The Weekend Australian album reviews, October 2014: Sounds Like Sunset, The Peep Tempel, Seekae
Three reviews published in The Weekend Australian in October 2014.
Sounds Like Sunset – We Could Leave Tonight
With We Could Leave Tonight, Sydney band Sounds Like Sunset has produced its third album since forming in 1997. It’s the first since 2005’s Invisible, and from the opening bars of ‘Second Chance’ it’s clear that the long time between releases was well spent.
This is a superb collection of expertly crafted indie rock songs that strikes a fine balance between melody and melancholy. The production ensures that the band sounds much larger than the sum of its three components. Vocalist David Challinor often double and triple tracks his guitar parts to add a bed of woozy atmospherics and swooning, distorted tones beneath his straightforward chord progressions, while Tobey Doctor and David Hobson keep the groove on drums and bass, respectively.
The effect is especially intoxicating on tracks such as ‘Open Up My Eyes’ and ‘Sunshine’, where a few bent guitar notes run beneath the entire arrangement. Elsewhere, ‘Somebody Like You’ is imbued with a killer synth line beneath a massive chorus of ascending power chords, while the gentler ‘Undone’ is built around acoustic guitar.
Comprising nine tracks in 34 minutes, We Could Leave Tonight is a brief affair, but one that demands repeated plays: the album’s streamlined, propulsive nature ensures that not a second is wasted. Fans of shoegaze and noise-pop bands such as Dinosaur Jr and the Jesus and Mary Chain will find plenty to like here.
Among a uniformly strong collection, final track ‘Find Your Way’ is the standout: an epic slow-burner that never quite resolves, it’s a winning nod to the showbiz maxim to always leave the audience wanting more.
LABEL: Tym Records
RATING: 4 stars
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The final song on this Sydney trio’s second album, 2011’s +Dome , hinted at a forthcoming artistic progression, as it contained something that had previously been shunned: the human voice. Seekae had established itself as a reliable purveyor of interesting electronica, coloured by cut-up samples, synthesisers and pulsating beats. Still, the chasm between +Dome and The Worry is surprisingly wide, as percussionist Alex Cameron’s vocals are now central in the mix. It’s a bold move and one that risks alienating the group’s fanbase. There are echoes of another Sydney electronic group in this decision: PVT added vocals to its 2010 release Church With No Magic, and it didn’t add to the quality of the songs. If anything, it detracted from their appeal.
This was my initial response to The Worry: for the first 10 spins, I couldn’t get past the fact Seekae had seemingly reduced its originality by joining the masses of vocal-led acts. Ultimately, through sheer repetition, I’ve come to enjoy and appreciate the new direction. Other fans may not be as patient.
Cameron’s voice truly impresses only on a couple of tracks, most notably on sweet centrepiece ‘Further’, where he’s accompanied by horn blasts. The high-BPM programming on ‘Oxen Calm’ is the album’s energetic apex, and it would have been nice to hear more compositions of this style and calibre. The Worry captures a band seemingly in the midst of an identity crisis, though thankfully its songwriting abilities remain intact.
LABEL: Future Classic
RATING: 3.5 stars
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This Melbourne-based three-piece trades in sharp-edged, dark-humoured rock ‘n’ roll, and its second album is a fine extension of its superlative debut. The Peep Tempel’s world is populated by broken and desperate men, and by peeling back layers of the male psyche the trio has collected another memorable set of songs. Loneliness, desperation and jealousy course through the veins of the characters inhabited by singer-guitarist Blake Scott.
Six of the album’s 11 track titles contain first names, while plenty more pop up in the verses. This direct approach to songwriting works in the band’s favour: rather than taking the well-trodden path of keeping things vague to appeal to wide audiences, the Peep Tempel homes in on its lyrical targets with clinical precision. The listener thus becomes a neutral bystander asked to pick sides. It’s a curious and powerful effect best captured on first single ‘Carol’, where amid an urgent beat and stinging guitar tones Scott sings: “I don’t want to be so sanctimonious, I don’t want to be such a negative jerk / But I’m the one who’s been helping you through the divorce, Carol”.
This emphatic plea of a rejected lover is an addictive listen, captured in four minutes — “I don’t think Trevor is good for you, Carol!” — and the album’s highlight, though the threatening mood and rollicking rhythm of third track ‘Big Fish’ comes close. (Sample lyric: “Take a beer from the fridge, have a seat, Danny / Your Jackie’s been telling tales”). With Tales, the Peep Tempel has improved its songwriting smarts while amping up the tension.
LABEL: Wing Sing Records
RATING: 4 stars