All posts tagged Review

  • The Weekend Australian book review: ‘High Sobriety’ by Jill Stark, March 2013

    A book review for The Weekend Australian, republished below in its entirety.

    Frank memoir explores the cost of our drinking culture

    'High Sobriety: My Year Without Booze' book cover, reviewed by Andrew McMillen in The Weekend Australian, March 2013Scottish-born journalist Jill Stark was a health reporter with a blind spot: despite writing about Australia’s binge-drinking culture for The Age newspaper, she would regularly drink to excess, as she’d done since her teens.

    One too many hangovers, however – the last on New Year’s Day, 2011 – set her, at age 35, on the path of alcohol abstinence for the first time in her adult life. The result is High Sobriety, her first book.

    As the subtitle indicates, this is an account of Stark’s sober 2011, one month per chapter. It’s part memoir, part sociological examination of our national drinking habits, and both aspects work well.

    “Just like Scotland, Australia’s default bonding-ritual is drinking,” she writes near the beginning, noting that her homeland is “a place where whisky outsells milk, and teetotalism is a crime punishable by death”. Stark is being melodramatic, of course, but the narrative makes it clear: to cut booze out of her life is almost as serious as excising a limb.

    On announcing her first period of sobriety – three months, as part of a youth-led health program called Hello Sunday Morning – Stark captures her social isolation vividly. When confronted by her peers about her decision not to drink or smoke, she notes that “my identity was suddenly reduced to the sum of the substances I’d chosen not to ingest”. Her transformation from centre-of-party to self-conscious fringe-dweller makes for a compelling contrast.

    Every aspect of Stark’s life is laid bare: her suspicions that she drinks to dampen the fear of being alone; her troubled love life (she realises in March that she hasn’t been sober during sex in years); her depression and anxiety, perhaps exacerbated by booze; her family’s history of alcoholism, including a grandfather who drank heavily until the day he died. “At the heart of that tragedy: alcohol,” she writes after her mother tells this story for the first time. “A drug I have enjoyed with cavalier abandon simply because it’s legal.”

    Her initial three-month commitment soon turns into 12, thanks in part to a popular feature article about her experience in The Age (and resultant book offers).

    Stark is at pains to point out how difficult not drinking is: she wonders if she’ll be able to navigate various events without booze: her birthday, a return to Scotland, the AFL finals series, a friend’s wedding, Christmas parties and so on. These too-regular instances of self-doubt are the only aspect of her writing that grates a little.

    Wedged between her own confessions are historical passages charting Australia’s history with alcohol, with a focus on the relatively recent, media-defined trend of youth binge drinking; a discussion about journalism’s long, slow dance with alcohol on the job, including war stories from older Fairfax scribes; the role of advertising in the liquor industry; and interviews with public health professionals regarding the effects this drug can have on human brains if consumption is not kept in check. Pertinent observations are plentiful and the author’s tone is never condescending.

    Stark makes it through the year, of course, with more than a few self-discoveries along the way. There is a devastating, unexpected personal tragedy near the end, which pulls the book’s premise into sharp focus. As she puts it: “Life’s too short to be wasted.” This is a conclusion reached without moralising, without judging others. It’s a refreshing approach to the oft-loaded discussion surrounding drug use of all kinds. Near the end, Stark writes:

    As rewarding as my year without booze has been, swimming against the tide has been bloody hard, and at times exhausting. It could be even harder for the next generation of drinkers. As long as laying off the booze leads to claims that you’re a boring, un-Australian loser in an environment set up to convince you alcohol makes you cool and socially functional, young people will continue to get pissed for confidence, comfort, and belonging.

    This isn’t a guide to abstinence, nor is it intended to induce fear in those who drink, to excess or otherwise – though some of the statistics quoted are certainly enough to make any reader consider their consumption. Ultimately, it’s hard not to recommend this book: from teenagers experimenting with their first taste, to those who’ve been imbibing for decades, many will find Stark’s story illuminating, touching, and memorable.

    High Sobriety: My Year Without Booze 
    By Jill Stark
    Scribe, 320pp, $29.95

    Elsewhere: I wrote about the founder of Hello Sunday Morning, Chris Raine, for Qweekend in June 2011

  • Rolling Stone album review: The Drones – ‘I See Seaweed’, March 2013

    An album review for the April 2013 issue of Rolling Stone Australia. Click the below image for a closer look, or read the review text underneath.

    The Drones
    I See Seaweed

    The Drones explore cracks of beauty and humour amid the darkness on sixth LP

    The Drones - 'I See Seaweed' album reviewed in March 2013 issue of Rolling Stone by Andrew McMillenThis album’s greatest surprise is saved for the penultimate track, ‘Laika’: an orchestral upswing suddenly blooms from nowhere, and it’s later paired with a harmonising female choir. Neither stylistic decision sits well with The Drones’ reputation for misanthropic, noisy rock ‘n’ roll, but the result is beautiful.

    This Melbourne band’s sixth studio album sees keyboardist Steve Hesketh expanding the quartet to a five-piece. His contributions here work well, often providing another layer of rhythmic bedrock to keep these eight tracks grounded; on ‘How To See Through Fog’, though, Hesketh’s tinkering accounts for a memorable lead melody.

    Singer Gareth Liddiard is well-known for penning some of the most original rhyming couplets in Australian music; I See Seaweed is no exception. The eight-minute title track alludes to rising seas and overpopulation: “We’re locksteppin’ in our billions,” he sings, “Locksteppin’ in our swarms / Locksteppin’ in the certainty that more need to be born”. It’s the heaviest song – lyrically and musically – that The Drones have released since ‘Jezebel’, the devastating opener to 2006’s Gala Mill.

    But it’s not all dark. ‘Nine Eyes’ sees Liddiard using Google Street View to visit his childhood home – accompanied by a sinister groove – and wondering “what kind of asshole drives this lime green Commodore” parked out front; ‘A Moat You Can Stand In’ matches a hilarious skewering of modern religious practices to a taut, thrash-rock tempo that nods at their early material.

    I See Seaweed captures a singular band in scintillating form, delivering yet another astounding collection of songs.

    Label: MGM
    Rating: 4.5 stars

    Key tracks: ‘I See Seaweed’, ‘Laika’, ‘Nine Eyes’

    Elsewhere: I interviewed Gareth Liddiard for The Vine a fortnight before the album’s release

  • The Vine live review: Soundwave Festival Brisbane, February 2013

    A festival review for The Vine. Excerpt below.

    Soundwave Festival 2013
    RNA Showgrounds, Brisbane
    Saturday 23 February 2013

    This is the paragraph for the requisite context-setting that precedes every festival review ever. Soundwave is now easily bigger than the Big Day Out. They’ve long since sold out all five shows on this tour. This is where the real money is spent and earned each year as far as the Australian rock festival circuit is concerned. Each year Soundwave drops a line-up that’s more bloated with international talent than the last. Twenty-thirteen is no exception.

    James Hetfield of Metallica at Soundwave Festival Brisbane 2013, reviewed for TheVine.com.au by Andrew McMillen. Photo credit: Justin Edwards

    THE LOSERS VS INDIFFERENT VS WINNERS SCORE CARD:

    The Losers 

    Playing their first Australian show in nine years, A Perfect Circle had a fantastic opportunity to crowd-please in a late afternoon slot. They dropped the ball. We got a languid 50 minute set that drew heavily on material from eMOTIVe, their so-so covers album from 2004. Only one track from their 2000 debut, Mer de Noms (‘The Hollow’) – a disorienting remix of ‘3 Libras’ notwithstanding – and two from Thirteenth Step (a great take on ‘Weak and Powerless’, and ‘The Outsider’, wherein the guitars were barely audible).

    They did play a new song, ‘By And Down’, right near the end, but by this point the crowd’s energy had sapped considerably and most people inside the D barrier just stood there, staring, confused as to why they were choosing these songs. Far too earnest for their own good, this was by far the most disappointing set I witnessed all day. I had way more fun at Puscifer the night before – the other other band of APC/Tool singer Maynard James Keenan – despite that group having far fewer great songs than A Perfect Circle. I get it: Maynard doesn’t give a fuck about conventions or expectations. He’s his own man! Isn’t he rebellious? What a guy! But this set sucked, plain and simple.

    Kyuss Lives! were mixed so poorly that I fled after three songs. John Garcia’s vocals twice as loud as any of the instruments on stage? No thanks. These guys were good when they toured last year (review), so I’m not sure what went wrong today. When they first arrived on stage, Garcia’s mic was inaudible; someone at the sound desk massively overcompensated for their fuck-up. Also, no Nick Oliveri?

    Stone Sour are surely the least offensive band on the bill. Despite the grandstanding of Corey Taylor, who is an excellent frontman with one of the best voices in rock, there’s really not much to like about this band. I heard the majority of their set while waiting for Slayer and I couldn’t recall a single hook or melody. Beige.

    Myself, for losing my sunglasses. I can’t blame this on drink, drug, or mosh-pits, either. Just carelessness. Idiot.

    The Indifferent

    Local band The Schoenberg Automaton open main-stage proceedings as gates open on the stroke of eleven. To my ears their sound like generic hardcore with some highly technical guitar and drumwork tacked on. This formula is generally a win at this festival, though. They sound huge through the PA. These are my observations from the shade of a grandstand as the temperature climbs into the low thirties and we all begin losing litres of fluid hourly.

    I don’t find Anthrax to be especially engaging but it feels like I’m in the minority. They unveil flags bearing the visages of Ronnie James Dio and Dimebag Darrell, which is a nice touch. ‘Caught In A Mosh’, ‘Indians’, ‘I Am The Law’…they cover ‘TNT’ by AC/DC, one of the few heavy bands to not have graced these festival stages (next year?), and it doesn’t scan as a forced attempt at getting us onside — the entire arena already was. “Please remember to always worship music,” says Scott Ian at set’s end. OK.

    Dragonforce play all of the notes there are to play during their opening song, which goes for 10 minutes and contains as many guitar solos. Trying to listen to their newest album yesterday in preparation (while keeping a straight face) was hard work, and so is standing in the scorching sun while they shred. I can only stick it out for a couple of songs. I do like Herman Li’s whammy bar trick though: he holds the guitar aloft while it feeds back, then drops it onto his upper thigh with a flourish and continues playing. Dexterity.

    Shirt slogans spotted throughout the day:

    Tell your boobs to stop staring at me - worn by suss-looking, chubby 20 year old.

    Guns don’t kill people, Ray Lewis kills people.

    We’re just old farts who love music - worn by three 50-plus year-old guys in uniform.

    Fat guy wears Mystic Wolf shirt - worn by same.

    Suck my Richard - worn by tall, pasty redhead.

    It’s all good when you’re the big dude - worn by fat dude struggling to climb stairs.

    A singlet that reads  I’m a Lars Ulrich guy - exact meaning unclear.

    My favourite: You’ve never been drunk till you’ve shit yourself – Fraser Island 2010. Graphic.

    For the full review and photo gallery, visit The Vine. Above photo credit: Justin Edwards.

  • The Weekend Australian album reviews, February 2013: PVT, Foals, My Bloody Valentine, Hungry Kids of Hungary

    Four album reviews for The Weekend Australian, published in February 2013.

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    PVT - Homosapien

    PVT - 'Homosapien' album cover, reviewed in The Weekend Australian by Andrew McMillen, February 2013Three stylistic decisions have shifted Sydney act PVT – formerly known as Pivot – from a great band to a good one.

    Church with No Magic, from 2010, saw the trio add lyrics for the first time, largely abandoning guitar and bass in favour of synthesisers, and downplaying live drums in favour of electronic beats.

    Their fourth album, Homosapien, extends these three traits even further: the majority of the album is arranged and played electronically. Richard Pike retains the vocal duties he assumed on Church. His voice is powerful and well-suited to this music, but the content is dubious: many choruses consist only of one phrase, repeated.

    There are flashes of lyrical brilliance, as in the evocative first lines of ‘Electric’: “I left my heart on the railroad track, it’s still waiting for the next train/ I didn’t clock into work today, now all my work is in vain”). Pike’s brother, Laurence, is one of the most distinctive drummers in this country, yet his stick work here is either restrained or replaced by a drum machine.

    The band’s strength is in its electronic backbone, arranged by Dave Miller. The songs are clear, without many overdubs, and there are a handful of great moments: ‘Love & Defeat’, with wall-to-wall bass synths offset by a glorious, cutting melody, and the title track, which is the album’s only guitar-led track.

    The 2008 instrumental album O Soundtrack My Heart remains the band’s crowning achievement, a thrilling combination of rock muscle and electronic beauty. Homosapien is the sound of these three men running in the opposite direction, with mixed results.

    Label: Create Control
    Rating: 3 stars

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    Foals - Holy Fire

    Foals - 'Holy Fire' album cover, reviewed in The Weekend Australian by Andrew McMillen, February 2013By merging dance-floor beats with finicky guitar theatrics on their 2008 debut album, Antidotes, this British band emerged with a singular vision.

    The result was one of the most compelling recent contributions to the math-rock subgenre. Total Life Forever (2010) saw the quintet leaning more towards indie pop, experimenting with atmospheric tricks, and pushing Yannis Philippakis’s voice higher into the mix; handy, as he has both striking tone and unique phrasing.

    Holy Fire finds the band consolidating this new-found pop aesthetic while accentuating the intricate percussive and guitar interplay that first set them apart. Still in their mid-20s, Foals are almost old hands at this game. Production by British duo Flood (U2, Smashing Pumpkins) and Alan Moulder (Nine Inch Nails, the Killers) certainly works in the band’s favour, as the album sounds a million bucks.

    There’s plenty to like about the first two singles – the metallic chorus riffs of ‘Inhaler’ and the sheer joy of ‘My Number’, their poppiest song yet – but, like Total Life Forever, this is a collection to be enjoyed as a whole.

    Some of the band’s finest work appears on the second half: notably the stirring strings that run through ‘Milk & Black Spiders’ and the staccato bombast of ‘Providence’. Even long-favoured studio techniques, such as double-tracking and adding reverb to Philippakis’s vocals, continue to sound fresh against the innovative ideas laid down by his bandmates.

    Holy Fire opens with a storming, four-minute instrumental, ‘Prelude’, that works well as a statement of intent; the following 10 tracks do nothing to erode that mood. At a touch under 50 minutes, that’s quite an achievement.

    Label: Warner
    Rating: 4 stars

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    my bloody valentine - m b v

    my bloody valentine - 'm b v' album cover, reviewed in The Weekend Australian by Andrew McMillen, February 2013It takes a long time to make music sound as good as m b v does. About 22 years, in fact.

    The last time my bloody valentine released new music was in 1991 and Loveless, the Irish quartet’s second album, remains the high-water mark of the “shoegaze” alternative rock movement.

    A thrilling listen from top to tail, Loveless contained some of the most unbelievable guitar sounds heard then or since. It’s had all sorts of adjectives thrown at it through the years but the most appropriate is “peerless”.

    And so, m b v, a nine-track album sneak-released online in early February, took by surprise many of the band’s fans.

    Topping the last effort is a practically insurmountable feat, yet this collection must inevitably be compared with the band’s last. So, in short: no, m b v isn’t quite as earth-shattering as Loveless, but it’s still very good, and well worth your attention.

    The guitar tone and phrasing are phenomenal: the second track ‘only tomorrow’ (the band insists that their name, album and song titles are all to be written in lower case) is one of the band’s finest creations, a real marvel of layering and repetition.

    As with Loveless, the drums, bass and vocals are all secondary in importance to the guitars, which sound so sharp they might cut you in half if you turn the sound up loud enough. And you should. The band’s entire existence is practically an exercise in volume control. ‘in another way’ is the best song here; a modern update to Loveless‘s classic final track, ‘Soon’, if you will.

    There’s only one disposable track, the synth-led ‘is this and yes’. The rest? Peerless, still.

    Label: Independent
    Rating: 4.5 stars

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    Hungry Kids Of Hungary - You’re A Shadow

    Hungry Kids Of Hungary - 'You're A Shadow' album cover, reviewed in The Weekend Australian by Andrew McMillen, February 2013Hungry Kids of Hungary’s 2010 debut, Escapades, gave a strong portent of the songwriting and musical ability lurking within.

    To its credit, You’re a Shadow supersedes the Brisbane pop quartet’s debut in every way. The band’s greatest asset is that each member is a master of their instrument. There’s no weak link; no bassist playing tired lines, no drummer tapping out predictable beats. Every note is chosen for the purpose of serving the song.

    That may sound banal but in the context of indie pop it’s rare and remarkable to encounter such consistent innovation in the musicianship. For most bands, it’s enough to hit on a memorable vocal melody or guitar riff, and ride the hook out for three or four minutes. Not Hungry Kids.

    These 11 songs crackle with verve. It’s clear these four have thrown everything they have into You’re a Shadow and the results speak for themselves. There’s not a weak track here. At a touch under 40 minutes, it’s a lean collection but the ideas on display never outlast their welcome. This is another sign of the

    band’s maturity: don’t overplay, don’t overwrite, don’t oversing. Guitarist Dean McGrath and keyboardist Kane Mazlin share vocals and writing duties. Their first co-write, ‘When Yesterday’s Gone’, is the finest song here: a simply beautiful four-minute jam about mourning lost time. ‘Memo’ is a close runner-up; the way it segues flawlessly from the previous track ‘Colours’ is a nice touch, but the interplay between Ben Dalton’s bassline and Mazlin’s delicate key phrasing is spectacular. Indie pop music doesn’t get much better than this. Highly recommended.

    Label: Stop Start
    Rating: 4.5 stars

  • The Vine live review: Big Day Out Gold Coast, January 2013

    A festival review for The Vine. Excerpt below.

    Big Day Out 2013
    Gold Coast, Parklands
    Sunday, 20 January 2013

    Big Day Out 2013 Gold Coat review by Andrew McMillen for The Vine. Photo credit:: Justin Edwards

    It’s comforting to walk back into these festival grounds. I’ve barely given this event a moment’s thought in the preceding months, yet I know instinctively that I’m in for an entertaining day. This is what the Big Day Out has been synonymous with for 20-plus years: putting on a reliably good fucking show. In last month’s Rolling Stone, festival co-founder Ken West said that if this year’s tour goes wrong, the game’s essentially over. No more BDO. Was he exaggerating? Shouldn’t that be the case every year: don’t sell enough tickets, don’t make enough money? Yet as the venue fills throughout the day—this show hasn’t sold out, though they seem to have come awfully close—the stakes seem, strangely, lower than ever. It’s an eclectic, strong line-up led by one of the most popular rock bands in the world. What could go wrong?

    Before we get there, though, there are ten or so hours of live music to experience. Some of it good, some of it not. triple j Unearthed winners Jakarta Criers fall firmly into the former camp. They’re not doing anything particularly fresh or original within the confines of rock music, but the songs are good. So’s the musicianship and stage presence. They combine ‘Wicked Game’, ‘Come As You Are’ and ‘Gone Away’ into one mega-cover, which is a kinda cheap tactic but handled well, so the young Brisbane quartet score points. They play before several hundred applauding people today. I think they’ll be just fine. A career rock band in the making; a Birds Of Tokyo with balls, perhaps.

    Melbourne quartet ME are impressive, despite the bad band name. With a debut album out next week, they’re a tight live unit thanks a couple of years touring overseas. (An interesting take on the well-trodden path to indie rock success in this country.) If you’ve never heard of them, you’re forgiven: they’re playing the main stage, yet among the hundred or so initially paying attention to the band, it appears only a few dozen know what to expect. ME are an operatic rock band, essentially: somewhere near Queen and recent Muse — the four-piece write some of the most shameless arena rock you’ve ever heard. It’s awesome. It’s so transparent, what they’re doing, that you can practically see their internal organs. Yet it works so well. Falsetto vocals. Excellent guitar work. Powerhouse drumming. Good songs. I can’t look away from a chubby fat guy in a white shirt near the front, who spends a few minutes playing the most intense, unselfconscious air guitar I’ve seen. That dude sums ME up. You should check them out.

    Evil Eddie sucks terribly; real lowest common denominator stuff. Every Australian hip-hop fan discovers Butterfingers at some stage, and likely has a laugh at the funny/crude lyrics, but that shit’s just like the candy bar the band named themselves after: ultimately, bad for you. Eddie fronted Butterfingers, and he’s pulling the exact same shapes solo. It’s embarrassing; Australian hip-hop has come so far since Butterfingers were first amusing, yet here’s more of the same. He closes with two recent singles, ‘(Somebody Say) Evil’ and ‘Queensland’; the former is by far the worst thing I hear today. Just awful. I’ll note that there are hundreds of people jiving away before the Lilypad stage, so he’s evidently still mining fertile ground.

    Sampology, on the other hand, rules. I walk into the Boiler Room while he’s mashing up footage of the Wiggles in that fucking Coles ‘down down, prices are down’ ad while a much better song plays over the PA. That’s what the dude does: he DJs, skilfully, while cleverly-edited visuals play on the screen behind him. It’s compulsive viewing and listening; worth watching purely to see what he samples and mashes next. We dance while watching looped snippets of Free Willy and The Hangover, among loads of pop cultural touchstones that each get a cheer as they appear. Perfect festival fodder. Deserves a standing Big Day Out booking.

    The sum of my notes taken while watching Gary Clark Jr.: “CLASSIEST MOTHERFUCKER”. That’s really all there is to it. He’s a 28-year old Texan singer/guitarist who put out his major label debut in late 2012, Blak and Blu. Clark can sing, but it’s the guitar wailing we’re all here for. Fronting an incredibly tight four-piece band, Clark exhibits perfect guitar tone and phrasing. It’s such a pleasure to watch a master at work, and that’s just what Clark is. People keep throwing around the ‘H’ word in this context, referring to a legendary guitarist. It’s not really fair, but it’s basically true. This is one of the best sets I see today. All signs point to a healthy career shredding for a living, blowing minds like he does mine. If you get a chance to see this man play guitar, don’t hesitate. Please.

    For the full review and photos, visit The Vine. Above photo credit: Justin Edwards.

  • The Vine live review: Harvest Festival Brisbane, November 2012

    A festival review for The Vine. Excerpt below.

    Harvest Festival
    Botanic Gardens, Brisbane
    Sunday 18 November 2012

    Arguably the hardest part of arranging a music festival is securing a headline act so superior that they simply can’t be followed. For the second year in a row, Harvest has achieved this. Sigur Rós are a delight: challenging, brave, and pure. Like Portishead last year, their main stage set is a sterling example of how to end a day filled with remarkable music. It’s a true spectacle, carefully structured to include peaks and troughs and the band work at eliciting a wide spectrum of emotions. There’s a real art to this, and it doesn’t go unnoticed by the thousands gathered before the Riverstage: a silent and attentive audience hangs on every note played.

    Before meeting the day’s peak, though, we find ten hours of solid entertainment bisected by a half-hour break in proceedings, owing to a storm cell menacing inner-city Brisbane. Organisers make the seemingly rash decision to evacuate the entire festival grounds – the first time I’ve heard of this happening in Brisbane – but in hindsight it’s a good call, at least from a public liability perspective. Hail and heavy rain lash the Botanic Gardens while thousands seek cover within the neighbouring university grounds, trading cigarettes and stories.

    During the storm I stand beneath a QUT building, adjacent to a construction site filled with plenty of objects which could easily become deadly in high winds. That doesn’t eventuate, though, and we’re all invited back inside at 6.30pm. A voice from the Windmill Stage coaxes us, urging us not to run, telling us that there’s room for everyone. Indeed. The situation is handled smoothly and professionally, all things considered.

    It rains intermittently throughout the day, starting one song into The War On Drugs’ set. This is not particularly interesting; most of the crowd came prepared with ponchos, given that the city was assaulted by severe storms the day before. (I won’t mention the weather again. Promise!) I love War on Drugs’ stage manner: the Philadelphia indie rock four-piece are calm, unpretentious and confident – it appears that nothing else concerns them right now. Their positive attitude is contagious. How much of the crowd is here because of their name alone? There seems to be few serious fans among the hundreds watching, yet they’re met with wide applause. They comply with a request for ‘Buying The Farm’from diehards down the front; in the closing moments, frontman Adam Granduciel removes and retunes a broken guitar string in 90 seconds flat. I’m impressed. It’s a strong start to the day.

    The Dandy Warhols are suited to the main stage when playing their singles, mostly taken from Thirteen Tales From Urban Bohemia; when indulging in slower, lesser-known material – including three plodders from 2012 release This Machine - they’re less appreciated. It’s a balance between crowd-pleasing and pleasing themselves, I guess. Their June 2011 show at The Tivoli was one of the best I saw last year. This feels a little flat in comparison. Silversun Pickups do too: the bass is nearly inaudible for the first few songs, Brian Aubert’s guitar parts are a little sloppy, yet his voice is spot-on. Drummer Chris Guanlao windmills his hair throughout the entire set, which draws material from their three albums. I’m a big fan of this band – Neck Of The Woods is one of my most-played albums of this year – but this performance feels far from their best. They namecheck Valley Fiesta, where Aubert tells us they played their first show outside of the US in 2007, and end strongly with ‘Lazy Eye’.

    Mike Patton is at home on the main stage, leading an orchestra through Italian pop songs. It’s a highlight because it’s so different from every other performance today. The Mondo Cane album is fantastic, and it’s a pleasure to see Patton working the songs in person, ever the genial frontman. The music is elegant, majestic, and all of those adjectives. It’s great that Harvest decided to book them: it wouldn’t have been cheap to hire, rehearse and tour that orchestra, nor is there a huge audience on the hill watching it take place. But damn, it’s fantastic. The Black Angels played a blinder headline set at The Hi-Fi last year, yet their performance on the smaller Big Red Tractor Stage is no knockout. While they play, I think about the quality of the Harvest 2012 line-up, and how there are few overlapping genres. This Austin-based psychedelic rock act play it cool, showing little emotion or enthusiasm before the hundreds-strong crowd. “You guys have been great,” singer Alex Maas says at the end of their set, and it’s hard to tell if he’s being serious.

    For the full review and photos, visit The Vine. Above photo credit: Justin Edwards.

  • The Weekend Australian album reviews, November 2012: Spencer P. Jones, Crystal Castles

    Two album reviews for The Weekend Australian, published in November.

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    Spencer P. Jones and The Nothing Butts - Spencer P. Jones and The Nothing Butts

    For Australian rock fans, this supergroup is a match made in heaven: two members from Beasts of Bourbon and two from The Drones combining to make a beautiful racket.

    On the group’s self-titled debut, the best of both bands can be heard: smart lyricism, enviable energy, finely tuned ears for melody and fantastic guitar sounds.

    Drones leader Gareth Liddiard doesn’t sing here, but his sonic fingerprints are all over these nine tracks: spiralling natural harmonics, whammy-bar flexes and overwhelming klaxon-call effects in the coda of ‘Freak Out’. Removed from the context of his masterful songwriting – Jones is the only lyricist here – it’s apparent exactly how exceptional and valuable Liddiard’s guitar playing is: no other rock guitarist in the world sounds like he does. The noise is enthralling.

    ‘When He Finds Out’ is the centrepiece, filled with unsubtle innuendo and stretched across eight gripping minutes: “Blood is thicker than water, your father screams and shouts / I shudder to think what he’ll do when he finds out,” sings Jones, while James Baker’s hi-hat bounces out an uneasy rhythm and Fiona Kitschin’s sparse bass notes add to the mystique. There’s no humour here, just unresolved tension: the extended guitar freak-out is effectively a stand-in for a violent confrontation. Fearsome stuff.

    Elsewhere, titles such as ‘When Friends Turn’ and ‘Duplicity’ hint at the headspace Jones was in while writing. Not a second is wasted: at 39 minutes, the album feels tantalisingly brief and demands repeated listens. This is an absorbing and cathartic collection of songs performed by four accomplished musicians. Not to be missed.

    Label: Shock
    Rating: 4.5 stars

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    Crystal Castles - III

    The third full-length album released by this young Canadian electronic duo lacks the immediate sonic punch that made their first two albums such compelling listens.

    It’s their darkest set yet, but that isn’t such a bad thing. It shows that producer Ethan Kath and vocalist Alice Glass seek artistic growth, and that they’re not content to stay within their comfort zone.

    With their 2008 self-titled debut, Crystal Castles emerged with a fully formed sound that merged synth-led pop ideals with ugly, distorted chiptune sounds, born from Kath’s experimentation with bending circuitry. The music they produced was unique four years ago and remains so.

    As with previous releases, the vocals on III often take on an eerie quality, as Glass rarely sings without the aid of pitch-shifting effects. Those few phrases that are allowed to penetrate through the wash of sound are stark and blunt: “Catch a moth, hold it in my hand / Crush it casually,” she sings sweetly on ‘Affection’, yet the song ends with a cold, cyborg-like voice stating: “We drown in pneumonia, not rivers and streams.”

    This merging of man and machine seems to be one of Crystal Castles’ main goals and they’re bloody good at it; most of the time there’s little sense that human beings had a hand in creating this work. They did, of course, and they undoubtedly worked hard, yet III gives off no sense of struggle. This isn’t their most accessible release – that is 2010′s II – but it’s still a fine extension of their effortless sound, at once beautiful and ugly; intentionally flawed, yet polished to near-perfection.

    Label: Shock
    Rating: 3.5 stars

  • The Weekend Australian book review: ‘Trust Me, I’m Lying’ by Ryan Holiday, November 2012

    A book review published in The Weekend Australian on November 3. The full review follows.

    New media’s Machiavellis

    “My job is to lie to the media so they can lie to you,” 25-year-old Ryan Holiday writes on the first page of his first book. “I cheat, bribe, and connive for bestselling authors and billion-dollar brands and abuse my understanding of the internet to do it.”

    It’s a frank admission from the marketing director of Los Angeles-based clothing company American Apparel, and one that sets the tone for an explosive insight into new media manipulation.

    Trust Me, I’m Lying documents Holiday’s consistent exploitation of online publishers – from small-fry blogs to the websites of national media outlets – in the name of publicising his client list, which also includes Tucker Max, a popular American author whose stories centre on binge drinking and sexual debauchery.

    By revealing his tactics and explaining his strategies, Holiday exposes the blog-led model of “pageview journalism” as a vapid and desperate sham.

    Though this book concentrates on American websites such as the Huffington Post and Gawker, its message is relevant to all online publishers. Holiday describes his mission “to rip back the curtain and expose a problem that thus far everyone else has been too intimidated or self-interested to discuss openly”. Namely, the web is “hopelessly broken”:

    The economics of the internet created a twisted set of incentives that make traffic more important – and more profitable – than the truth. With the mass media – and today, mass culture – relying on the web for the next big thing, it is a set of incentives with massive implications.

    This economy – in which websites and blogs simply need traffic to sell advertisements, and where a perusing reader and accidental click are one and the same – leads the incessant hunger for new content. By design, this is a situation ripe for exploitation, as the income of many bloggers depends on their page views.

    “It’s a great time to be a media manipulator when your marks actually love receiving PR pitches,” Holiday notes.

    The first half of this book is devoted to how blogs work or, as Holiday describes it, “feeding the monster”. In an apparent nod to his mentor Robert Greene, author of The 48 Laws of Power, Holiday outlines nine tactics, such as “give them what spreads, not what’s good” and “use the technology against itself”.

    These are all valid tactics that Holiday has used when promoting his clients. However, he notes some readers may be tempted to use them as an instruction manual for manipulation of their own. “So be it,” he writes. “You will come to regret that choice, just as I have. But you will also have fun, and it could make you rich.”

    In the second half of the book, “The monster attacks”, Holiday ruminates on what blogs mean. He takes a blade to press-led online extortion, iterative journalism (one top blogger is quoted as saying “getting it right is expensive, getting it first is cheap”), the sad truths of “snark” writing and “online entertainment tactics that drug you and me”.

    This book is essential reading for anyone working in the media, online or off, and also for those who want to understand how the PR industry influences what appears on screens, in newspapers and magazines, and over airwaves. Marketers and the media are increasingly on the same team; this book is something of a wake-up call.

    “The world is boring, but the news is exciting,” Holiday writes. “It’s a paradox of modern life. Journalists and bloggers are not magicians, but … you must give them some credit. Shit becomes sugar.”

    Similarly, it is a credit to the author’s writing style and analytical abilities that this book never becomes weighed down in media theory. Every point is backed up with penetrating personal anecdotes.

    The narrative is tied to a rich understanding of media history, all the way back to the street vendor “cash and carry” innovation of New York newspaper The Sun in 1833, which is eerily similar to the gaudy, attention-grabbing media model of 2012.

    Holiday is incisive and merciless. It is clear he has the perceptiveness and wherewithal to turn his still-nascent career into a fortune from advising the rich and powerful, yet this book is a step back from that dark art. In the introduction, he writes of his hope that, by exposing these vulnerabilities in the media system, they’ll no longer work as well. We’ll see about that.

    Trust Me, I’m Lying: Confessions of a Media Manipulator 
    By Ryan Holiday
    Portfolio, 272pp, $26.95 (HB)

    Andrew McMillen is a Brisbane-based freelance journalist.

    For more on Trust Me, I’m Lying, visit its website. You might also be interested in my interview with Ryan Holiday from October 2011.

  • The Weekend Australian album reviews, October 2012: Collarbones, Tame Impala, The Key Of Sea

    Three album reviews for The Weekend Australian, published in October.

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    Collarbones – Die Young

    What we have here is an original and compelling take on pop music viewed through the lenses of electronica, R&B and hip-hop.

    Duo Collarbones – Adelaide-based Travis Cook, and Sydney local Marcus Whale – don’t care much for genre constraints. It’s the best thing they’ve got going for them. Musical innovation is truly rare; there’s no one in Australia writing material like this. Their point of difference is technology-enabled: each track is built on intricate collages of instrumental samples cut, copied and pasted on laptops. Whale’s voice, by turns soulful and ethereal, narrates these stark soundscapes.

    It’s a concept album, of sorts: the lyrics focus on adolescent love and fallen pop idols. The title track is a fine example of the unconventional Collarbones songwriting style: over a lazy backbeat, what sounds like stringed instruments are sped up, slowed down and mashed together to beguiling effect. A verbose verse by Melburnian rapper HTML Flowers contrasts well against Whale’s clear voice.

    The following track, ‘Too Much’, is backed by Cook’s booming, bass-heavy beat; Whale unironically embraces a big, melodic, 1990s-era boy band-style chorus. It could easily be a radio hit. The approach would be a gimmick if the songs weren’t so good.

    The duo’s debut album, last year’s Iconography, was an intriguing introduction but an unsatisfying collection in whole: too many half-sketched ideas, too few proper songs. Die Young is a fully realised follow-up, one that sees the pair living up to their potential. It may be one of the stranger pop albums you’ll hear this year, but you won’t regret your time spent with these 10 fine tracks.

    Label: Two Bright Lakes

    Rating: 4 stars

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    Tame Impala - Lonerism

    The trouble with releasing a killer debut album is that it’s much harder to impress with the follow-up.

    This is the situation in which Perth-based quartet Tame Impala finds itself, two years after Innerspeaker, a standout collection of retro-tinged rock songs written and produced almost entirely by singer Kevin Parker.

    That formula hasn’t changed on Lonerism: the young maestro again handles vocals and all instrumentation (in concert, he’s assisted by three bandmates). The main point of difference is that these 12 tracks were recorded in several locations while the band toured the world. And it shows: compared with Innerspeaker‘s lush, enveloping production, there’s much less cohesion between ideas here.

    Stylistically, Parker has added swaths of synthesisers to Tame Impala’s celebrated psychedelic rock tones. These sounds fill out the space between intricate basslines, clattering percussion, psychedelic guitars and Parker’s spaced-out, aloof voice. Heavy piano chords form the basis of first single ‘Apocalypse Dreams’, while follow-up ‘Elephant’ is built on a pulsating rhythm that leads into a glorious, snaking guitar solo.

    Although Innerspeaker was stacked with stand-out tracks, the same can’t be said for Lonerism, which contains just a handful; ‘Mind Mischief’ and ‘Keep on Trying’ are among the best here.

    There’s the aforementioned trouble again: once a reputation for strong songwriting has been established, anything less than great is disappointing. Lonerism doesn’t elicit that particular emotion — it’s a good record, after all — but it does hint at better things to come. With Parker’s brilliant imagination, musical abilities and resourcefulness, it seems that anything’s possible.

    Label: Modular

    Rating: 3.5 stars

    ++

    Various Artists - The Key Of Sea Volume 2

    Some might say rock musicians are more readily associated with egotism than altruism, yet this collection is the second in a series that seeks to buck that stereotype.

    By pairing well-known Australian artists with refugee musicians, the project’s organisers, civil rights advocate Hugh Crosthwaite and Nick O’Byrne from the Australian Independent Record Labels Association, hit on a winning idea with the release of Key of Sea Volume 1 in 2010.

    Like its predecessor, Volume 2 is a fine snapshot of contemporary Australian music. Pop, rock, hip-hop, jazz and folk musicians rub up against one another; disparate musical ideals working in tandem towards a common goal of sharing untold stories.

    The Australian collaborators are names Triple J listeners will recognise, with a handful of elder statesmen (Paul Kelly, Kim Salmon, David Bridie) thrown in. The refugee collaborators add their cultural influences to each composition: traditional Kurdish stringed instruments, bouzouki and Filipino choir masters all make delightful appearances.

    Darwin-based electronic soul duo Sietta teams with Pacific Island group Sunameke on ‘Open Hands’, which explores the concept of mixed races and cultural diversity; at the other end of the musical and thematic spectrum, Salmon pairs with radio presenter Waleed Aly to write ‘No One Cares’, a noisy rock tune with sardonic lyrics featuring the bureaucratic doubletalk associated with seeking asylum in this country.

    All 11 songs work well: there are a couple of bona fide pop hits in ‘Silence of the Guns’ (led by Jinja Safari) and Clubfeet’s ‘Islands’. The diversity of sounds and stories is reason enough to lend your ears to The Key of Sea. That the songs are compelling and polished is a bonus.

    Label: MGM
    Rating: 3.5 stars

  • The Weekend Australian book review: ‘Gaysia’ by Benjamin Law, September 2012

    A book review for The Weekend Australian, published on 8 September 2012. The full review appears below.

    Revealing journey through gay Asia

    After exploring his upbringing in the 2010 comic memoir The Family Law, Benjamin Law turns to another topic close to his heart. An Australian of Chinese ancestry, he sets out to explore attitudes to homosexuality in seven Asian countries.

    Gaysia is Brisbane-based Law’s first attempt at book-length journalism and it consolidates him as one of the most surprising and entertaining voices in Australian nonfiction writing.

    On the first page, he writes: “Of all the continents, Asia is the gayest.” Given it’s populated by close to four billion people, he goes on, “doesn’t it stand to reason that most of the world’s queer people – lesbians, gays, bisexuals, transgender and transsexual folk – live in Asia too, sharing one hot, sweaty landmass and filling it with breathtaking examples of exotic faggotry?”.

    This balancing of of blunt humour and interesting information is one of Law’s strengths. Each chapter deftly combines reportage with historical facts.

    For example, Law strips off at a clothing-optional gay resort in Bali while interviewing the owner, who discovered this gap in the tourism market in the 1990s. The result is a strong narrative with one foot in the present, the other in the past.

    Given the topics at hand – nude resorts, prostitution, Thai ladyboy beauty contests, to name three – there’s lots of room for graphic descriptions, and Law revels in it. He’s clearly at home writing about our sexual urges and bodily functions.

    From male hookers in Burma begging him to share his penis size to witnessing an awkward threesome through his neighbours’ curtains, he has masses of material to work with.

    There is a serious side to Law’s investigations. The Burma chapter is particularly affecting. Law interviews widely while exploring the prevalence of HIV. The final anecdote is brutal: a desperate, 22-year-old prostitute – who had no knowledge of the virus until she tested positive – asks Law whether he can help her. To the author’s shameful realisation, his answer is no.

    Gaysia is more a window on to a troubled world than a travelogue. The stories Law tells, the problems he discusses, are ones rarely explored in-depth by the Australian media. Some solutions are simple – cross-cultural sex education and widespread distribution of condoms, for example – yet many are not.

    Much of the tension in this book comes down to differing social mores. In Japan, where drag queens are a constant fixture on television, Law notes that “so much of queerness seemed to be a performance for straight people”.

    Yet he contends few seem to understand that homosexuals exist in reality, away from TV cameras. “As long as they’re invisible, they’ll be tolerated,” a gay bar owner tells him.

    Several chapters highlight those who view homosexuality as a “bad mental habit”, to quote Baba Ramdev, a yoga instructor whose Indian followers number more than 80 million people.

    In recent times in China, homosexuals were prescribed self-flagellation techniques (a rubber band on the wrist, to be snapped whenever a homosexual thought was had) electroconvulsive therapy and even, in one sad case, a cocktail of conflicting psychotropic drugs that resulted in irreversible neurological damage.

    Law presents these instances of misunderstanding, persecution and outright homophobia matter-of-factly, without drawing his own conclusions.

    In Malaysia he meets Christian and Muslim fundamentalists who treat homosexuality as “an affliction that can be cured”. When questioned by them, Law plays the neutral journalist, perhaps a little too well: he doesn’t reveal his sexual identity.

    Yet by keeping quiet and quoting his sources faithfully, Law certainly gives them enough rope.

    Highlights of this book include Law’s account of the madly detailed lengths Chinese lesbians go to when arranging fake marriages, so as to please parents on both sides; his immersion in the hysteria surrounding an annual ladyboy beauty contest watched by 15 million Thais; and a chance meeting with an excitable yet closeted Indian man on a 30-hour cross-country train trip. (Law generously transfers his gay porn stash to his new friend’s laptop.)

    Gaysia is a book of powerful, enlightening stories on a fraught topic, told with care, empathy, grace and good humour.

    Gaysia: Adventures in the Queer East
    By Benjamin Law
    Black Inc, 288pp, $29.95