucks. The highlight is ‘Midnight Surprise’, which at nearly ten minutes in length, is an epic achievement in craftsmanship. Nick Milligan
JULY 10
Behind Nick Harte’s awkward exterior, a brazen confidence nevertheless burns. The New Zealander is somewhat of a novelty on the hype-driven, dance-oriented DFA roster, given this introverted, yet audacious collection of lo-fi indie-pop songs. The label association is not totally negligible – nor is its eye for quality absent – because a strong pulse runs throughout. It’s just that it’s buried in a mix that favours the noisier shoegaze aspects of the Shocking Pinks’ sound and, at times, the very different beat of Harte’s heavy heart.
Describing a band as a mix of Black Sabbath, Band Of Horses, Buffalo Springfield and My Morning Jacket, is enough to peak the interest of most music enthusiasts. Canada’s Black Mountain indeed deliver an eclectic mix of sounds - there’s dark rock riffs that call upon everything from Deep Purple to the swirling prog-rock of Mountain (Leslie West’s band, that is). ‘Angels’ is a slow, rolling march that introduces the tortured, stinging vocals of female vocalist Amber Webber, who wafts above and beyond the husky twang of lead-vocalist Stephen McBean. ‘Stay Free’ is a gentle ray of sunshine on what is an otherwise murky, slowburning excursion through the 70s. Nick Milligan
JANUARY 10
SHOCKING PINKS Self-Titled DFA/Warner
FLIGHT OF THE CONCHORDS The Distant Future Sub Pop/ Stomp 4/5
BLACK MOUNTAIN In The Future Popfrenzy 4.5 / 5
JULY 09
Born Into This, on the whole, is an album truly worth listening to. However, as there is no real variation in Ian Astbury’s singing, the album tends to sound slightly repetitive and monotonous at times. Nevertheless, you can hear incredibly catchy riffs and melody hooks that keep you wanting more. The music is great and the lyrics are the sort that can be interpreted by each listener into varying elements of angst and rebellion, as well as relationships, break ups and sorrow. You can hear the passion behind these tracks, which gives it the edge it needs to make it an incredibly captivating and enjoyable album. Ashleigh Gray
Last year saw a renaissance in the form of French electronica: the masses lined up to see Daft Punk’s pyramid, crossed their hearts to Justice, and bought anything bearing the Ed Banger and KitsunÈ labels. The tail-end of 2007 also saw a debut album from 24-year-old mademoiselle Yelle, who proves to be no ordinary pop singer. Having made her name with ‘Short Dick Cuizi’, a diss to a Parisian rapper (included here as ‘Je Veux Te Voir’), she sure likes to walk on the wilder side. But her songs are more playful than banging, her French vocals sassy rather than vicious. A sure-fire hit, then. Carl Dixon
JANUARY 09
THE CULT Born Into This Roadrunner 4/5
3.5 / 5
JULY 08
It’s cool to care. With the age of dishevelled apathy coming to a close – hello The Strokes, goodbye The Strokes – a new wave of youthful enthusiasm is sweeping over the planet. Leaders of the pack are the four scruffy men of Black Lips, who attack their instruments with vim and vigour, playing their garage rock as if checking into a rehab clinic circa 1969. Good Bad Not Evil lacks the sonic exploration of previous albums but that’s all in the past, most people won’t even hear ‘em, and besides Black Lips are all about the here and now, man. Carl Dixon
Hugh Milligan
FEATURE ALBUMS
JANUARY 08
4/5
With its clean vocals, bright instrumentation and cheerfully catchy riffs, it’s no accident that Circular Sounds captures an aesthetic ripped straight out of the 60s. It opens with the suitably titled “Everything Begins”, a psychedelic blur of pianos, pipes, xylophones and guitars that sets the tempo for much of the rest of the album, and “I Nearly Lost My Mind” carries a West Coast vibe reminiscent of the Beach Boys. There’s something quirky and anachronistic about this – it’s worth a listen.
YELLE Pop Up Virgin/EMI
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ALBUMS OF tHe MOntH
GOLDFRAPP Seventh Tree Mute/eMI 4/5 The driving disco bass of Supernature has been noticeably softened, but Seventh Tree retains all the kaleidoscopic dreaminess of Goldfrapp’s previous efforts. From the lapping of acoustic guitars and strings in ‘Clowns’ to the distorted synthesiser ripples of ‘Happiness’, the album meanders through melodies languid and surreal beneath the soaring delicacy of Alison’s vocals. The integration of acoustic instruments with electronica creates a lush and gorgeous sound, accompanied by ambiences such as the scratching of a record needle in ‘Eat Yourself’. The steady simplicity of the piano at the core of ‘Some People’ is a definite highlight. Hugh Milligan
RÓISÍn MURPHY Overpowered eMI 3.5 / 5 Don’t let the album’s title fool you – Róisín Murphy’s voice is more than a match for her machinery. From the enigmatic title track to the energetic electrostomper ‘Movie Star’, her tone is both alluring and powerful, and just as suited to calmer offerings like ‘Scarlet Ribbons’ that occasionally relax the driving pace. Other songs are just as diverse – ‘Checkin’ On Me’ springs from jungle beats and is attended by tremolo string lines. The finest track on the album is ‘Overpowered’, a chemical equation for love that is both serene and electric. If pure electronica is what you’re after, don’t look past this album. Hugh Milligan
20 000 copies monthly to over 400 outlets
reverb music news teSS HenDeRSOn Handmade By Thread creative Vibes 3.5 / 5
JAck PeñAte Matinee XL Recordings/ Remote control 5/5
LOene cARMen Rock ‘N’ Roll Tears Shock 3/5
There’s an intelligent array of emotional colours on display here – songs like ‘Kiddo,’ haunting and hollow, are countered with the rich and gentle ‘Dust’ and ‘Love My Way’. While several of the later tracks may seem locked into the same easy-going pace, they are all carried by an underlying warmth that is guaranteed to elevate your mood. The album’s final track, ‘I Am Handmade,’ is one of its loveliest – the melody and accompanying chords hang and resound ethereally above simple acoustic pedal points. If Handmade By Thread is any indication of things to come, Tess Henderson is evidently more than your average folk artist. Hugh Milligan
Upbeat, light hearted, feel good music! These songs are so likable that you’ll be humming along to them by the second chorus. Messages of loss and sadness are depicted through fast tempo songs, as if looking on the bright side of devastating situations. The lyrics are twistingly raw and hard-hitting, making the contrasting upbeat music so effective. You literally cannot help tapping your feet along to it, with ‘Torn on the platform’ and ‘My Yvonne’ being the pinnacle songs on the album. Going by this debut offering, Jack Peñate will definitely be one to watch in the future! Ashleigh Gray
At first, Loene’s raw exhalations are reminiscent of a young Debbie Harry, but further listening reveals a quality that is uniquely hers. This quality also applies to several tracks on the album, like the yearning melancholy of ‘Same Coin’ and the twisted ‘Everybody (Makes Me Wanna Lie Down).’ Others, such as ‘Roman Stockings,’ are more conventional (ie monotonous) and carry a noticeable flavour of country rock – the balance tips unfortunately in this direction towards the end of the album. While there’s certainly a lot to appreciate in Rock ‘n’ Roll Tears, many of its tracks are just too hit and miss in their style. Hugh Milligan
tHe BRUnetteS Structure and Cosmetics etch n Sketch/ Inertia
ABBY DOBSOn Rise Up craving Records
MAIDen SPeecH Self-titled Independent
3.5 / 5
3.5 / 5
3.5 / 5 Structure And Cosmetics is more cosmetics than structure, although this isn’t a bad thing at all. Beyond the bright and vivacious anthem ‘B-A-B-Y’, it wafts along on dreamy riffs and increasingly bizarre lyrics. Playing at various times over a dozen different instruments between them, Heather and Jonathan weave a sound that’s sometimes sparse and sometimes shimmering, but always quirky, capricious and whimsical. There’s a stark glamour to songs such as ‘Her Hairagami Set’, built from simple angular piano lines and lyrics comprised entirely of different hairstyles – this is an album obsessed with ravishing appearances, with a musical aesthetic to match. Hugh Milligan
theredsunband Like An Arrow EP Mushroom 3/5 It’s ironic that this EP is designed primarily to showcase ‘Like An Arrow’ before its forthcoming release in The Shiralee, as the track itself is eclipsed by others like ‘Give In’. There’s a definite intensity to each of the five songs, but too often the otherwise clever lines are overblurred – ‘Fell Free’ in particular seems to drown in its own distortion, while the lyrics are obscured beneath the guitar. Still, Like An Arrow possesses a deep eerieness, charged by Sarah Kelly’s raw whispering vocals and the band’s melancholy harmonies. Hugh Milligan
Built to Spill You In Reverse Warner 4/5 Although not a new release, the band’s accalaimed recent tour of Australia has speared a resurgence in the Idaho collective’s popularity. Following the trail of Neil Young and Dinosaur Jr’s J. Masics, the album is a mix of buzzy guitar jams and unhinged shimmery solos. With most of the tunes cracking the five-minute mark, one would think there would be some filler. However, frontman Doug Martsch has managed to create a sparkling set of expansive frontporch melodies. The opener, ‘Goin’ Against Your Mind’, is a full-bodied eight-minute eyeopener, with soaring guitar riffs, jittery drums and catchy vocal work. A. Bevan
Beautifully sung, skillfully arranged bed-time songs. The album makes the listener feel docile and serene, but not because they are by any means boring! The pleasant, slightly Jewel-sounding voice of Dobson leaves you feeling completely relaxed and somewhat nostalgic. The lyrics sound like streams of unconscious thought that were improvised during recording; honest and sincere. Unfortunately, this lyrical spontaneity causes some tracks to drag on a little long, and the melodies to begin to sound the same. Still, this is a worthwhile album. Ashleigh Gray
VARIOUS Do The Pop Redux Part One Shock 4/5 OK guys, this here CD is Australian Punk History 101. It’s as simple as that. The original Do The Pop collection back in 2002 is more of an overview, and possibly more of an essential purchase. Redux Part One digs deeper and wider, focusing on Radio Birdman and their immediate contempories. Most of the music is really raw and recorded on a shoestring budget. Due to this it may miss the mark for the general listener, but for anyone with a passing interest in Australian punk and its origins, this is a must. kevin Bull
DAMIen RIce Live At The Union Chapel Warner 4/5 Fans of Damien Rice have another reason to swoon with the release of his second live album. Recorded in 2003, Live From Union Chapel features mostly O era material, opening with ‘Delicate’ and smoothly flowing into his breakthrough single ‘The Blower’s Daughter’. The recording is clear and crisp, picking up the subtle nuances of Rice’s vocal and guitar stylings. ‘Volcano’ vibrates with emotion, with chilling backing vocals from his lover and collaborator, Lisa Hannigan. Her pure, aching voice is used to stunning effect on ‘Then Go’ and the Nina Simone cover, ‘Be My Husband’. nick Milligan
“Don’t be afraid of the 80s” is the concluding message of this album, and rightly so. Maiden Speech are anything but afraid of the 80s – in fact, they look like they’ve jumped in a big puddle of it and rolled around for a while. This is retro synthesised pop that is both kitschy and cool. ‘Leopard Print Gloves’ wouldn’t sound at all out of place on a Kate Bush album, ‘My Sister’ gambols with groove and energy and ‘Who Invented This?’ glides serenely by contrast. The best track, however, is ‘Strange Girl’, which alternates between appalling dialogue from Plan 9 From Outer Space and atrocious public statements given by Donald Rumsfeld. Hugh Milligan
StARS In Our Bedroom After The War Shiny 4/5 You only have to listen to the immensely colourful ‘Life 2: Unhappy Ending’ as its tense string arrangement segues into a gentle brass ensemble to realise that this album is beautifully and meticulously constructed. Keyboard and guitar are used sparingly to achieve greater climactic effect in certain choruses, while simple harmonic lines allow the gorgeous vocal melodies to flourish without choking them. Songs like ‘Today Will Be Better, I Swear!’ excel in this way whereas other tracks, such as ‘The Beginning After The End’, are driven by a synthesised pulse, but the music remains forever understated. A must listen. Hugh Milligan
JILL ScOtt The Real Thing: Words and Sounds Vol. 3 Inertia 3/5 Jill Scott’s attempt to pour herself completely into her songs is admirable, but unfortunately her ‘honest’ sentiments are fettered by a rather ridiculous unspoken rule that every second word must rhyme. Here’s her “Epiphany”: “I take charge of the ship, moving with my hips like my ancestors did…” Deep. The music itself has got a brassy R&B sheen and the tracks are suitably smooth – ‘Come See Me’ would make for excellent make-out music, and that’s something we can all enjoy. The Real Thing is a soulful slowdance from start to finish, but beyond some good easy listening don’t expect any rich or abstract lyricism. Hugh Milligan
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DURAN DURAN Red Carpet Massacre Sony BMG
DAN DEACON Spiderman Of The Rings Mistletone
BASEBALL Animal Kingdom Stomp
3/5
4/5
3/5
Yeah, they’re still around. Who knew? Unfortunately, Duran Duran are really showing their age. They can still wail in impressive harmony, but the songs themselves are all a little lacklustre and there’s little variation between any of them. The electronic bass alone will drive you mad by track four. Not even collaborations with Justin Timberlake and Timbaland can remedy this – in fact, their inclusion is absurd in songs like ‘Skin Divers’, that could have done without the rap interludes. It’s certainly not a terrible effort, particularly as mainstream pop goes, but it won’t strike you as anything remarkable and won’t stay with you for very long after you’ve heard it. Hugh Milligan
CASS MCCOMBS Dropping The Writ Domino/EMI 3.5 / 5
Better late than never, right? While it’s true Devastations’ third album is a grower, it needn’t have taken two months into the new year for it to unveil itself as one of Australia’s finest of ’07. The long-standing appeal of the ten songs here, though, speaks volumes. The relocated Melbournites – suitably they now call Berlin home – have created a moody masterpiece: dark and sensuous, sexual and desirous. Over dense, occasionally electronic soundscapes, the band still borrow from the much-read Nick Cave songbook, yet for the most part Yes, U is a lesson in brevity, in saying so much with so little. Carl Dixon
BY THE FIRESIDE The Great Hartford Fire Rogue Records 4/5
4/5
Paradise comes at a cost: in this case, high expectations. With this being the album in which My Disco finally fulfils the lifelong destiny of recording with the one and only Steve Albini (Big Black, Shellac), that’s hardly surprising. Following on from the exceedingly popular – and steadfastly minimalist - Cancer album of 2006, this release displays such an economy of sound as to label its predecessor ‘extravagant’. The songs first appear to be the same three seconds locked into a mindnumbing groove, but for subtle alterations. Yet those three seconds are pretty damn impressive. At just 39 minutes Paradise is a test of endurance, and for My Disco another fine act of subversion. Carl Dixon
This is a triumphant return for The Conretes, who have bounced back from the loss of lead singer Victoria Bergsman. The ex-Conrete has since pursued her solo project, Taken By Trees. But The Conretes were not reliant upon Bergsman. Lisa Milberg has taken over the vocal reigns and her voice certainly suits the warm, quirky pop that has made The Concretes so prominent on Sweden’s musical landscape. By no means a brilliant record, Hey Trouble! isn’t as catchy as you would expect, but it oozes with charm and will hopefully see The Concretes continue to grow and settle in their new skin. Nick Milligan
MINUS THE BEAR Planet Of Ice Suicide Squeeze 4/5 This Seattle mash of indie-pop and math-rock will come as a startling discovery to most Australian music fans. Generally, Planet Of Ice (their third album) is very unpredictable. There’s are experimental electronic elements, tempo changes, measured vocals from Jake Snider, and some elaborate examples of smooth jazz flavour. Look no further than ‘Lotus’, a nine-minute composition of stunning colour and texture. ‘Knights’ is an immediate success, with its hookladen, spacey delivery, as is the Police-esque ‘Throwin’ Shapes’. It’s hard to find negatives in Minus The Bear. Nick Milligan
BRITISH SEA POWER Do You Like Rock Music? Rough Trade 4.5 / 5 If the shadow of Echo & The Bunnymen still lingered over British Sea Power before this, their third album, it is well and truly exterminated by the time opener-proper ‘Lights Out For Darker Skies’ crashes through the stereo. The Brighton collective have been on the verge of big things for some time but have found their compositions either too literary for mass appeal, or too catchy or too in-debt to other artists for high-art. The production here, from the people behind albums by the Arcade Fire and Godpseed You! Black Emperor, is suitably grand and lifts it to a new level. Totally wicked and equally ace. Carl Dixon
JULY 10
This Baltimore duo’s debut of a couple of years ago was a delicate mixture of dark and light, of summer and winter. It was a seasonal album; one that elicited as much emotional pull as the weather would allow. And so it is too on Devotion. Very little has changed, yet by maintaining much the same intimate template, the same woozy melodies, the same trembling tempo, Beach House have struck quite a chord – again. Victoria Legrand’s dry vocals – often compared to Nico’s – hint at summers past and winters to come. A dreamy nostalgia trip not bound by history. Carl Dixon
MY DISCO Paradise Numerical Thief/Stomp 4/5
THE CONCRETES Hey Trouble! Etch n Sketch Records 3.5 / 5
JANUARY 10
BEACH HOUSE Devotion Mistletone
They don’t get much more intimate than this, I do say. Daniel Lea, otherwise known as By The Fireside, is one of those masters of the lo-fi, yet lushly decorated, pop song. His debut album takes its inspiration from a 1944 circus tragedy and as such Lea’s lyrics are awash with tragic imagery, coloured further by the ebb and flow of vintage instrumentation and crisp melodies. Like a less flaunting Grandaddy and resembling the hushed tones of Sparklehorse, the haunting tale of The Great Hartford Fire is one worth revisiting time and time again. Carl Dixon
Lupe Fiasco is at the top of his game. His poetic lyrics, almost completely inspired by social issues, are captivating and a breath of fresh air in the mostly misoginistic world of hip-hop. But Fiasco is the thinking person’s rapper, his imagery so vivid, it almost takes your breath away. ‘Superstar’ is a highlight, with its smooth chorus featuring Matt Santos, is a barbed dim of the culture of a celebrity. Fiasco is quick to ridicule the lifestyle and mentality of the other rappers, which would probably make him some enemies. But at least Snoop has his back in ‘Hi-Definition’. Nick Milligan
Thurston Moore is a definite musical institution and, by extension, an ‘academy’ of ideas. This new solo album by the Sonic Youth singer is a dark, acoustic journey which shimmers with distortion, fuzz, haunting female backing vocals and piercing violin arrangements. Electric guitar is used sparingly, but in much smaller doses. When you consider Sonic Youth’s most recent album, it might seem that Thurston has selfishly tucked away his best guitar melodies for Trees. Songs like ‘Honest James’ showcase Moore’s natural feel for his instrument, which is often lost in a wall of distortion-and his voice has never sounded better. Nick Milligan
JULY 09
The more I listen to Vaudeville’s debut EP, the more solid it sounds. The balance between guitar crunch and pop hooks will make this accessible to a wide audience. The key track ‘Flood’ and my personal favourite, ‘Calling Out’ have so much going for them. Enough grit and dirt to cause the fist to clench, along with hooks that cause you to sing along by the second chorus. ‘Hot Times’ has a bounce and kick that will get the floor jumping, while ‘Static’ and ‘I’m Gonna Make You Famous’ are your fist in the air, foot to the floor rockers. If this little EP is any indication, the larger venues and audiences are just round the corner. Kevin Bull
LUPE FIASCO The Cool Warner 4/5
THURSTON MOORE Trees Outside The Academy Shock 4.5 / 5
JANUARY 09
VAUDEVILLE self-titled Independent 4/5
DEVASTATIONS Yes, U Beggar’s Banquet/ Remote Control 4/5
Baseball are nothing if not confronting. The ferociously independent Melbourne band have accrued a cult-like following with their curious mixture of hardcore and vaguely middle-eastern sounds. This debut album should consolidate that standing, though frankly, it’s a bit hit and miss – tracks five and six, ‘Mozart and the Whale’ and ‘The Wedding at Susa’ are really quite amazing. So when it hits, it at least hits hard, and Thick Passage’s throaty screams and wordy tirades make for unforgettable, if not entirely enjoyable, listening. Carl Dixon
JULY 08
There’s an abstruse, mystical quality to Cass McCombs’ latest offering – the songs never go in quite the direction you expect. Whether it’s the ethereal balladry of ‘Pregnant Pause’, the primal open intervals of ‘Deseret’ or the wandering melody of ‘Crick In My Neck’, there is a wealth of intelligent songwriting here. Cass’ vocals are quietly delivered but emotionally authentic, and the pacing is seamless and logical. The lyrics, ranging from middle-class blueprints and Christian imagery to the romantic life of cleaning toilets in Baltimore, are clever and sardonic compliments to the music. Dropping The Writ is strange and unusual in the best possible way. Hugh Milligan
Dan Deacon knows how to start a party – but just what is his idea of a party, you may ask. Taking samples as far-out as Woody Woodpecker’s notorious laugh and moulding them into digestible party jamz, Deacon is a maverick of the DIY trade. Borrowing the words of James Murphy (LCD Soundsystem) he’s ‘a fat guy in a t-shirt doing all the singing’. And sure enough there’s plenty of Spiderman of the Rings to share around. From the high-pitched, high-energy ‘Crystal Cat’ to the epic ‘Wham City’, the dance-floor isn’t safe with this guy around. Carl Dixon
FEATURE ALBUMS
JANUARY 07 AUGUST 06 JULY 07 JANUARY 08
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ALBUMS Of THE MONTH
ORIGINAL SOUNDTRACK There Will Be Blood Nonesuch 4/5 From the first blossoming string chords of ‘Open Spaces’, Jonny Greenwood’s score evokes perfectly the sweeping isolation of the setting and the disturbing events that transpire there. The haunting melodies of ‘Prospectors Arrive’ devolve into violent and maddening discord in ‘Henry Plainview’ and ‘There Will Be Blood’, until every note is a savage assault. Unison notes slide sickeningly into divergence and fierce tremolos die to whispers. ‘Oil’, while still carried by macabre undertones, comes as a sudden burst of light, and ‘Proven Lands’ sees the strings employed as percussion instruments – bows are struck against the fingerboards to produce amazing rhythmic ostinatos. Hugh Milligan
THE KILLS Midnight Boom Domino/EMI 3.5 / 5 There’s something infectious about the gritty rock stylings of The Kills. Perhaps it’s Alison Mosshart’s (or W, as she calls herself) uncanny likeness to PJ Harvey in the wailing chorus of ‘Hook And Line’ or the shades of Garbage contained in the sultry grunge of ‘What New York Used To Be’. It could be the anthemic chants that drive each track or the simple driving drum and bass rhythms that seem to pound across every synapse. Midnight Boom is an album that frequently reminds you of something else while remaining distinctly unique. Raw and dirty, alluring and aggressive – this album is the lascivious mistress of your CD collection. Hugh Milligan
20 000 copies monthly to over 400 outlets
reverb music news ESKIMO DISCO Robots and Laptop Dances Make Good Friends Creative Vibes 3.5 / 5
There’s nothing original about the spacey, electro-pop of Eskimo Disco. We’ve heard Daft Punk use robotic voices. Many British bands, like Reverend and The Makers, have surgically attached juicy lyrical hooks and stomping, new-wave beats to their craft. There’s even some Bowie-esque ‘Major Tom’ pleading on the song ‘Mission Control’. However, if you can forgive Eskimo Disco’s alignment with a number of influences, then you’ll appreciate that they’ve written a thoroughly enjoyable romp. Lyrics like that on the song ‘Air Guitar’ (‘Just like Neo, she’s the one/She plays it hard like Angus Young’) lend creedance to Eskimo Disco’s brand of pop. Nick Milligan
HOT CHIP Made In The Dark EMI 3/5 In their four years on the UK music scene, Hot Chip from becoming one of the hottest electro-pop groups in the known universe. With a throbbing, slow-burning intro, ‘Out At The Pictures’ kicks into an infectious groove, which buzzes with fuzzy goodness. ‘Shake A Fist’ invokes the sort of repetitive, quirky hooks that Datarock employ with their own unique brand of genius. But Hot Chip replace Datarock’s school-yard innuendo with sweet, low-fi rumination. Made In The Dark’s saccharine nature lessens its emotive effect through headphones, but it might just lull a crowded party into the perfect state of social nirvana. Nick Milligan
AMIINA Kurr Etch n Sketch
SUGAR ARMY Where Do You Hide Your Toys Independent
3.5 / 5
3/5
Listening to Kurr is a solitary experience. It’s like standing in a vast ice cave hearing supernatural echoes resonating from crystalline walls. Strings, bells, metallophones (sometimes bowed to produce spine-tingling colours), guitars and various electronic instruments combine to form what c=an only be described as a series of soundscapes. Melodies emerge but never develop or intensify – the whole album moves at a placid pace, and it’s strangely soothing. There are moments when it feels a little hollow, but it’s also pure and compelling. If I had to compare it to something, I’d say there are definite references to Björk’s Vespertine. Hugh Milligan
VASHTI BUNYAN Some Things Just Stick In Your Mind fatcat/Inertia 4.5 / 5 The demos that make the second disc of this collection had been sitting unheard and virtually forgotten in an attic for going on 40 years. Vashti Bunyan, the artist, had been in self-imposed exile for over 30 years. Why, then, is it not surprising that some of the songs here are of a timeless quality? It’s strange to think that Bunyan, such an influence on modern folkies like by Devendra Banhart, Joanna Newsom and Animal Collective, was once a nineteen-year-old full of hope for a chart career. Amongst the gems here is the Jagger/Richards penned title-track, Bunyan’s very first single. Carl Dixon
CORRECTO Self-Titled Domino/Emi Domino/EMI 3/5
Correcto features Franz Ferdinand’s Paul Thompson on drums and, like that band, owes a particularly debt to the past. Also like Franz, this three-piece is content to acknowledge history’s influence in an admirable attempt to meld nostalgia and fun. Correcto is a low-key affair: simple songs and simple production make for simple pleasures. There are certainly aspects of the Kinks, the Fall and the Buzzcocks – the band themselves name-check these seminal artists – but, hey, this is modern pop music. Carl Dixon
Considering that the cover art features a group of teddy bears bleeding in Technicolor, it’s surprising that I didn’t love this EP. It begins with furious energy but doesn’t seem to actually go anywhere with it. Simple and repetitive chords drive many of the songs and there’s no colour to the vocals beyond a lot of wailing – it wears thin. There’s definitely some redeeming features, such as ‘Maybe The Boy Who Cried Wolf Was Just Paranoid’ (yes, that is the title) which captures a primal quality, as well as the perversely catchy ‘Greed Is Good’. Others like ‘Actually, It’s What’s On The Inside That Counts’ (yes, that is the title), however, are totally anarchical, and not in a cool My Brightest Diamond ‘Freak Out’ way. Hugh Milligan
BLACK fRANCIS Svn Fngrs Shock 4/5 Back under his old stage name, Pixies lead singer Frank Black returns with a mini-album. At 20 minutes in length, this is an eclectic mix of tunes that doesn’t out live its welcome. Opening with the disjointed blues riff of ‘The Seus’, Svn Fngrs is rife with Black’s quirks, his bent guitar style and his diverse, distinctive vocals. Immediacy is still crucial to the success of his song-writing. Written and recorded in one week, for every sweet melody, there’s an equal amount of grit. If you listened to Black Francis without the knowledge of his indelible influence on world music, then you’d think this guy was ripping off just about every alternative American band of the last 15 years. Nick Milligan
BORN RUffIANS Red, Yellow and Blue Warp/Inertia 4.5 / 5 Like Vampire Weekend, Toronto based threepiece Born Ruffians are unlikely to offend for any other reason than over-familiarity. Red, Yellow and Blue is the sound of three young kids emulating their influences – Pavement, the Pixies… yeah, all the right ones – and doing it very, very well. Add to the scruffy indie some Animal Collective hollering, a little Clap Your Hands Say Yeah vocal whine, and a lashing of dance-punk aggression, and you’ve got a real winner here. There’s no need to pigeonhole the band any further. File under: extremely likable. Carl Dixon
BON IVER For Emma, Forever Ago Inertia 3.5 / 5 You only have to listen to the choral harmonies in ‘Lump Sum’ that emerge like rays of light from a steady pulse, or the delicate melancholy built upon a single note in ‘Blindsided’ to realise that there is something beautiful here. More than simple folk rock, this album is rich, gentle and contemplative – every track, every chord is carefully considered and flourishes under Justin Vernon’s ethereal vocals. The pacing is just as deliberate, as the arrangements continually grow in orchestration with the later addition of brass in the title track ‘For Emma’. The sound never grows to a point that would upset the balance of its musicality, yet remains quietly powerful until the end. Hugh Milligan
THE MAGNETIC fIELDS Distortion Nonesuch/ Warner 3.5 / 5 No, your iPod isn’t broken again – it’s supposed to sound like that. Distortion is a bold musical experiment, and fairly selfexplanatory: each instrument is forcibly manipulated with feedback to produce a dense, trippy texture. The different sounds bleed into one another so you feel entirely submerged in the music, and the digitised static forms an unusual backdrop to what is actually a fairly amiable indie-pop sound. Songwriter Stephin Merritt experiences music in much this way, as a defect in one ear causes sounds of a certain volume to become distorted. Distortion emulates this effect. It’s an excellent example of the bizarre harmonic elements that can be extracted from regular sounds. Hugh Milligan
VAMPIRE WEEKEND Self-Titled XL/Remote Control 3.5 / 5 Another year, another bunch of affluent, clean-cut white boys playing family-friendly indie-rock, yeah! Now, hype is not always such a bad thing, but when the ball is rolling many, many months before a debut release, one should reserve a certain scepticism. However there are also times when the mind should give way to trivial things, like catchy songs about nothing, filled with nothing but fashionable references. Then that conscience returns: ‘aren’t these guys just taking the more accessible attributes of African music and singing about Western concerns?’ The answer is, well, yes, and I think I’m a slave to it. Carl Dixon
HARRISONS No Fighting in the War Room Melodic/Inertia 2/5 Harrisons share a post-code with the Arctic Monkeys but little of the lyrical prowess. In most ways No Fighting in the War Room is exactly what you’d expect from four young Brits with guitars in hand and songs in heart (and lagers in stomach). The twelve songs here bluster with workmanlike effort and no little passion, but what’s missing is imagination. Opener ‘Dear Constable’, to their credit, is a top tune bristling with drive and wonderful staccato guitar, the rest, it must be said, sounds like a rehashing of a rehash. A case of Monkey see, Monkey do, perhaps. Carl Dixon
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NICK CAVE AND THE BAD sEEDs Dig, Lazarus, Dig!!! Virgin/Mute 5/5
Dig, Lazarus, Dig!!! opens with suitably gritty flair, as the title track’s disjointed barroom melody loops with maniacal poeticism. It’s essentially a demonstration of how Nick Cave can transform a broken record into a work of art. Cave’s obsession with man’s sexual hunger and innate depravity is glorified on this album, in the same matter-offact way that Edgar Allan Poe traversed concepts of psychosis and murder. It’s beautiful, melodic, morbid and riveting.
The Bad Seeds, this time void of guitarist Blixa Bargeld, is again laying an intricate coccoon for Cave’s scintillating rants. Mick Harvey and Warren Ellis both bring unsettling textures to this, the fourtheenth studio album released by Cave with his Bad Seeds. Using the biblical character of Lazarus (who Jesus was said to raise from the dead), Cave’s unique vision has created another collection of dubious individuals, each at the mercy of their animal instincts and the
equally savage society around them. Cave drags them through quagmires of lust and self-loathing. All the while, The Bad Seeds maintain a glamourous and jubilant sense of melody, with subversive grooves that waft beneath the tumult of Cave’s deep, vocal delivery. By the second track ‘Today’s Lesson’, the album has already become virile, with bursts of fuzzy blues organ and lust-loaded lyrics (“He likes to congregate around the inner section of Janie’s jeans/Mr Sandman, Inseminator, he opens her up like a love letter and enters her dreams”) Just like Lazarus, there is still a hell of a lotta life left in these Bad Seeds. Nick Milligan
HORRORPOPs Kiss Kiss Kill Kill Hellcat/shock 3.5 / 5
Unashamedly precocious and smooth in their rock stylings, Louis XIV have returned with another collection of virile, guilty pleasures . Combining garage rock and blues with funky, angular riffs (not to mention smug humour and distorted romance). This San Diego four-piece have also made the most of their continued decision to selfproduce, with self-indulgence being key to their success. ‘Guilt By Association’ will appeal to OK Go fans, while ‘Air Traffic Control’ is an obvious nod to Brit-pop influences. In fact, vocalist Jason Hill’s vocal delivery often sounds like the British upper class, which juxtaposes against the fuzzy, hip-swaggering bolts of melody. Nick Milligan
JANUARY 09
HAYsEED DIXIE No Covers Cooking Vinyl/ shock
WHERE’s JEROME Dreamboat EP RisH Records 4/5
LOUIs XIV Slick Dogs and Ponies Warner 4/5
4/5 Fiddles, pianos, banjos and mandolins-this album has it all! There is really no easy way to describe No Covers, as it is one of those albums that you simply have to hear to appreciate (though the beginning of Track 6 will give you a bit a chuckle). This music really puts you in a good mood, and gets the fingers clicking and the heads bopping. Think Nashville with a very distinctive twist. It is fun to listen to, but would suit background music on a relaxing afternoon rather than keeping a crowd entertained. Ashleigh Gray
4/5
There is nothing about this album that truly jumps out and demands your attention. The songs sound strangely familiar and become somewhat predictable, and the lyrics are unfortunately disposable to say the least. The album, at times, produces some fairly unique mixtures of punk/rock and country/ folk sounds, with harmonicas and pianos even making an appearance. Although Brian Fallon’s vocals are gruff, manly and rather sexy, the lack of range in his voice creates an unsatisfactory anti-climax for the listener. Overall, the songs have no real variation. Still, the album is worth a listen if you are very, very easily pleased. Carl Dixon
THE Entertainment and Lifestyle Publication for Newcastle, The Hunter & Central Coast
5/5 Except for one song, this is an entire album of perfectly executed, perfectly timed instrumental tracks. And no, it is not boring! It is almost as if someone is retelling their entire life story with nothing except the music. Each song creates a base whereby each listener is free to interpret the meaning and create their own story to the compositions. As there are no lyrics, it seems to be less complicated and makes it all about exactly how the music alone can truly come alive and speak for itself. Listen to it. Seriously! Ashleigh Gray
Incredibly high energy, raw sounding tracks whereby the only way to stop your feet from tapping is by nailing them to the floor! This is the debut project by Rammstein’s Richard Z. Kruspe. The lyrics sound like a weird fabrication of sadism, love, pain, and sorrow. Some songs uncover a slower, more laid back sound mixed with flashes of aggressive guitars and hardcore drums (almost like a bipolar strain of music) which helps to maintain the energetic flow of the album. It is difficult to pick the standout track, as each songs keeps you enthralled from start to finish. But one thing is for certain, this album is brilliant! Ashleigh Gray
March 2008 Issue 20
JULY 10
Batrider, part-NZ/part-Melbourne, can do ugly and they can certainly do scathing, but the difference between them and a million other post-grunge acts is that ultimately they do it beautifully. Sarah Chadwick’s barrel scraping vocals are rarely lacking in melody, even at their most emotionally raw. At times on Tara the band could even be described as tender, not unlike early P.J. Harvey. It’s rare for guitar noise so violent and visceral to ever be referred to as vital. But there, I’ve done it. Batrider strike some sort of chord – probably many, and very loudly. Carl Dixon
DUB TRIO Another Sound Is Dying Ipecac/shock
EMIGRATE Self-titled Emigrate Production GMBH 5/5
JANUARY 10
GAsLIGHT ANTHEM Sink Or Swim XOXO Records 1.5 / 5
BATRIDER Tara No Promo/ Remote Control
An album of horror style punk/swing music, almost like a quirky late-night-horrormovie version of The Living End. This is serious misfit music, but it is by no means depressing or poignant. The upbeat and catchy rhythms combined with the fast paced drumming and bass lines sustain the album’s drive and maintain listening interest. Each song has its own uniqueness about it that keeps all 13 tracks fresh. HorrorPops also showcase an excellent live cover of “Rebel Yell”, which proves Patricia Day is a fantastic rocker capable of holding her own to the live crowd. Energy, intensity, charisma and a hell of a lot of sweat went into this! Ashleigh Gray
JULY 09
Where’s Jerome; a 3 piece electro/pop band with catchy, bubbly music, honey-like vocals and perfectly placed harmonies. This album is just fascinating! Parts of it sound as if they are being played on the stereo at home, while others sound like they belong on the dance floor of a club. The most prominent song, Karma Confused, is entirely instrumental and manages to envelope you with relaxing visions of obscure shapes and colours, feelings of peace, and creates an opening into a mystical dream world. Many will find it difficult not to be captivated on some level by this album. Ashleigh Gray
JULY 08
Cave’s trademark venomous delivery and wicked humour are abundant on ‘I’m Not Your Favourite Lover’,
as he whispers with a sinister hiss. We’re hearing Cave in full flight, voicing the thoughts that dwell in the darkest caverns of the psyche.
“Ever since I can remember hearing the Lazarus story, when I was a kid, you know, back in church, I was disturbed and worried by it. Traumatized, actually. We are all, of course, in awe of the greatest of Christ’s miracles - raising a man from the dead - but I couldn’t help but wonder how Lazarus felt about it. As a child it gave me the creeps, to be honest. I’ve taken Lazarus and stuck him in New York City, in order to give the song, a hip, contemporary feel. I was also thinking about Harry Houdini who spent a lot of his life trying to debunk the spiritualists who were cashing in on the bereaved. He believed there was nothing going on beyond the grave. He was the second greatest escapologist, Harry was, Lazarus, of course, being the greatest. I wanted to create a kind of vehicle, a medium, for Houdini to speak to us if he so desires, you know, from beyond the grave. Sometimes, late at night, if you listen to the song hard enough, you can hear his voice and the sad clanking of his chains. “I don’t know what it is but there is definitely something going on upstairs”, he seems to be saying. It is, most of all, an elegy to the New York City of the 70’s.” - Nick Cave
FEATURE ALBUMs
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cd reviews
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FEATURE ALBUMS
GNARLS BARKLEY The Odd Couple Warner 5/5 This second release from the creative partnership of Goodie Mob vocalist Cee-Lo Green and DJ/producer Danger Mouse, will surely cement them as one of the new century’s most significant musical acts. Sonically, this release picks up from where their debut, St. Elsewhere, left off. It’s a dark, sometimes morbid, always innovative journey - a soul train turned into a ghost train. Where St. Elsewhere hopped between genres, from soul to RnB, then to a very slick Violent Femmes cover (‘Gone Daddy Gone’), The Odd Couple feels more cohesive. There are crazed moments, like the broken merry-go-round intro to ‘Blind Mary’, but the songs hang together with consistentcy. Green, who must be the greatest vocalist of the modern era, has a voice box that cuts through the listener and lyrics that reach into your soul. Listen to the haunting, aching vocals in ‘Neighbour’, and you’ll feel weak at the knees. Nick Milligan
STEPHEN MALKMUS & THE JICKS Real Emotional Trash Spunk/EMI 4.5/5 The Pavement frontman has returned with a mammoth slab of slow-burning, gritty blues-rock. Real Emotional Trash sounds like it was recorded all-night in someone’s garage - it’s like the drunken father of Wilco’s Sky Blue Sky. Malkmus’ sweet vocal inflections are drowned in fuzzy guitar solos - just listen to the bar-room chugging of ‘Dragonfly Pie’. Neil Young would almost certainly be envious of the album’s highlight, ‘Hopscotch Willie’, a six-minute murder ballad that rolls and tumbles from slow-building guitar and drums, to full-blown Doorsesque jams. Although we all fell in love with Pavement and ‘Cut Your Hair’ in 1994, Malkmus doesn’t want us to forget that he’s a child of the 70s - and we won’t. Nick Milligan
20 000 copies monthly to over 400 outlets
HERCULES AND LOVE AFFAIR Self-Titled EMI 3.5/5 There’s something utterly unique about Antony Hegarty’s voice (of Antony and The Johnsons) – whether it’s the slightly androgynous lyricism or the riotous vibrato, there is an enthralling quality to every note he sings. Such a quality is here applied to smooth funk, disco vibes and chic club music. Fat bass lines, syncopated synthesizers and sharp brass stings all contribute to a cool metropolitan ambience, whereas, songs like ‘Iris’ and ‘Easy’ are more intimate. ‘Athene’ is a real highlight – cruising on a slap-bass disco groove and spacey harmonics, the melody is both sleazy and enticing. Which is exactly what you’d expect from the goddess of wisdom... Hugh Milligan
MOBY Last Night EMI 3.5/5 It seems that Moby’s knack for marrying diverse sounds and styles has again matured in this album. Tracks such as ‘Ooh Yeah’ are driven by tight electronic beats but expertly complemented with tensile string lines, and ‘Hyenas’ merges dense piano chords with digital noise beneath honeyed French vocals. Moby is also adept at developing the smallest motifs into catchy melodies and riffs, as layers are continually added and harmonies discovered. Although this is dance music, some of the songs are perhaps drawn out a little too much. But for the most part, the songs are so infectious that this does little to mar them. Hugh Milligan
COHEED & CAMBRIA No World For Tomorrow Red Label/Sony BMG 4.5/5 Having built themselves into a colossus of sprawling and often progressive heavy-rock anthems, New York’s Coheed & Cambria have released their most accessible and engaging album. No World For Tomorrow concludes the story that singer Claudio Sanchez has been telling throughout most of their previous releases. It gives his protagonist, Claudio Kilgannon a much deserved end. Sanchez’s voice won’t please everyone, but it’s nothing if not unique, dramatic and powerful. The title track rolls and crashes, and is a master work of melodic rock. Coheed pull off melodrama that in the hands of a lesser band would only come off as corny or glib. Nick Milligan
SMASHING PUMPKINS American Gothic EP Warner 4/5 The four songs that appear on this acoustic EP, have appeared in live sets by the newly reformed Smashing Pumpkins and after much fan-pestering, Billy Corgan has put them out there for his hungry fan-base. Despite lacking the buzz-saw electricity of Siamese Dream-era Pumpkins, Corgan’s songwriting is so distinctive and his voice hasn’t lost any of its slick menace. Add to this the tight, rolling drum-work of Jimmy Chamberlain and (despite what the purists might say), this is pure Smashing Pumpkins. ‘Pox’ is a stand-out, both musically and lyrically. Nick Milligan
ONEREPUBLIC Dreaming Out Loud Interscope/ Mosley Music 4/5
To put it simply, these tracks all have the same feel as the known hits ‘Apologise’ and ‘Stop And Stare’ - very mellow, ballad-like songs that stir feelings you never knew you had. Ryan Tedder’s superb voice puts you at ease as he powers through this light-hearted, but heart-felt, album of well thought out, lyrically evocative songs. Quite literally, anything you’d ever want to say to your lover is elucidated throughout these 14 tracks. If you have heard OneRepublic and like what you hear so far, than this album is definitely for you. Ashleigh Gray
RUBY SUNS Sea Lion PopFrenzy 4/5 The Ruby Suns are out of New Zealand, and it is perhaps only in this relative isolation that an album as idiosyncratic as Sea Lion could have come about. With relocated Californian Ryan McPhun’s songs, it’s not just that they have a little of the South Pacific in their sound, but that they are a veritable mixed bag of tropicalia, psychedelic pop and Animal Collective tribal-vibes. Just plain good songwriting, really. And with it released two years back in their home country, it’s true, the past is a foreign country. Carl Dixon
HERE COME THE BIRDS Self-titled EP Independent 4/5 Newcastle music has never looked healthier, with groups like Seabellies, Firekites, The Understudy and Lover, all releasing music of an international standard. Add to that list, Here Come The Birds, who are launching their debut EP. This five-piece, led by Dane Bates on vocals, have torn a few sneaky corners from Gyroscope’s hand-book, but have created a veritable collage of influences. Here Come The Birds is a slick collection of post-punk, synth-rock tunes that shimmers through walls of distortion. Certain songs explode with a full rock assault, but quickly shift gear into stomping, new-wave grooves. ‘Trash Is Shock’ has a collossal chorus and caps off an exciting debut that won’t fail to hit listeners in their emotional gut. Nick Milligan
FOALS Antidotes Warner 4/5 The term ‘math-rock’ is appearing more often in the musings of rock journalists and Foals are the latest group to be branded. But listen closely and you’ll realise that there’s nothing mathematical about Foals - when they add two and two, the result is six. This five-piece from Oxford, England, combine drum and bassoritentated dance-grooves with stark, chanted vocals. It’s Minus The Bear meets Tokyo Police Club, with a slight dash of Bloc Party. But none of those comparisons account for the brass section that sneaks in and out of Antidotes. Nor does it explain why the guitar parts seemingly skulk behind the robust drums and bass, following their every lead. Antidotes proves to be a healthy formula. Nick Milligan
THE MOUNTAIN GOATS Heretic Pride Remote Control/4AD 4/5 Although few do not accept John Darnielle’s genius as a figurative poet, his recognition as a melody-maker is not nearly as undeniable. However, the group’s sixteenth album sees Darnielle make breakthroughs in song structure. Heretic Pride feels like a consolidation of what Darnielle has been striving for. He constructs tiny narratives. He rarely mixes metaphors and he always delivers emotionally. But tracks like the opener ‘Sax Rohmner #1’ showcase his poetry with hooks, beautifully crafted guitar lines and sparse string arrangements. Although Darnielle has already proven himself as a visceral lyricist, Heretic Pride will hopefully allow dafer passage for a wider audience. Nick Milligan
THE BLACK CROWES Warpaint Stomp 3/5 Warpaint certainly doesn’t sound like a band that are ready for battle. In fact, it seems like their arsenal of gritty blues-rock has been locked away on their first three albums. But perhaps they’re waging war in a less obvious way. It’s their first album in seven years and more importantly, singer Chris Robinson’s first release since his split with wife Kate Hudson. It’s hard not to sift for broken-heart references, but those of us that do will be met with a strong layer of joyous optimism. The Black Crowes cruise along with splashes of harmonica, big chrouses and Southern, blues-tinged Americana - let’s hope they respond on their next one. Nick Milligan
EELS Essential Eels: 1996-2006 Vol. 1 Universal 5/5 Putting together an ‘essential’ list of tracks from any artist’s catalogue is next to impossible. However, this compilation of songs from the Californian group is the perfect introduction to Eels’ material. A folk-rock band with a distinctly American sound and mild electronic elements, Eels is the brain-child of Mark Oliver Everett (or ‘E’ as he is affectionately known). This collection includes all of their official single releases (as well as the rare cover of Missy Elliott’s ‘Get Ur Freak On’) and reveals their ability to create dreamy, bed-time rock that lyrically seems to revolve around the decay of the American dream. If you’re a fan of 90s groups like Beck, Cake and Marcy Playground, then you should have some Eels in your collection. Nick Milligan
VIALKA Plus Vite Que La Musique Independent 3.5/5 That Vialka have the temerity to call themselves “the least-known most-touring music band” should be warning enough for you to expect the unexpected. The French two-piece play what can only loosely be defined as a progressive take on punk-jazz-gypsy-folk-fusion – and it’s something they’ve taken on tour to over 45 countries. On record, as on paper, the hits are inevitably broken up by the misses. Yet with their renowned stage-presence you’ll be bedazzled when Vialka play Spring Break! at the Croatian Wickham Sports Club, Thursday April 24. Carl Dixon
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cd reviews alBUm OF THe mONTH THe UNDeRSTUDY What Not To Think While In Love
independent 4.5/5
formative teenage years in New York and returned there to record the album. A number of the tales here are told in narrative form from a personal perspective. ‘Upstate, Upstate!’ is a warm, reminiscent anecdote set against grey streets and the bustle of big city life. “It’s been ten years, my dear/ I’ve stayed Upstate.” The lulling and restless ‘Smoke & Strangers’ conveys the feelings of a soul adrift, and perhaps even a sense of alienation. “Take a look at this city/You see cars and people/I see smoke and strangers”. Hearn weaves a dreamscape of imagery, which never muddles its metaphors, and articulates
the thoughts and observations of someone who can feel themself floating away from a relationship. The array of emotions explored throughout this debut record is vast, with the flow of the tracks often shifting gear from slower introspection to bubbly, radiant pop (‘Fine Young Folk’), and then back again. Remarkably mature and melodic, What Not To Think While In Love is a sublimely crafted photo album of soft guitars, drums and keyboard. This should garner The Understudy some national and even international attention... or there isn’t hope for anyone. Nick milligan
After the brilliance of their second album Are You Involved?, this feels like a band that are floundering creatively. Repeated listens of songs like ‘These Days’ and ‘OK’ reveal a group that is relying purely on the quality of their sound, rather than strong melodic structures. By aiming in different directions, like the Teenage Fanclub-esque ‘The River Between’, pure indie-pop (‘Silver Heart’), or the blatant Pink Floyd tribute, Time, Gyroscope have spread themselves thin. As you would expect, it’s their rock songs, like ‘1981’, ‘Snakeskin’ and ‘Weapon, Enemy, Friend’ that save them. This feels like a ‘bridge’ album that will carry them into a masterful fourth release. Nick milligan
It is hard to find criticism here. These are very inoffensive, pleasant sounding songs, which somehow create an oddly familiar connection that is difficult to explain. There is a Maroon 5-like feel at times, as upbeat piano sounds and prominent bass lines help make the songs ones to inspire and enlighten rather than depress you - best demonstrated by the track, ‘Good Love’. Another band and another great singer uncovered, with Kurtis John’s incredibly unique voice capable enough to keep you hanging on for the next line every time. ashleigh Gray
THE Entertainment and Lifestyle Publication for Newcastle, The Hunter & Central Coast
This is chilled Lenny at his best! The album’s title track ‘It Is Time For A Love Revolution’ is one to stick in your head, pulling you in from as little as the first energised note, while the latter part of the record is full of slower, emotional ballads (‘I’ll Be Waiting’ a noticeable standout). There are no real memorable stunner songs like previous Lenny hits. However, this album still manages to make the cut. Fear not, Kravitz stays true to his edgy, iconic guitar solos. ashleigh Gray
YOUNG KNiVeS Superabundance Warner 4/5 With their insanely catchy, punk-induced debut album Voices Of Animals and Men, Young Knives distinguished themselves from the rest of the British post-punk crowd by embracing their distinctly rural upbringing in Leicesterchire. This follow-up record is by no means an attempt at evolution, but is successful in proving that the pop-hooks of their debut were not a flash in the pan. The opener, ‘Fit 4 All’, echoes the Supergrass tune ‘Sitting Up Straight’ and both bands share a distinctly British sense of humour. With Superabundance’s opening line ‘Home is where the house is’, you realise that singer Henry Dartnall is no less droll than he was three years ago. Nick milligan
SimPle PlaN Simple Plan atlantic 3/5 There are parts of this album that don’t sound like previous Simple Plan material, and it’s definitely for the better! Aggressive tempos, high levels of energy and a more professional sounding instrumentation help to uncover mature, hard-rock songs, and separate them from their earlier Emo façade. Pierre Bouvier even varies his whiny, nasally voice and proves that he is actually a very good singer, capable of holding low notes and letting us hear the emotion in his voice. Though the lyrics aren’t anything special, they are easy to pick up and perfect to sing along with. ashleigh Gray
After 2005’s subdued Road To Rouen, half of Supergrass’ fans panicked that the boisterous Brit-pop group had become old and jaded. The rest of us revelled in their decision to explore dark, folk songwriting. But Diamond Hoo Ha, their sixth-studio record, is a return to their explosive sound. Not since Supergrass’ second release, In It For The Money, have we heard them turn up the volume this loud. But as always, there is light and shade, particularly when you compare the album’s two biggest moments of brilliance - ‘Diamond Hoo Ha Man’ (the album’s pseudo title-track) and the keyboard-driven ditty ‘Ghost Of A Friend’. Although these Oxford lads have shed the youthful exuberance that made them the Brit-pop darlings of the 90s, they’re still one of the world’s greatest rock bands. Nick milligan
FiReKiTeS
The Bowery Spunk/emi 4/5 Named after the historic Newcastle building in which it was recorded, The Bowery is a remarkable debut from this exciting new collective of musicians. Featuring The Instant’s Tim McPhee and The Herd’s Jane Tyrrell on vocals, respectively, this is a lush, yet sparsely arranged collection of low-fi, electronically-tinged folk songs. Fans of Kings Of Convenience and Iron and Wine should take note, particularly of the lulling melodies in ‘Last Ships’ and the single ‘Same Suburb Different Park’. The interplay between McPhee and Tyrrell’s vocals is captivating - it’s perhaps what Canadian indie-heroes Stars might sound like, if they were writing a song on sunrise, with an all night converstion and some empty bottles of red in their wake. Nick milligan
April 2008 Issue 21
JULY 10
For a few years now Die! Die! Die!, as the name suggests, have waged deathly battles with both stereo speakers and listeners alike. With their insistent command of rhythm and volume, previous releases have been smash and grab affairs, but here songs like ‘Sideways Here We Come’ and ‘Whitehorses’ find the New Zealand trio in a more pensive mood. Some of the rough edges have been smoothed out, but there remains sufficient levels of buzz-saw guitars and angsty shrieking to paint a new coat on even the blackest of hearts. Carl Dixon
leNNY KRaViTZ It Is Time For A Love Revolution Virgin/emi 3.5/5
SUPeRGRaSS Diamond Hoo Ha emi 4.5 / 5
JANUARY 10
THe laST GOODNiGHT Poison Kiss Virgin 4/5
Die! Die! Die! Promises Promises etch ‘n’ Sketch 4/5
French-Israeli singer/songwriter Yael Naïm was left disillusioned and shaken by her first album, In A Man’s Womb, and endured a period of introspection and self-doubt before producing this, her second. She was inspired and assisted by the endlessly versatile David Donatien, and the results are phenomenal – honest, emotionally charged lyrics, sung with dexterous delicacy in Hebrew, French and English and carried along on aeriform guitars and earthen strings. Naïm strips herself bare, reminiscing with bittersweet remorse in ‘Shelcha’ (‘Young’) and documenting her selfdiscovery in the cool and gloomy ‘Too Long’ and joyous ‘New Soul’. In a stroke of sardonic wit, the album also includes a rather dulcet and predatory cover of Britney Spears’ ‘Toxic’. Hugh milligan
FeaTURe alBUmS
JULY 09
In many ways, Music Hole is an extrapolation of elements from Camille’s last album, Le Fil. Her penchant for polyrhythms and eccentric vocal effects is again applied to a diverse collection of snappy and spirited songs. Her lyrics are equally dynamic–whether it’s the irony of ‘Gospel With No Lord’, the satirical animal noises of ‘Cats And Dogs’ or ‘Katie’s Tea’, a story of one girl’s hopeless tea addiction accompanied by a backdrop of slurping and clinking china, Camille’s music is quirky and vivacious. Tracks such as ‘The Monk’, with its gorgeous melismatic chants, complement this boisterous energy perfectly. Camille herself has an amazing vocal range and tonal versatility and she stretches it to every extreme. Hugh milligan
Self-titled Tôt Ou tard/ Warner 4/5
JANUARY 09
GYROSCOPe Breed Obsession Warner 2.5/5
Camille Music Hole emi/Virgin 4/5
Yael Naïm
JULY 08
Perhaps one of hardest working dames of the Newcastle music scene, Lucy Hearn has finally released a debut album - and it deserves bucket loads of attention. The opening track ‘Last Easy Day’, is immediately captivating. Hearn’s voice, which shares the same smouldering songbird nuances of the Howling Bells’ Juanita Stein (for example ‘Rest Your Lonesome Cheek’) or Bic Runga (‘Things That Get Dark’), floats over lush instrumentation that’s no more complex than it needs to be. Lyrically, her songwriting is very immediate and her stories have a wonderful sense of time and place. This comes as no surprise when you learn that Hearn spent her
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Super massive
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cd reviews
022
FEATURE ALBUMS
ELBOW
The Seldom Seen Kid Universal 4.5/5 With cleverly placed bursts of brass and drums, the opening song of Elbow’s latest album, ‘Starlings’, captures you like a deer in headlights. In fact, the whole album is another beautiful creation by the Manchester group and their warm-voiced singer Guy Garvey. ‘Mirrorball’, at nearly six-minutes in length, is a dreamy stroll through grey, city streets and is rife with Garvey’s direct lyricism (“We kissed like we invented it”). ‘Grounds For Divorce’ broods with an alt-country charm, quite reminiscent of Blur, but delivered as only Elbow know how. As one of the most innovative bands operating in England at the moment, Garvey and his co-members don’t achieve the recognition they deserve, but for all the Doves and The Dears fans that have Elbow tucked away in their collection, they’re a very satisfying secret. Nick Milligan
CUT COPY
In Ghost Colours Modular/ Universal 4/5 Considering that Electric Light Orchestra (ELO) were the greatest electro-rock band to come out of the 70s, they’re not paid nearly enough homage. But along comes Cut Copy, who have put a very loving and modern slant on an era when the wonders of electronic music technology were being married with classical influences to create something highly infectious - disco. Like Cut Copy’s peers in their genre, the trio have focused on creating a journey that takes place across a whole album, rather than grouping together possible singles. But that’s not to say that there’s not potential here to take international radio by the throat - just listen to the sublime ‘Hearts On Fire’. Nick Milligan
THE BLACK KEYS Attack & Release Nonesuch/ Shock 3.5/5
With genius producer Danger Mouse at the helm, Akron, Ohio’s biggest exports (since Devo), open their fifth album with one of their trademark acoustic lullabies, which explodes into a crescendo of distorted organ. ‘I Got Mine’ is a stomping, killer blues song, which The Black Keys do better than almost everyone (yes, Jack White’s still unparalleled). ‘Strange Times’ uses singer Dan Auerbach’s kerosene voice better than any previous track, while follow-up tune ‘Psychotic Girl’ is a banjo-driven, barn-house blues ditty. With constantly shifting shades of light and dark, this album couldn’t have been given a better name. Nick Milligan
MARTHA WAINWRIGHT I Know You’re Married But I’ve Got Feelings Too
Shock 4.5/5
PANIC AT THE DISCO Pretty. Odd. Warner/Fuelled By Ramen 3.5/5 The Vegas lads have lost their exclamation point and grown into David Cassidystyle attire (think floral) with this unashamedly influencedriven record. Opening with psychedelic fanfare eerily echoing Sgt. Pepper (the strings and mixing were done at Abbey Road), Pretty. Odd. announces, “We’re so sorry we’ve been gone/we were busy writing songs for - you!” ‘From the Mountains in the Middle of the Cabins’, starts off like a Disney score, then delves into a melee of slapstick piano and flutes and ‘I Have Friends In Holy Places’ is filled with glee-club trombones and overdub. The songs are often beautiful, especially ‘She’s a Handsome Woman’ and ‘Northern Downpour’, with swimming lyrics and rounds, showcasing the band’s vocal abilities. Amanda Bevan
20 000 copies monthly to over 400 outlets
Jilted love has been a staple of the female songwriter’s toolkit for decades, but seldom is it approached so skillfully as in Martha Wainwright’s latest album. Every song is a chronicle of women abandoned and betrayed who are forced to move forward or give up on life entirely – Wainwright’s voice is exquisitely expressive, wounded and wise. Her composition is just as intelligent, employing colours both rich and ethereal from all extremes of the string section. Her guitar melodies bleed emotion, and she applies it to every song, from the rueful humour of ‘Bleeding All Over You’ to the absolutely stunning ‘Niger River’. A magnificent sophomore album from a true musical artist. Hugh Milligan
THE TEENAGERS
Reality Check Remote Control 4/5 The Teenagers might have written the most shocking and misogynistic single of the year in ‘Homecoming’, but they’re so tonguein-cheek (and so very French), that they seem to have gotten away with it. Allegedly forming as a joke band in 2005, the Parisian trio’s plan came unstuck when XL Recordings realised that their songs were really bloody catchy (see ‘Love No’). The Teenagers play up their Frenchness by using a lot of spoken word dialogue in their songs, but with strong dance-synth undertones, you’ll find yourself singing their songs long after Reality Check has finished - and possibly even laughing too. Noah Cross
THE SABOTEURS Consolers Of The Lonely Warner 4.5/5 The Raconteurs - oops, The Saboteurs - dish up some huge slabs of blues-rock and Crosby, Stills and Nash balladry (‘You Don’t Understand Me’). Brendon Benson’s more traditional rock voice compliments Jack White’s unique wail - together their melodies are magic. The Saboteurs are essentially a fusion of White’s penchant for Southern blues and Benson’s gift for crafting power-pop. However, because White’s voice is so intrinsic to his band The White Stripes, it’s not easy to separate the sound of The Saboteurs from his famous duo. But this is a masterful album that’s diverse in influences, but consistent in melody, from the Thin Lizzy-esque ‘Hold Up’ to the brass-infused ‘The Switch and The Spur’. Pure class. Noah Cross
YVES KLEIN BLUE Draw Attention To Themselves EP
Dew-Process 4/5 Since winning MTV’s Kickstart comp, Queensland band Yves Klein Blue have become masters at successfully incorporating varied influences in their music while maintaining an undeniable consistency. The song ‘Not What I Want’ transforms so easily and smoothly from a lazy jazz-orientated guitar, to a high-energy, spur-of-the-moment mix of power chords, brass, drums and the vocals have a big-band swing. When the song abruptly finishes, it’s hard to remember where it began. With Michael Tomlinson’s crooning, Julian Casablanca’s-like voice as a thread, the group change outfits but never identity. Grace Harding
THE WHIP X Marks Destination Liberator 3/5 If it weren’t for the talents of a certain group of Australian electro-pop bands, the UK would have the market cornered in this genre. Nonetheless, England’s latest weapon, The Whip, have crafted a fast, furious and pulsing cocktail of buzzing electronic beats and gyrating 80s guitar riffs. Opening tune ‘Trash’ is a sexy, dirty club anthem that no member of Generation Y would have trouble finding an appropriate activity to accompany it. In contrast, ‘Frustration’ is straight out of a Psychedelic Furs scrapbook. If you’re a fan of Reverend and The Makers, or just love savage house music with splashings of guitar, then get whipped. Noah Cross
FLOGGING MOLLY Float SideOneDummy/ Shock 4/5 Flogging Molly’s music is so infectious that we need a medical research team to come up with a vaccine. Those of you who manage to keep your feet still while listening to them, should check yourself for a pulse. Float is another dose of this American-based, Irish folk-punk band’s insatiable energy. The title track is a more reserved Irish ballad, but it’s sandwiched between the trademark explosions of ‘(No More) Paddy’s Lament’ and ‘You Won’t Make A Fool Out Of Me’. As their fourth album, Float makes it clear that Flogging Molly are happy to continue making similar music - but why not? There’s no other band in the world that sound exactly like them. If it ain’t broke, don’t fix it. Nick Milligan
THE AUDREYS Here Comes The Flood Warner 3/5 Taasha Coates’ first prophetic words (“There’s a big change coming…”) give rise to this collection of sombre songs about jaded souls waiting for their lives to change. The theme of water permeates each track, but the tale becomes almost incessantly melancholy, interrupted only by bittersweet resignation in ‘Small Things’ and ‘Anchor’ (similar journals of the “wasted…broken and abused… shipwrecked, abandoned and brokenhearted.”) There would be nothing wrong with such uniform emotion if it weren’t accompanied by such uniform music. The brooding country/folk sound is quite potent during the first few songs – intensified by Taasha’s crystalline vocals – but it becomes more and more laborious with each track. Hugh Milligan
DUFFY
Rockferry Polydor/ Universal 3/5 There’s an indiscernible (though occasionally annoying) quality to UK rising star Duffy’s voice, something edgy and abrasive that lends itself to songs about heartbreak and asserting one’s independence. In the title track, she states that “a bag of songs and a heavy heart won’t make me down,” but thankfully such clichés are saved by some surprisingly slick blues melodies. Duffy’s penchant for frivolous vocal gymnastics is a little pedestrian, but songs like the laid-back ‘Warwick Avenue’ and the gutsy ‘Mercy’ give this otherwise agreeable album an indefinable sparkle that sets it apart from the usual rabble of pop wannabe offerings. Hugh Milligan
PETER MORéN The Last Tycoon Wichita/Shock 3.5/5 “I guess you think I’m doing fine/with my twisted, demented mind.” It’s a beautifully eccentric way to open a beautifully eccentric album. As the major singing voice from your favourite Swedish pop trio, Peter Bjorn and John, Morén proves himself to be a bard cut from the same cloth as Bob Dylan, with wry wit and gently ebbing acoustic ballads. Using very simple piano, guitar and percussion to create space in the production, Morén achieves brilliance on ‘My Match’, a quietly drifting space-ballad that throbs with electronically induced seagull noises. The haunting guitar of ‘Reel To Real’ is a Shins-esque far cry from his pop hits like ‘Let’s Call It Off’, which makes you realise that this is a fresh insight into Morén’s songwriting - and psyche. Noah Cross
THE GREAT DIVIDING RANGE Persona Vista Independent 3.5/5 Opening track ‘Into The Light’ immediately immerses you in the spacey, Australian rock sound of local lads The Great Dividing Range. Although there are nuances in the music that we’ve heard before, there is an undeniably catchy aspect to each of these songs. There’s a veritable swag of good song names too, from ‘Dirty Mouth’ to ‘Cannibal Street’. The easy-listening, Black Crowes-esque ‘Grow’, shows a more laconic side to the group and highlights the strength that piano can bring to an already great rock song. A quality release by a seasoned group of musicians. Nick Milligan
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cd reviews ALBUM OF THE MONTH
SPARKADIA Postcards Ivy League 4.5/5
Sydney’s Sparkadia have been gigging for many years, signed to the very independent label Boundary Sounds. Having cracked Triple J radio with an EP and a sun-soaked single, ‘Morning Light’, there has been quiet anticipation for a full length release from this indie-pop-rock band.
Preece, combined with the golden guitar jangle and glassy vocals of vocalist Alex Burnett, create a warm, pop sound that has been scarce in Australian music for quite some time. There’s an echo of artists such as Australian Crawl, and even Boz Scaggs comes to mind. ‘Kiss Of Death’ presents itself as another radio single contender - in fact, there’s a level of perfection here that could garner multiple hits. ‘Help Yourself’ uses stabs of piano to build melodrama, while
‘Connected’ is gentle indie-pop ecstasy, that Youth Group surely wish they had written. Now with the successful team at Ivy League records behind them, Sparkadia seem set to soar into the stratosphere of the music industry. With the amount of radio exposure that this wondrous album deserves, Postcards will hopefully find its way into many Australian households. This is the start of something big. Nick Milligan
THE PRESETS Apocalypso Modular 4.75/5
Canada’s hardcore punk kids Cancer Bats return with their second album - and it’s a full rock assault, if ever there was one. Featuring guest spots by members of Alexisonfire, Rise Against and Billy Talent, Cancer Bats incorporate influences from every genre of punk. Their riffs are derivative of hard-rock and the vocals roar with wild abandon. Songs like ‘Regret’ with its callreturn chorus have more of an old-school feel and ‘Lucifer’s Rocking Chair’ is pure metal. Generally, the songs lack strong hooks, but fans of heavy music will be sure to bust a vertebrae head-banging to these guys. Noah Cross
COG
Cog aren’t a band to do things by halves. This colossal second album opens with the epic ‘No Other Way’ which falls five seconds short of the 10-minute mark. Where previous Cog releases were more incessant in their heaviness, Sharing Space is more considered, and in turn, more interesting. Still drawing respectfully on the progressive metal influence of Tool and Helmet, their chiming guitar, and tight, rhythmic drums work particularly well on the brilliant ‘Bird Of Feather’. Although Cog’s slow-burning melodies will seem unremarkable to some, hard-rock fans should dig deep in this album and reap the rewards. Noah Cross
THE Entertainment and Lifestyle Publication for Newcastle, The Hunter & Central Coast
The ex-Skid Row singer still has it. He growls slightly more than he did all those years ago, but when Bach spars with friend Axl Rose on three tracks, he really holds his own. In the continued absense of the Guns ‘N Roses Chinese Democracy release, this is a rare glimpse at how Rose sounds on record these days. But the spotlight should not leave Bach, who delivers tracks like ‘You Don’t Understand’, which has quick, stinging guitar riffs, machine-gun drumming and a giant, crashing chorus - everything you could want from a bull-busting metal album. Noah Cross
GRANDVUE Self-Titled EP Independent 3/5 This self-titled EP showcases a group of genuinely talented young musicians. There’s some seriously catchy hooks, but you can’t help but feel that Grandvue are playing it awfully safe. The song structures are straight from the ‘verse-chorus-bridge-chorus’ book of songwriting, and all the guitar solos fall in exactly the right places (despite being pretty darn insane). Grandvue seem to be striving for palatable rock, that’s not nearly as heavy as it should be. The token power-ballad ‘Point Of View’ will remind some listeners of the sentamentality in Thirsty Merc’s music, which both bands manage to pull-off successfully. But Grandvue seem talented enough to find a more unique sound. Their next release should be a telling one. Nick Milligan
WE ARE SCIENTISTS Brain Thrust Mastery EMI 3/5 This is a far more conservative and considered release for the Californian trio. Compared to the previous album, With Love and Squalor, which was a no-holds-barred explosion of raw and skilfully crafted garage rock, Brain Thrust Mastery feels like the boys have slicked their hair to their head and gotten a little too trendy. It’s two cups of fuzzy 80s synth-rock for every teaspoon of gritty distortion. Their previous single ‘Nobody Move, Nobody Gets Hurt’ was a call-to-arms, but indeed no injury will be caused if We Are Scientists continue to play it safe. As popsters, they don’t pack as much punch. Noah Cross
Funplex Astralwerks/EMI 4/5 The B-52’s have been producing their glitzy new wave sound since the mid-70s (remember ‘Love Shack’?), but Funplex is their first original album in sixteen years. Despite such a long hiatus, their new material is just as fun and dynamic as ever – all the kitsch vibes and energetic beats (as well as Fred Schneider’s campy sprechstimme) are there, and Cindy Wilson and Kate Pierson still have the bells to carry every wailing chorus. While every track is catchy, the singles ‘Funplex’ and ‘Juliet Of The Spirits’ are particularly memorable. This is infectious reinvented retro – to quote the song ‘Deviant Ingredient’, it’s a “delirious experience.” Hugh Milligan
ISOBEL CAMPBELL & MARK LANEGAN Sunday At Devil Dirt
Shock 4/5 The ex-Belle and Sebastian vocalist has again married her pure, bell-like vocals with the gravel voice of Mark Lanegan. It’s a sublime Gothic-folk sound that opens Sunday At Devil Dirt, with the Leonard Cohen-esque ‘Seafaring Song’. If their music couldn’t get any darker, they manage on ‘The Raven’, with its re-working of Edgar Allan Poe’s famous poem. With stark instrumentation that occasionally lifts with blues guitar and string arrangements, Lanegan’s voice is the centre-piece, with Campbell mostly providing angelic echoes that float above and below his dark musings. Light and shadow has never sounded so beautiful. Nick Milligan
May 2008 Issue 22
JULY 10
R.E.M. are umm, accelerating into their 25th year with a 14th studio album. As if to prove that age hasn’t softened them, they’ve written an 11-track, fire-cracker that barely breaks the half hour mark. ‘Houston’ and ‘Until The Day Is Done’ are brooding, reflective ballads that sit surprisingly well amongst loud, fuzzy splashings of garage rock. It’s a return to the group’s earliest indie-rock days, when they still had the immediacy of young rockers, unseasoned and unproven. Having already perfected the tear-jerking pop anthem, it’s wonderful to hear this trio bust out once again. Nick Milligan
Sharing Space Difrnt Records 3.5/5
SEBASTIAN BACH Angel Down EMI 3.5/5
The B-52’s
JANUARY 10
R.E.M. Accelerate Warner 3.5/5
Although the waves of Brit-pop to emerge from the UK seem incessant, The Kooks are continuing to ride high. Why? Because they know how to write insanely catchy pop-rock songs. Their second album, Konk, is another virile collection of slick tunes. Look no further than ‘Do You Wanna’ - a sexy rock song with a deliciously greasy guitar riff. Although distinctly British, Luke Pritchard’s vocals are also distinctly recognisable. Konk is not as immediately strong as their debut album, but repeated listens reap continued rewards, and there’s enough exciting elements to warrant giving The Kooks some more attention maybe even a medal of some sort. Noah Cross
JULY 09
In a rare coup for homegrown dance music, The Presets hit the #1 chart position upon release of this, their second album, and with good reason. In a slight departure from the first album of dark and atmospheric electro pop, Apocalypso features a slightly more heavy, floor stomping groove. Showing at times, elements of trance and the darker side of the dance floor, through to complex vocal layering of singer, Julian Hamilton’s striking voice. Hooks like the opener ‘Kicking and Screaming’ and lead single ‘My People’ will stick in your head long after the buzz wears off. This new collection of signature sounds proves that Hamilton and Kim Moyes are at the head of the game, both here and abroad. Kieran Ferguson
Konk EMI 4/5
FEATURE ALBUMS
JANUARY 09
CANCER BATS Hail Destroyer Shock/ Distort 3/5
THE KOOKS
JULY 08
In 2008, arrives Postcards. Opening with the joyous melodic release of ‘Too Much To Do’, Sparkadia’s debut album delivers much more than their EP promised. The sweet backing harmonies of keyboardist Tiffany
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FEATURE ALBUMS
ATLAS SOUND
Let The Blind Lead Those Who Can See But Cannot Feel Kranky/Inertia 4/5 Last year Deerhunter’s Cryptograms disc was as divisive as they come, even splitting the traditionally all-for-one indie set. Much of the ire was directed at frontman/provocateur Brandon Cox, too outspoken and outlandish for some. This Atlas Sound debut, essentially straight from Cox’s bedroom, might win him a few minions. The recordings here are shrouded in an overwhelming melancholy – so tender, undertstated and hazy – as to put aside any notion of Cox the man, replacing it with Cox the muse. Let The Blind… is a collageic conciliation of electronic ambience and softly stirring angst. Carl Dixon
Flying Colours Illusive 4/5
With this, the group’s third album, and Bliss n Eso prove that Aussie hip-hop has matured to international standards. The first single, a powerful reworking of Citizen Cope’s ‘Bullet and a Target’, is masterful. To tell you the truth, this album has surprised me - I did not expect how complete it feels. The retro soul styling of ‘Woodstock 2008’ is so refreshing, something that could have turned pearshaped but instead they’ve produced apple pie. The mood lightens with the herb-smoking ‘Choof Choof Train’ and ‘Happy In My Hoody’. It’s an album of colour and shade, twists and turns, and for a fan of hip-hop, it’s essential. Kevin Bull
From American indie-pop, husband/wife duo Kori Gardner and Jason Hammel, comes this glorious fifth album. The strongest aspect of Mates of State’s music is the sunny harmonies by these two lovers. In a similar vein to The Magic Numbers, Stars or Tegan and Sara, there’s a candy coating to the vocals and production that belies darker lyrical threads. The pseudo title-track ‘The Re-Arranger’ (which harbours the lyric that gives the album its name) is an upbeat and unbelievably hook-laden tune, that delivers as directly as a shot in the arm. If you’re a sucker for saccharine, indie-pop, then you’ll love this consistently catchy album. Nick Milligan
20 000 copies monthly to over 400 outlets
SNOWMAN The Horse, The Rat and The Swan.
Bubble & Scrape Sub Pop/Shock 4/5 If sebadoh were ever to do the full album tour, it would have to be for this album. I’ve been enjoying listening to the recently re-released the back catalog, remembering how crazy and random Lou Barlow’s song writing is. Maniacally switching from lo-fi punk rock songs about forbidden love and menstrual sex (Sister/Sixteen/Flood), to heartfelt accoustic heartbreak numbers like Think, these guys sure knew what they were doing. He’s got a great voice, clever guitar fingers, and a crazy brain for production ideas. Kieran Krud
DOES IT OFFEND YOU YEAH? Virgin 3.5/5
Re-arrange Us Spunk/EMI 4/5
Iron Maiden have defined soaring hard-rock and metal for many generations and this is a nice introduction into their wealth of material. Because it focuses on the earliest nine years of their career, there are noticeable absences from the track list - no ‘Man On The Edge’. What makes this is an interesting compilation is the number of live tracks - ‘Aces High’, ‘Wrathchild’ and ‘Phantom Of The Opera’ are all included as live recordings. There’s other essential studio recordings like ‘The Trooper’, ‘Run To The Hills’ and ‘Hallowed Be Thy Name’, but for a more comprehensive collection, track down a copy of Edward The Great, which lacks this really, really early material, but is a great introduction to this amazing band. Nick Milligan
SEBADOH
Self-Titled
MATES OF STATE
IRON MAIDEN Somewhere Back In Time - The Best Of: 1980-1989 EMI 4/5
BLISS N ESO
Think of upbeat dance clubs, strobe lights, energetic dancing and sweat - that’s the vibe you get from this album. The thumping beats and pumping tempos are enough to get anybody moving, while the lyrical parts of the songs are short but still extremely effective. There is not much variation throughout the album, but electronic music doesn’t have to be overly complicated to be successful. Commercially, this album has the same sort of appeal as The Potbelleez, which will get any crowd moving to the rhythm. Ashleigh Gray
PENDULUM In Silico Warner 3/5
It seems that moving to the UK in 2003 was a good call for these ex-Perth lads. This second release has taken them to #2 on the UK charts. In Silico is a decent electro-rock album, that diverts from their initial drum and bass sound. Their music is unrelenting, with pounding drums and loud, buzzing synths. There are some catchy vocal hooks, but they get bogged down in some very long songs. In fact, only one track on the album is under 5 minutes in length. Sadly, the songwriting isn’t quite dynamic enough to justify such time-consuming tracks. However, it’s clear that these songs would be more engaging in a live setting. Noah Cross
Remote Control 4/5 Brimming with visions of apocalyptic paranoia, this is a solid album that runs as a cohesive concept and is much less schizophrenic than their debut. There is a brooding manner to the first half of the album which is filled with a dark tension, held by its industrial and tribal rhthyms which eventually give way to a cacophony of gnashing guitars, and raw vocals. A confronting but rewarding listen.
TAMMY INGRAM Modern Love EP Independent 4/5 Tammy Ingram’s first solo release is certainly reassuring of things to come. The four tracks have an infectious and unusual Indie rock flavour, and the wry lyrics are articulated perfectly with Tammy’s gutsy vocals. The single ‘Modern Love’ is perhaps the strongest offering, but others, such as the short and sharp ‘Dracula’s Sister’, are just as bold. Hopefully it won’t be long before such an appealing sound is extrapolated into a full-length album. Hugh Milligan
THE ROOTS Rising Down Universal 3.5/5
The roots have been holding it down since the 90s. Bringing the original, and somewhat overlooked, live hip-hop experience, Rising Down is their 10th album. Using a full array of instruments to bring their beats, not only looks awesome onstage, it makes for well written material. Like De La Soul, The Roots bring lyrics to promote positivity rather than any form of hardness. They still bring head bouncing, laid back grooves, to emphasise the lyrical talent from MC Black Thought, but are quick to let you know they all got skills. Kieran Krud
Trent Grenell
BRIAN JONESTOWN MASSACRE My Bloody Underground Liberator 4/5 Anton Newcombe is a true rock enigma. A visionary that appeared at times to be on a self-destructive path, burning bridges and friends, yet he has never failed to produce influential, and at times, self-indulgent music. My Bloody Underground sees Anton delve into droning guitar psychedelia. Think shoegaze, Sonic Youth, My Bloody Valentine (yet another homage in the album title) and a much darker Dandy Warhols. As with much of the BJM catalog, it requires relistening. The initial WTF eventually ends up, ‘ok, I get it now’. It is time to discover The Brian Jonestown Massacre, and My Bloody Underground could possibly be your entry point. Kevin Bull
EVERCLEAR
The Vegas Years EMI/Capitol 4/5
There’s something smugly satisfying about The Vegas Years, which is a collection of 14 covers by Oregon’s legendary post-grunge pioneers, Everclear. Opening with the Hall & Oates classic ‘Rich Girl’, Art Alexakis and his cohorts embibe a cleverly selected bunch of songs with Everclear’s trademark punk sheen. It’s hard to go past their rocked-up version of the Speed Racer theme song, or even their surprisingly successful adaptation of Neil Young’s ‘Pocahontas’. Thin Lizzy’s ‘The Boys Are Back In Town’ is a little uninspired, perhaps guilty of being too faithful, but the compilation ends with a brilliant live rcording of Tommy Tutone’s ‘867-5309/Jenny’. Gold. Nick Milligan
THE MUSIC Strength In Numbers Universal 4/5 The opening blast of the title track is classic The Music, and with Rob Harvey’s distinctive voice in fine form, it all feels right from the get go. The versatility of Harvey’s voice is utilized well, with tracks like ‘Drugs’ and ‘Idle’ given a near spoken delivery. That said, this is a true rock album to the bone with modern production values. Very 2008, with a foot still firmly placed in tradition. With the blistering ‘Fire’ and ‘Get Through It’, this is anthemic rock, and for those lucky enough to have scored Splendour tickets, you should be in for a treat. Kevin Bull
THE HERD Summerland Elefant Traks 4/5
Newcastle’s very own Cambridge Hotel gets a mention on ‘Zug Zug’ with its over-flowing toilets and lack of security. However, this song is a light-hearted moment in what is otherwise quite a serious record for hip-hop outfit, The Herd. First single ‘The King Is Dead’ is a jubilant farewell to John Howard, and politics reoccur in the words of Urthboy and Ozi Batla. Newcastle ex-pat Jane Tyrrell uses her smooth vocals to bring undeniable class to the record. Aussie hip-hop fans will find this an essential release from a very essential band. Noah Cross
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cd reviews ALBUM OF THE MONTH
ANIMAL COLLECTIVE
DEATH CAB FOR CUTIE Narrow Stairs Warner 4/5
As ‘Bixby Canyon Bridge’ begins to fall and crash around you, it becomes abundantly clear that this is a Death Cab For Cutie album with attitude. As this seventh studio album from the Washington indie-poprock band rolls forth, you quickly realise that some of the brooding elements of their past work have risen to the surface, Death Cab For Cutie have crept into the international consciousness with consistently stirring and soaring indie-pop anthems, and Ben Gibbard’s lulling vocals have helped make their music immediately indentifiable.
a slow-burning, stark ballads. But what makes Narrow Stairs so exciting are the explosions. Look no further than ‘Long Division’, a whipping rush-of-blood that calls for instant replays. The following track, ‘Pity And Fear’, is another slowbuilding Death Cab song, that climaxes in crashing guitar and drum rolls. ‘No Sunlight’ is more relaxed, but no less devilishly catchy. The album’s first single ‘I Will Possess Your Heart’ appears on the album at an 8 minute 26 second running time, due to its rather heavy prog-jam intro. Death Cab For Cutie may have been in the same mood that made Led Zeppelin write ‘No Quarter’. Either way, the track finds Death
Cab subverting their own penchant for love-song balladry, turning what would otherwise be another aching epic into an angsty jam with a venomous bassline. Choosing to continue on their path of selfproduction, guitarist Chris Walla has recorded their latest effort with an experts ear, breathing a lot of space into the mix and continuing to push the band down the path of minimal instrumentation, unless clutter becomes a brief necessity. Narrow Stairs is another superb chapter in the Death Cab For Cutie story. Nick Milligan
THE DRESDEN DOLLS
Make sure to check this one out. Hugh Milligan
EVEN Self-Titled Rubber Records 5/5 This album is full of perfectly played, perfectly formulated, bluesy, pop/rock tracks. The uncomplicated choruses give the songs a very radio friendly feel, and have that singalong capability of sticking in your head long after the songs have finished playing. There is definitely some great instrumentation and musicianship, however it does not go over the top to the point of showing off. Everything about this album is likable! Fantastic! Ashleigh Gray
Jeff Lang’s storytelling is so honest, it’s unsettling at times. It can be emotional when you listen closely to the subject matter of these songs, as too often Jeff can cut a bit to close for comfort. Murder, regret and retribution are all played out behind sweet vocals and, at times, caustic guitar work. ‘Night Draws In’ is as radio friendly as we get, and that is not said in a negative way. Acoustic, roots, blues, call it what you may, but Half Seas Over should be listened to by a wider audience, and listened closely. This one will touch you in places that have not been touched in a while. Kevin Bull
The Night Is Ours Ivy League 3/5
THE Entertainment and Lifestyle Publication for Newcastle, The Hunter & Central Coast
Distance Over Time Destra/Compass 3.5/5
Album number five for Paul Greene, and Distance Over Time doesn’t skimp on tracks (18 in all) and memorable moments. It is a credit to the songwriting and production that no matter where you find yourself, you find gems. Equal doses of acoustic roots, sea salt and country dust means this album will appeal to many. From the acoustic rock joy of ‘Let It Flow’ and ‘Get Over It’, the simplicity and longing within ‘Jervis Bay’, and the well chosen covers of The Waterboy’s ‘Whole Of The Moon’ and Jeff Buckley’s near untouchable ‘Last Goodbye’, Distance Over Time is a solid experience. Kevin Bull
Nick Milligan
PORTISHEAD Third Universal/Island
3.5/5 There’s something a little nightmarish about Portishead’s latest album – the gritty textures, the warped electronica and Beth Gibbons’ whimpering voice are strangely evocative of a carnival of horrors. The melodies are morose and brooding, whether they’re drifting in a catatonic daze (‘Hunter’) or driven by primal pounding beats (‘We Carry On’). It’s a dark, hypnotic sound that’s perversely compelling, if sometimes rather chilling. Hugh Milligan
June 2008 Issue 23
JULY 10
Opening with the dreamy and grand ‘Good Time’, the fourth album by Youth Group is a confident stride into territory that is purely their own. Layered production, memorable melodies and hooks, will make it easy for fans to embrace, and newcomers to wonder what they have been missing. The lead single ‘Two Sides’ has you singing along before you know you are. ‘Friedrichstrasse’ begins quite tender, yet directionless and builds midway into a grandeur release. On second listen, the track makes sense. As a whole, The Night Is Ours should be well received even if it plows well trodden ground. Kevin Bull
PAUL GREENE
Since dabbling in the world of synth-pop with the 2003 album Welcome To The Monkey House, Courtney Taylor-Taylor and his band The Dandy Warhols have moved even closer to their guitar-driven roots with this sixth official studio album. From the dirty space-pop of ‘Mission Control’, to the sleazy, Iggy Pop funk of ‘Welcome To The Third World’, it feels like the Dandys are perfecting their ecclectic tastes with strong, cohesive threads. ‘Wasp In A Lotus’, ‘Now You Love Me’ and ‘Valerie Yum’ are all melodic highlights. Mark Knopfler even lends some licks to ‘Love Song’. This album is highly recommended.
JANUARY 10
YOUTH GROUP
...Earth To The Dandy Warhols... Speak n Spell 4.5/5
JULY 09
This album has been criticised for being another step into self-indulgence and incohesion - but isn’t that what makes The Mars Volta so unique and brilliant? Cedric Bixler-Zavala and Omar Rodriguez-Lopez create a sonic universe of frenetic turmoil and they are allowing the listener inside. Musically and melodically, this is as accomplished as anything the two ex-At The Drive In members have created. Compared to previous albums, it’s less a narrative and more a collection of independent songs. Cedric embibes his voice with more growling malice than ever before. The song ‘Goliath’ is a gem, and yes, full of bedlam. Nick Milligan
THE DANDY WARHOLS
JANUARY 09
JEFF LANG Half Seas Over ABC 3.5/5
MUDHONEY The Lucky Ones Sub Pop 4/5 Having practically invented 90s grunge music, Seattle’s Mudhoney were one of the major influences on Kurt Cobain’s songwriting. The band are not trying reinvent the wheel with this album, but simply sticking to ingredients that taste really good. With fuzzy, raw guitars, the album’s title track has as much dirt and grit as ever. Their ninth studio album since 1989, Mark Arm and his mates sound as fresh and authentic as ever. If you like old-school punk, like The Stooges, then it might be time to discover Mudhoney. Nick Milligan
It’s hard to accurately describe the sound of Animal Collective. At times it’s experimental electronica, at others a glam rock sound strongly reminiscent of Queen – diverse, but always lush and delirious. ‘Water Curses’ is manic and theatrical, whereas ‘Seal Eyeing’ floats amongst dreamy water pulses and simple piano chords. It’s a captivating aesthetic that revels in its own eccentricity.
THE MARS VOLTA The Bedlam In Goliath Universal 4/5
No Virginia Roadrunner 3.75/5
I rate this band so much. They are amazing, Amanda is crazy and writes amazing songs. They lean toward the seriousness of Tori Amos (ok, maybe that’s just the piano), but with the fun and frivolity of Mr. Bungle vs. Robot Chicken. Technically a B-Side album, made up from remaining cuts from the 2006 breakthrough release Yes, Virginia. this is a strong release in its own right. Something about the instrumentation of piano, voice and drums, bring nostalgic feelings, like from the set of a well loved movie. It never loses sight of its punk rock sound, or originality. They make me feel like a big person watching marionette puppets rock out. Kieran Ferguson
Water Curses EP Domino 4/5
FEATURE ALBUMS
JULY 08
There’s still large doses of their trademark sentimentality, with songs like ‘Talking Bird’ providing
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FeATUre ALBUMS
THe LAST SHADOW PUPPeTS
The Age Of The Understatement Domino/eMI 4.5/5 This side project of Alex Turner from the Arctic Monkeys and Miles Kane of British indierock trio The Rascals, is a stunningly cinematic journey through Spaghetti Western psychedelia. For those that sit on the fence about Turner’s talent, then Shadow Puppets are confirmation of his genius. Rather than continue to explore the juvenile (yet always engaging) punk ethos of the Arctic Monkeys, this project echoes a dark, shimmery period of 70s music and a mature side to Turner’s songwriting. The vocal harmonies on single ‘Standing Next To Me’ are breathtaking. This is a very exciting release. Nick Milligan
CLOUD CONTrOL Cloud Control Independent 4/5
And with a cascading swirl of keys, we enter Cloud Control’s debut EP. It is an album of restrained rock/pop that finds strength within the subtle harmonies and melodies. There is an earthiness, similar to a GoBetweens / Triffids honesty, which has a lot to do with the timbre of Alister Wright’s voice and the sympathetic production. On the whole there is an up tempo playfulness except for, in my opinion, the release’s two finest moments. ‘Fine Teacher’s simple guitar, piano, melody and harmony work a treat, while ‘Into The Line’ pulls the tempo right back, you close your eyes, and drift on the lushness of those voices. Fine, fine stuff. Kevin Bull
AL GreeN Lay It Down eMI 4/5
No one has a voice like Rev. Al Green. So distinctive. Lay It Down is Al’s third release for Blue Note Records and is a far more solid affair when compared to 2005’s Everything Is OK. Working with The Roots’ ?uestlove, John Legend and The Dap-Kings Horns, Green’s glory days of the 70’s have been faithfully re-created. This, for me is the only concern I have. With such a team working behind Green, the safest path has been taken rather than stretching into new territories. That’s not to say Lay It Down is not a satisfying release - far from it. It is still one of the best soul releases of the year. Kevin Bull
OPeTH
Watershed
roadrunner 4/5
MY MOrNING JACKeT Evil Urges eMI 4/5 If you’re already in love with My Morning Jacket, then this new offering from Jim James and his motely crew will be a comforting, golden shower of trademark harmonic beauty and raw dynamics. But nothing can prepare even the most hardcore of fan for track three – ‘Highly Suspicious’. Did Jim James fall asleep one night listening to a Prince record? Using what is surely tongue-incheek falsetto, James squeaks and maniacally chuckles away over fat, 80s guitar stabs and squealing licks. Imagine the Bee Gees stealing the music of Tone Loc’s ‘Wild Thing’. Even the opener and title track utilizes more of James’ obvious penchant for falsetto, where as ‘I’m Amazed’ is unmistakably Jacket. Overall this album is another joyous showcase for the group’s own brand of sunshine. Evil never sounded so angelic. Nick Milligan
20 000 copies monthly to over 400 outlets
First up, if you’re an Opeth fan you will love Watershed. It pushes all the right buttons with mighty riffage, progressive structures, and a style its own. If there is one concern, it’s that it sounds just as you would expect. For a band that continued to tread new ground, Watershed does not offer up anything truly inspirational. For me, it is the second half that delivers the true gems. ‘Porcelain Heart’ is a cracker, solid riffs, light and shade dynamics - it is Opeth extending themselves. ‘Hessian Peel’ is over 11 minutes of progressive metal at its finest. Watershed deserves repeated listens and will be considered one of the best metal releases this year. Kevin Bull
THe OFFSPrING Rise and Fall, Rage and Grace SonyBMG 3.5/5 As the first two tracks of The Offspring’s latest offering blast over your stereo, you breathe a sigh of relief - the Californian legends have returned to their roots? Fast, ball-busting punk-rock? Unfortunately, the album does slide back into The Offspring’s new found love of pop-rock and power ballads (‘Fix You’ - not the Coldplay song). Sometimes it works, and at least they’ve avoided the kitschness of tunes like ‘Original Prankster’. But the boys are jumping on Green Day’s bandwagon (the final track ‘Rise and Fall’ is an ‘American Idiot’ rip-off). ‘Stuff Is Messed Up’ is a guilty pleasure and there’s lots of hooks on offer, but this isn’t what The Offspring do best. Noah Cross
Weezer
Weezer (The Red Album) Universal 2.5/5 Album number six and the third to be selftitled, the so-called Red Album looks like Weezer, it kind of sounds like Weezer, but it is definitely not the best of Weezer. It is just so hit and miss. Opener ‘Troublemaker’ and ‘Everybody Get Dangerous’ are great rock songs, ‘Pork and Beans’ feels like the madeto-order single and should grab everyone’s attention, and ‘The Greatest Man That Ever Lived’ is a freak of a song. Six minutes, 10 movements, and surprisingly appealing. These tracks are the first half of The Red Album, the second half just runs downhill at a fast pace. Kevin Bull
LITTLe reD Listen To Little Red Shock 3/5
Super-fun-happy, hey-girl-let’s-dance music! Layered pop vocal hooks, lashings of ‘ohh’s’ and ‘ahh’s’, and the cheeky ‘shoop-be-dowops’ complement the upbeat backing of this record. The lyrics are about - well, girls. Usually in red dresses. You could be cynical about this unabashed 60s revivalism, but these guys are not trying to reinvent the wheel. Comparisons with the Wolfmother phenomena spring to mind, both in their derivative nature, but also in their masterful execution and infectiousness. If this sounds like your thing, get yourself a date in a red dress, get along to their next show, and wear your dancing shoes. Shoo-be-do-wop! Mark Forester
SPIrITUALIzeD Songs in A&E Universal 3.5/5 Song’s in A & E is Jason Spaceman’s (aka Jason Pierce) sixth studio record under the Spiritualised band title. The album is a pastiche of gospel, soul, blues and slow rock. The arrangement includes angelic female vocals, swelling evocative string sections, thoughtful guitar pieces, church organ, and delicately performed drums. ‘Borrowed Your Gun’ is an achingly sweet piece of music. In fact, there are several truly moving moments on this record, although the single ‘Soul On Fire’ isn’t one of them. At 18 tracks, the record is a little long, and it might have had a more sustained emotional impact if it had been distilled somewhat. But Song’s in A & E is still an experience worth having. Mark Forester
COLDPLAY Viva La Vida Or Death And All His Friends Capitol/eMI 4.5/5
Viva La Vida marks a new era for a band that has proven all they need to. Chris Martin oozes pop hits from his pores and anthems seemingly drip from his piano-playing fingers. So what does a band do in such a situation? ‘Violet Hill’ is a case in point – it’s dark, introspective, unusual – and a rock song. If this were Coldplay’s debut single, it wouldn’t drift beyond Triple J. There’s a darkness throughout most of this fourth album. ‘Cemeteries Of London’ contains echoed jangle and ghostly choirs, while ‘Lost!’ floats over church organ (both songs weave hand clapping into the mix). For a group with an accomplished back catalogue, Viva La Vida might just prove to be their crowning glory. Nick Milligan
THe FrATeLLIS Here We Stand Universal 3.5/5
Here We Stand is such a fun ride, it is hard not to like it - big choruses, perfect for the drunken sing-along with the mates. The 2006 debut Costello Music held much promise for these brit-poppers, so it is great to see number two delivers. The Fratelli brothers take the legacy of glam and the best of brit-rock, to bring something memorable and catchy as all hell. ‘Mistress Mabel’ is a standout along with ‘A Heady Tale’. What gives The Fratellis the edge over the pretenders is intelligence and songcraft, while having a rollicking good time. Kevin Bull
PLANTLIFe Time Traveller Shock 4/5
The genre-blurring Plantlife return with album number two, the aptly-named Time Traveller, and it’s a joyous ride through 60’s soul, 70’s funk, 80’s hip-hop, 90’s R&B and beyond. No specific influence dominates, creating a refreshing and modern mix. In 2004, the debut The Return of Jack Splash turned Jack into a highly sought-after producer working with Missy Elliot, Alicia Keys and Cee-Lo to name a few. Now Jack is back. I hear Sly Stone (‘Freee!’), Funkadelic (‘Outta Control’), Prince (‘Sumthin About Her’), Marvin Gaye (‘Fool For U’), but in the end it is all Plantlife. Kevin Bull
THe SUBWAYS
All Or Nothing Infectious/ Warner 3/5 There’s nothing like relentlessly earsplitting punk rock to make you feel older than you are. Thankfully, All Or Nothing is softened by songs such as ‘Move To Newlyn’ and ‘Strawberry Blonde’, but otherwise the album is a catalogue of vaguely articulated angst accompanied by coarse and strident instrumentation. There are definite glimpses of clever songwriting here, but they’re obscured by other, more overbearing tracks. Hugh Milligan
THe DODOS Visiter
Wichita/Shock 4/5 There’s hardly a review of the Dodo’s around that doesn’t make a lame joke about extinction. Hopefully this kitsch press angle will soon die out, pass away, generally cease to be, and shuffle off the mortal coil to join John Cleese in parrot sketch heaven. This two person act from San Francisco play psychedelic, rocky, bluesy kinda folk. Strong melodies and harmonies coupled with big roomy percussion accompany an upbeat song writing style. The lyrics are refreshing and honest. The recurring psychedelic element adds a great sonic depth to the record. Mark Forester
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cd reviews ALBUM OF THE MONTH
FLEET FOXES
Self-titled
Sub Pop/Stomp 5/5 ‘Tiger Mountain Peasant Song’ stops you dead in your tracks.
Described as ‘baroque harmonic pop’, Seattle five-piece Fleet Foxes, have just released this debut full length album, hot on the heels of their Sun Giant EP. So why are they Reverb’s album of the month? To use an understatement, they have crafted the most breath-taking album of 2008. This is a large call, but by your sixth or seventh listen, you realise that Fleet Foxes is one of the most stunning albums you’ve ever heard.
Robin Pecknold’s glowing, chime-like voice cuts straight to your soul. Single ‘White Winter Hymnal’ is the most arresting song written since ‘New Slang’ by The Shins. In fact, you get the distinct impression that Fleet Foxes have The Shins in their collection, along with the odd album by Band Of Horses and Iron and Wine. If they’re not disciples of Jim James and My Morning Jacket, then you have good reason to freak out. They’re not nearly as electric as MMJ, but those stirring church-like vocal arrangements often swirl like those on Jim James penned tracks like ‘Golden’.
In fact, the opening track ‘Sun It Rises’, does let loose with some Southern electric guitar jangle. The production was helmed by Fleet Foxes’ family friend Phil Ek (Mudhoney, The Shins, Built To Spill, Band Of Horses, Modest Mouse), and sounds as though it were recorded in a gothic cathedral in the middle of the American wilderness. For a group of city lads, it’s an amazing feat. You can feel them longing for a creek between their toes and dark foliage above their heads. Fleet Foxes will restore a faith in music, for those that have lost their own. Ultimately, they make you want to cry with joy. By Nick Milligan
HOLLY THROSBY
TRIAL KENNEDY
The third album by Holly Throsby has a vulnerability that makes you want to reach out and give Holly a big hug. Engineer and producer Mark Nevers (Lambchop, Bonnie ‘Prince’ Billy, Andrew Bird) has created a subtleness that draws you in to the songs themselves, causing you to turn your ear to get a closer listen. It is simple and unobtrusive, giving strength and support to the songs yet never being dominant. With an honesty and confidence in Holly’s voice, the listener feels comfortable and relaxed like when an old friend visits. Uncluttered, intimate and quite beautiful, A Loud Call grabs your attention by simply holding your hand. Kevin Bull
FOXBORO HOT TUBS
Stop Drop and Roll!!! Warner 4/5
Melodia Ivy League 4/5
If Foxboro Hot Tubs sound like Green Day trying their hand at 60s garage-rock - then that’s because it is. Putting their old-school punk charm on the rockabilly genre, this is by no means a stylistic departure that requires a moniker - but that just adds to the fun. Sounding like the Stray Cats - and by extension, a very young Living End - the greaser facade starts to drop away on ‘Ruby Room’, ‘Sally’ and ‘Broadway’, but songs like the the gentle sway of ‘Red Tide’ will raise your eyebrows. Stop Drop and Roll!!! will appeal to Green Day fans, and will expecially please those that thought ‘American Idiot’ was a little too palatable. Noah Cross
THE Entertainment and Lifestyle Publication for Newcastle, The Hunter & Central Coast
CSS Donkey Sub Pop/Stomp 3.5/5 This second offering from indie Internet wonders CSS is populated by an ecclectic collection of rock and techno beats. The songs are catchy, and a few, like the single ‘Rat Is Dead (Rage)’, really stand out as great rock, but others are so strikingly similar that the sound eventually loses its appeal. There’s strong elements of mainstream pop songs like ‘Reggae All Night’ and ‘Move’ have a definite retro vibe, and Lovefoxxx’s breathy deadtone vocals lend themselves well to electro-pop. The result is fun and listenable, but ultimately forgettable. Hugh Milligan
BLOOD RED SHOES
TZU Computer Love Liberation 4.5/5 This is a superb Australian release, that will transcend the expectations of TZU’s vast hip-hop audience. What makes Computer Love, their third album, such a success is its genre-bending frivolity - TZU stay eclectic but don’t spread themselves too thin. Fine songwriting and mild splashings of humour are introduced with opener ‘We Got The Feeling’. The title track has an American RnB flavour and ‘Right Of Way’ is TZU dabbling in their electronic influences, with bursts of salsa brass and beats. ‘Number One’ stands out as one of two album highlights, with its soul hook and stomping bass, while ‘Burning Up’ steals the show. It’s refreshing to hear Australian hip-hop continue to steer away from cringe-worthy twang and pursue true innovation. Nick Milligan
Box Of Secrets V2/Shock 3.5/5 English duo Steven Ansell and Laura-Mary Carter’s debut is a rip-roaring affair. It has a real rawness about its structure, nasty guitars and an energy that is contagious. ‘You Bring Me Down’ is frantic and as catchy as hell. If fact, much of this album travels at 100 mph and it can wear you out. It’s only a small grip as after numerous listens, I still get a kick out of it. Garage rock, indie rock, call it what you wish, but Blood Red Shoes are a band to watch, and Box of Secrets should be listened to. Kevin Bull
THE JOHN STEEL SINGERS
Beagle and the Dove MGM 4/5 This is such a playful release. It feels only yesterday that The John Steel Singers were taking out JJJ Unearthed, and now we have eight tracks that exude confidence in who they are and what they are doing. It is pure pop, refreshing in their use of harmonies, brass and quirky vocals. ‘Strawberry Wine’ has deservedly received airplay but is definitely not the strongest track, so if you have a passing interest in it, the EP will not disappoint. It is pleasing to hear such a mature release coming from a young band. This is for the fans of clever pop. Kevin Bull
HELLSONGS
Hymns In The Key Of 666 Creative Vibes 4.5/5 This Swedish covers band have released one of the most gorgeous and unexpected debut albums of the year. Hellsongs sing acoustic, indiefolk covers of classic heavy metal songs. Everyone from Sabbath, Iron Maiden, Slayer and even AC/DC get the reworked treatment. Does it work? Hell, yes. Hellsongs are not being ironic or taking the piss. Instead, they expose the often beautiful lyrics of heavy metal music. With haunting female vocals, the songs manage to avoid being overly gothic. This an album that you will play to death. Nick Milligan
July 2008 Issue 24
JULY 10
Six years ago The Vines gave mainstream rock a much needed right hook, but their blows since that time have varied in impact. Their fourth studio album, Melodia, is more than just a safe return to form. The riffs are heavier, the sound is dirtier and the songs are reckless and wild. It’s what The Vines do - they tangle Beatles-esque melodies in pounding distortion. Their Brit-pop influences are still there (see ‘Orange Amber’), which will relieve fans who cherish that streak in Craig Nicholls’ writing, but the rock kids won’t have to look any further than ‘Brain Dead’. Welcome back, Vines. Nick Milligan
‘Honor Wishes’, with its cool jazz riffs, sets the tone for a gorgeously soulful and complex album. Laid back bass rhythms, trickling piano chords and Joan’s raw lyricism all contribute to a warm and irresistable aesthetic that quickly crawls under your skin. The sound is never cluttered by instrumentation - the harmony is simply expressed and complimented by occasional string and brass lines. It’s sometimes fragile, sometimes bold, and always compelling. To Survive is gutsy music gently executed, and a powerfully emotional album. Hugh Milligan
JANUARY 10
THE VINES
To Survive Mushroom 4.5/5
JULY 09
As a debut CD, New Manic Art is not disappointing but it would be if it was their second or third release. It is a strong opening statement with broad ambitions that is let down by a lack of consistency and direction. Following the lead cracker ‘Sunday Warning’ and memorable current single ‘Neighbours’, the tracks miss more than they hit. The major disappointment for me is the lack of anything that resembles their blistering live shows. Just a bit too much pop than gritty rock. I feel that we have already heard the best with their singles and will need to now wait for their next release. Kevin Bull
A Loud Call Spunk 4/5
FEATURE ALBUMS
JANUARY 09
New Manic Art Song BMG 3/5
JOAN AS POLICE WOMAN
JULY 08
The Fleet Foxes sound is full and deep, but has been recorded with huge amounts of echo and space. Musically, there are shades of light and dark, with some upbeat songs lifting you up, before a darker tune like
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