Mess+Noise EP review: The Jezabels

An EP review for Mess+Noise. Excerpt below.

The Jezabels – Dark Storm

The press release seems to want me to mention something about their age, so here goes: Sydney quartet The Jezabels are aged between 23 (singer) Hayley Mary) and 25 (drummer Nik Kaloper). Together, they write soaring, dramatic pop, so here’s where I’m meant to make some kind of comment on their maturity, and how incredible it is these young musicians are performing deep, complex, Important Music. This EP is apparently the “third and final release in a trilogy that began with 2009’s The Man Is Dead…” Alright then, moving on.

The strangest thing about this band is that the instrumentation is essentially a blank canvas for Mary, whose voice is so urgent and alluring that you’re half-tempted to take a cold shower immediately after the disc ends. Her every yelp and note sticks in the mind, and endures; as for the instrumentation, there’s little to write home about. The band’s musical point of difference is the absence of a bass; keyboardist Heather Shannon fills out the bottom end by playing slow, deliberate chord progressions. Guitarist Sam Lockwood favours clean, feeble tones for the most part. In ‘A Little Piece’, his use of an ebow strives for that mournful, desolate soundscape feel, amid bursts of Foals-like noodling. Lockwood’s best asset as a player is knowing when to dial it back. Indeed, much of Dark Storm is characterised by a sense of space, which swells to crescendo during each chorus.

Full review at Mess+Noise. More of The Jezabels on MySpace. The music video their song ‘Mace Spray‘ is embedded below.

The Vine album review: The John Steel Singers

An album review for The Vine. Excerpt below.

The John Steel Singers – Tangalooma

Less a particular colour than a whole rainbow, Tangalooma is the debut album from Brisbane six-piece The John Steel Singers, whose invigorating take on indie pop is distinguished by their ample use of brass instruments. But despite their pomp and bluster, it’s the subtleties that JSS inject into their sound which makesTangalooma a truly great record – and importantly, not just a ‘great debut’.

Check out the banjo counter-melody in ‘Once I’. The whirligig of subtle guitar effects that close out ‘Dying Tree’, and then lead into the grinding bassline of ‘Rainbow Kraut’. The unexpected percussion throughout ‘Toes And Fingers’, which sounds like drummer Ross Chandler is tapping on glasses filled with different water levels. Chandler is an integral force within the band, and not for the obvious reason that he provides the backbeat: his mind seems to work unlike the average drummer, seemingly obsessed as it is with eschewing the obvious in favour of the peculiar. His stuttering beat ushers in ‘Masochist’, while Pete Bernoth’s trombone and Damien Hammond’s bass place emphasis on a three-note flourish. Chandler isn’t beyond playing it straight, though, as in ‘You’ve Got Nothing To Be Proud Of’, a bass-heavy pop jam that sounds unlike anything the band have done before. Bernoth’s trombone and Scott Bromiley’s trumpet team-ups could easily be shrugged off as a gimmick if they weren’t interwoven into each track’s narrative, but they compute. Take, for instance, the assured trombone tones of ‘Cause Of Self’, which lends the song a regal, military vibe. (It reminds me of the Streets level in GoldenEye 007, which is awesome.)

Full album review on The Vine. More of The John Steel Singers on MySpace. The music video for their song ‘Overpass‘ is embedded below.

Rolling Stone album reviews, November 2010: My Disco, Shihad, Passenger

Three album reviews for the December 2010 issue of Rolling Stone.

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My Disco
Little Joy (Shock)

Melbourne noise trio ease off on the throttle, but retain their edge

“There are others / Others just like me” deadpans My Disco’s bassist, Liam Andrews, in “Rivers”, over and over. He’s taking the piss. Since forming in 2003 this Melbourne trio have prided themselves on sounding unlike anyone else in Australia. Again they’ve opted to record with Steve Albini (Shellac, Big Black), and again their minimalist sound reaches a creative apex. Like on previous albums Cancer and Paradise, Andrews, his brother Benjamin (guitar) and Rohan Rebeiro (drums) describe a sonic wasteland that’s bleak, confronting, yet wholly compelling. Their largely instrumental approach has always relied upon repetition, endurance and sheer force. By those measures, Little Joy is no different; only better. Taken as a whole, these nine tracks convey a sense of propulsive moment; of evolution. Album closer “A Turreted Berg” – characterised by a subterranean bass hum, a simple backbeat and screaming guitar squalls – is the single best song they’ve released. Studious without being stuffy, Little Joy is My Disco’s finest yet.

Key tracks: “A Turreted Berg”, “Young”, “Turn”

Elsewhere: an interview with My Disco’s Ben Andrews for The Vine

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Shihad
Ignite (Roadrunner)

Wellington’s finest deliver an underwhelming eighth album

Eight albums in, Melbourne-via-Wellington rock quartet Shihad are still struggling to reclaim their mojo with a consistent full-length effort. It was back in 1999 that they released their last all-class LP, The General Electric; 2008’s Beautiful Machine, Shihad’s last effort, was bogged down by melancholy pop. Balancing heavy and soft songwriting modes has always been a concern for the band, and Ignite doesn’t buck the trend. Its best tracks are led by either sledgehammer riffs (“Sleepeater”, “Lead Or Follow”) or anthemic vocal melodies (“Ignite”); although such peaks are underwritten by the unremarkable (“I’m A Void”, “Engage”) and the plain forgettable (“In The Future”). The most disappointing part of this LP is that there’s nothing here we haven’t heard before from Shihad. A stylistic reinvention we need not; instead, it’d be nice to hear some songs that can outlast the album cycle. Admirable though it is that they’ve maintained a 22 year-old career – and that they’re still attempting to better their distinguished past – in whole, Ignite just doesn’t measure up.

Key tracks: “Sleepeater”, “Lead Or Follow”, “Ignite”

Elsewhere: an interview with Shihad’s Tom Larkin for The Vine

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Passenger
Flight Of The Crow (Inertia)

Local luminaries lend a hand to much-loved U.K. songwriter

Plucky Brit Mike Rosenberg brought his Passenger project to Australia in 2009 and hung around long enough to busk our streets, earn some cash and endear himself to an all-star cast. Funded entirely through his busking sojourn – if we’re to believe the marketing – Flight Of The Crow features the likes of Josh Pyke, Boy & Bear, Lior and Kate Miller-Heidke lending voices and instruments to Rosenberg’s 11 songs of loneliness and longing. His guests are consistently impressive without stealing the show; instead, the spotlight remains firmly upon Rosenberg, whose distinctive voice shimmers with just the right amount of pathos to induce repeat listens. In the title track, he sings of waking up alone and unhappy, questioning the worth of “living widescreen”, and missing birthdays and New Years in a convincing manner, which crystallises the self-doubt of solo travellers the world over. Rosenberg’s hustle alone is worthy of respect; that the man can write credible acoustic pop tunes is a bonus.

Key tracks: “Golden Thread”, “Flight Of The Crow”, “Shape Of Love”

Rolling Stone album reviews, October 2010: Washington, Ben Folds/Nick Hornby

A couple of album reviews for Rolling Stone, which appeared in the October 2010 issue.

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Washington
I Believe You Liar

Charismatic newbie delivers an impressive debut album

Following a string of EP releases, Melbourne-via-Brisbane singer-songwriter Megan Washington delivers an impressive debut album, whose 12 tracks were written and performed by the eponymous singer alongside producer John Castle. On I Believe You Liar, the pair play all the instruments that comprise her heady mix of piano-heavy pop. The star here isn’t just Washington’s impressive vocal range, but the clever wordplay and knowing sense of irony that sees her question whether she makes us hum in “Sunday Best”, and write an entirely danceable chorus around the concept of not wanting to dance (“Rich Kids”). Such additions are cute without bordering on kitsch. While most tracks swing with contagious joy, the album’s handful of slower moments – like the morbid “Underground”, which deals with the singer’s preference for cremation over burial – reveal an introspective bent. Given the singer’s ability to compel with both modest and garish modes of songwriting, Washington’s debut is a consistently enjoyable listen.

Key tracks: “Rich Kids”, “How To Tame Lions”, “Clementine”

Elsewhere: an interview with Megan Washington for The Vine

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Ben Folds/Nick Hornby
Lonely Avenue

Piano tinkler gets together with pop fiction’s poster boy

It’s a music geek’s wet dream: American singer-songwriter Ben Folds collaborating with British novelist Nick Hornby (High Fidelity, About A Boy). Here, multi-instrumentalist Folds uses Hornby’s emailed short stories as the lyrical basis for 11 tracks that sparkle with irreverent humour. Take “Levi Johnston’s Blues”: a hilarious character narrative written from the perspective of the “fuckin’ redneck” who knocked up Sarah Palin’s daughter. Folds’ musical vision wheels between the rollicking, piano-led pop for which he’s become known (“Working Day”, “From Above”), and more subdued compositions like “Practical Amanda” and “Password”, which feature stunning string section interjections courtesy of arranger Paul Buckmaster (David Bowie, Elton John). “Your Dogs” – a tale of suburban discontent set to catchy, taut instrumentation – can be counted among the finest moments of Folds’ career. Lonely Avenue is a meeting of two brilliant minds in near-perfect sync. Hopefully, it won’t be the last time they get together.

Key tracks: “Your Dogs”, “Levi Johnston’s Blues”, “From Above”

Mess+Noise Mid-Year Report 2010: my top five

Mess+Noise asked their critics to pick their top five Australian releases so far this year. I chose these:

The Gin Club
Deathwish (LP, Plus One Records)
With nine songwriters in the mix across the genres of rock, folk and pop, The Gin Club’s fourth full-length could easily have fallen victim to too-many-cooks syndrome. It didn’t. Instead, it’s one of the best Australian albums of recent memory.
Read Andrew’s review here.

Halfway
An Outpost Of Promise (LP, Plus One Records)
This Brisbane alt-country act contain as many members as The Gin Club, but on this release, the songwriting of core duo John Busby and Chris Dale is informed by the direction of Go-Betweens co-founder (turned album producer) Robert Forster. The result is 10 finely-honed songs that bear a homely, barroom feel.
Read Andrew’s review here.

Nikko
The Warm Side (LP, Tenzenmen)
Another Brisbane band – swear I’m not biased. Post-rock with vocals done well.
Read Andrew’s review here.

Faux Pas
Noiseworks (LP, Sensory Projects/Heroics)
Outrageous, otherworldly electronic pop written in a Melbourne bedroom. An outstanding debut.

Parades
Foreign Tapes (LP, Dot Dash/Remote Control)
This one was overwhelmingly dense upon first listen, and took a few listens to reveal its genius. Unconventional pop songs dressed up in the always-awkward “art rock” tag. I’m glad I gave it time. You should too.

Visit Mess+Noise to see the rest of the critics’ picks.

What are your top five Australian releases of 2010 so far?

Rolling Stone album reviews, August 2010: Drawn From Bees, Itch-E & Scratch-E, PVT

My first album reviews for Rolling Stone, which appeared in the August 2010 issue.

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Drawn From Bees
Elementary Tales For Young Boys & Girls

Ambitious rock collection favours both quantity and quality

This limited release box set fulfils the rigorous, self-imposed work ethic outlined by Brisbane art rock quartet Drawn From Bees in 2008: to write, record and release new material every six months. Think of Elementary Tales as a long-exposure snapshot of an ambitious band-in-progress. Comprising 35 songs split between three EPs and a debut album, Fear Not The Footsteps Of The Departed, Drawn From Bees aren’t short on hooks, nor willingness to experiment. The nine tracks on second EP And The Blind Shall Lead The Way each hit high notes; lead cut “Long Tooth Setting Sun” contains one of the best examples of their favoured four-part harmonies. Very few of these songs feel undercooked; many sizzle with admirable clarity of vision. Their studious devotion to deadlines could be construed as over-earnestness, yet if anything, this career-so-far summary only underlines how serious Drawn From Bees are about their art. Taken in its entirety, this is a remarkable body of work.

Key Tracks: “Long Tooth Setting Sun”, “And the Blind Shall Lead the Way”

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Itch-E & Scratch-E
Hooray For Everything!!!

Lukewarm third LP an itch better left unscratched

That this Sydney techno duo Itch-E & Scratch-E open their first release in a decade with a remix of the Scribe tune “F.R.E.S.H.” speaks directly to this album’s misguided nature. Considering their reputation as scene innovators in the early-1990s – remember the understated, ARIA Award-winning beauty of “Sweetness & Light”? – the Scribe joint seems the techno equivalent of waving a white flag. Elsewhere, NYC rapper MDNA lends his rapidfire potty mouth to “Other Planets” and The Scare’s Kiss Reid guests on “Electric”, yet these compare unfavourably to the album’s latter instrumental tracks. “Fishtank” and “Imperial Rockets” are the only true captivators here, but ultimately, these intergalactic sojourns can’t reconcile overall weakness. The uninspired cowbell/vocoder combination in album closer “Found It On The Dancefloor” serves only to still whatever slight momentum had been gained. More proof that just because you can reunite, doesn’t mean you should.

Key Tracks: “Fishtank”, “Imperial Rockets”, “Found It on the Dancefloor”

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PVT
Church With No Magic

Electro rockers deliver much-anticipated third opus

The band formerly known as Pivot have added vocals to their blend of rock and electronica, yet what lies within Church With No Magic isn’t as immediately compelling as 2008′s O Soundtrack My Heart. Fans of the previous record will soak up the raucous, pitch-shifted dissonance of “Light Up Bright Fires” and the propulsive, choppy title track; hereafter, the hooks all but disappear. They’re replaced with an overbearing influence of woozy, amorphous electronica. On “Window”, from Laurence Pike’s clattering percussion to his brother Richard’s proudly-sung affirmation (“I won’t slip / I won’t fall / I won’t change”) and Dave Miller’s layered production, there’s a sense of cohesion that evades some of the latter tracks. PVT’s strongest material occurs when they meet rock and electronica halfway.

Key Tracks: “Light Up Bright Fires”, “Window”, “Church With No Magic”

The Vine album review: Janelle Monáe

An album review for The Vine.

Janelle Monáe – The ArchAndroid

For the uninitiated, go peep Janelle Monáe’s jaw-dropping performance of ‘Tightrope’ on Letterman in May 2010 then report back, just so you know what you’re dealing with here. Ordinarily, this’d be a cop-out; ordinarily, you’d be right to call me a goddamned lazy writer for pointing readers off-screen. But damn, if you haven’t seen that video, you must. It’s remarkable because Monáe – an exceptional vocalist, dancer and entertainer in her own right – is operating within the tightly-leashed, clichéd confines of the late night TV spot, yet somehow, the singer and her band skilfully throw aside decades of forced, contrived on-camera choreography through sheer energy and charisma. It’s the most memorable TV performance of my generation; truly, a career-defining four minutes. Without that kick-ass, life-affirming performance, I wouldn’t know her name or her music.

Full review at The Vine. More Janelle Monáe at MySpace. ‘Tightrope’ live on Letterman video embedded below. It’s amazing.

Mess+Noise album review: The Gin Club

My first ‘On Rotation’ album review for Mess+Noise, where I discuss The Gin Club’s new album in some depth. Excerpt below.

The Gin Club – Deathwish

On their fourth album, Brisbane rock/folk/country/ whatever-goes collective The Gin Club sprint out of the blocks. ‘Pennies’ grabs you firmly by the ears and doesn’t let up throughout two minutes of bluesy guitar licks and hair-raising vocals that aren’t so much sung as yelled. Its brevity speaks of the confident swagger that abounds on Deathwish. Multi-instrumentalist Ola Karlsson knew he was onto a good thing when he wrote this song, and while he could easily have stuck around for a final verse-chorus-coda, he chose to smother it prematurely. That, ladies and gentlemen, is confidence.

Unlike their previous release – the 26-song, double-disc Junk – this album’s liner notes are sparse: no songwriting credits, no lyrics, and little to suggest that the album’s 13 songs belong to 10 individuals. (In case you were wondering, I’m only able to comment on who wrote what because I have a cheat-sheet in front of me). This is a new look for The Gin Club. Whether conscious or not, they’re obscuring facts and leaving some things to our imagination. On stage, one of the band’s most striking visual elements is the constant swapping of musical instruments and stage positions between songs. On this album, there’s a greater sense of that comfortable barroom feel than ever before.

Full review at Mess+Noise, where you can also stream a couple of tracks (‘Pennies’ and ‘Milli Vanilli’). I can’t recommend this release highly enough. Check out The Gin Club on MySpace.

The Vine album review: Mike Patton’s Mondo Cane

An album review for The Vine.

Mike Patton – Mondo Cane

I’m coming clean: I wouldn’t be listening to Mondo Cane if Mike Patton’s name wasn’t on the cover; I can’t understand Italian, and I’ve never heard the original versions of these songs (barring one track, ‘Deep Down’, which was the theme song to ace 1968 comic book film adaption Danger:Diabolik). These factors could conspire against my capacity to enjoy this album – but they don’t. Mondo Cane is a wholly thrilling ride. Patton possesses one of rock music’s most distinctive and admired voices, and while he’s the star here, these 11 songs are filled out with depth and colour by the contributions of some 65 orchestral performers.

While recent Faith No More converts – via their widely-celebrated reunion world tour – might find Patton’s latest project a little too challenging, I’d argue that Mondo Cane shows the singer fronting his most accessible act yet. This music speaks to me in a language that the average rock band can’t fathom, and I’m not just referring to Patton’s fluently-sung Italian. I’m of the opinion that orchestral music moves humans far beyond the emotions that can be summoned by any configuration of guitar, bass and drums; here, Mondo Cane proves my point. From the opening strains of ‘Il Cielo In Una Stanza’, I’m hooked.

Full review at The Vine. This album is the shit. To get an idea of what the hell I’m talking about, watch the video embedded below.

Elsewhere: I interviewed Mike Patton for The Vine about Mondo Cane. Read it here.

Mess+Noise EP review: The Chemist

An EP review for Mess+Noise.

The Chemist - The Wolves’ Howls Shatter The Old Glass Moon

Your appreciation of falsetto is the primary determinant in whether or not you’ll dig Perth quartet The Chemist. Singer Ben Witt – lead guitarist in Bob Evans’ band – possesses one of those enviably wide vocal ranges. Throughout their debut EP, The Wolves’ Howls Shatter The Old Glass Moon, Witt’s delivery tilts toward the upper register. You’ll either love it or hate it. I fall into the first camp; Witt’s voice is extraordinary, and should be celebrated. Wisely, his vocals ride high atop The Chemist’s pleasant take on bar-room rock’n'roll, sans pomposity.

Don’t let their allegiances with Perth pop’s big names colour your judgment here. Just because the EP was produced by Eskimo Joe’s Joel Quartermain and ‘Stars’ was originally recorded with Luke Steele doesn’t mean you should tar them with the same brush. They have more in common with Lovers-era Sleepy Jackson than Empire Of The Sun’s glossy pop or Eskimo Joe’s aspirant stadium-rock. That Quartermain and Steele have lent their time to The Chemist should hint at their potential for greatness, not just their capacity to appeal to triple j’s programming team.

Full review at Mess+Noise, which also contains a track to stream. I highly recommend checking The Chemist out on MySpace, and live when you next get the chance.

Embedded below is a video I filmed of the band performing at a One Movement industry showcase in Perth last year. It was my introduction to the band, and it made a hell of a first impression.