All posts tagged stone

  • Rolling Stone story: ‘Hungry Kids Of Hungary Stay Close to Home for Debut Disc’, October 2010

    A story for the November 2010 issue of Rolling Stone, on Brisbane band Hungry Kids Of Hungary.

    Click the below image for a closer look, or read the article text underneath.

    Hungry Kids of Hungary Stay Close to Home for Debut Disc

    Queenslanders finally drop their debut after a pair of promising EPs

    For Brisbane-based indie pop quartet Hungry Kids Of Hungary, the three-year path to their debut album was paved with transcontinental correspondence, two EP releases, and a stack of national tours supporting the likes of OK Go, Little Birdy and Bertie Blackman.

    Escapades took shape in the suburban home of producer Matt Redlich, with whom the band recorded their second EP, last year’s Mega Mountain. Over cold drinks on a warm Brisbane day, singer/guitarist Dean McGrath and singer/keyboardist Kane Mazlin reflect on a recording process that began in January 2010 and concluded six months later.

    Ultimately, the band were faced with a choice: record with a familiar face in a comfortable, inexpensive environment, or return to Tony Buchen’s studio in Sydney, where the band recorded earlier single “Let You Down”.

    As an indie band faced with financial realities, though, the decision to remain Brisbane-bound seemed simple. “We love Matt’s recording space,” says McGrath. “It’s underneath his house; it’s just cosy, and suits us down in the ground. There’s a pool out the back. We started recording in January – when it was far hotter than this – so we could do takes and then go for a swim. I was interested in doing something different and pushing us out of our comfort zone, but I think the right decision got made in the end.”

    The band also found that removing time and money constraints had a positive effect on their songwriting. “We actually did some pre-production this time,” reveals Mazlin, in reference to an exhaustive process of rehearsal, deconstruction and rearrangement of each song.

    “Sometimes you end up putting it together exactly the same as you started,” says McGrath,”but I think it’s a dangerous thing to have an album’s worth of songs ready and then just recording those 12. The cool thing about stretching it out over a long time is there’s four songs on the record now that weren’t written at the start of the recording process.”

    Hungry Kids formed in mid-2007. Drummer Ryan Strathie had played in separate bands with both Mazlin and bassist Ben Dalton; McGrath was a mutual friend. As McGrath and Mazlin share vocal duties, the band agonised over Escapades‘  tracklisting. “It was always going to be a little tricky for us to make everything flow,” says Mazlin. “But I think we managed it.”

    When asked to pinpoint the band’s sound, McGrath is laconic. “Pop’s the simplest way to describe it. It’s what we do. I think it’s unnecessarily complicated to give it a whole bunch of sub-genres.”

    More Hungry Kids Of Hungary on MySpace. The music video for their song ‘Coming Around‘ is embedded below.

  • 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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    Album review of Washington's 'I Believe You Liar' in Rolling Stone, October 2010Washington Four stars
    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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    Album review of Ben Folds/Nick Hornny's 'Lonely Avenue' in Rolling Stone, October 2010Ben Folds/Nick Hornby Four stars
    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”

  • Rolling Stone story: Halfway – ‘Between Alt-Country and a Rock Place’, September 2010

    A story for the October 2010 issue of Rolling Stone on the Brisbane-based alt-country/rock band Halfway.

    Click the below image for a closer look, or view the article text underneath.

    Halfway story in Rolling Stone magazine, September 2010, by Andrew McMillen

    Halfway: Between Alt-Country and a Rock Place
    Brisbane collective embrace pared-back approach, Forster wisdom on third LP

    by Andrew McMillen

    Three albums into a ten-year career, Brisbane alternative country act Halfway have hit their stride with An Outpost Of Promise, released in July through +1 Records. If you’re unfamiliar with their earlier work, fear not: their latest is “definitely a good place to start,” according to Halfway’s John Busby, who alongside Chris Dale forms the band’s core duo. “It’s the least country record that we’ve done before, so maybe that makes it more accessible.”

    Put Dale and Busby in the same room and you’ll soon find them finishing each others’ sentences. Both in their late 30s, their friendship was forged in the central Queensland city of Rockhampton in the 1990s before they relocated to Brisbane and formed Halfway in 2000. But while the pair are the heart of the band, they are bolstered by an extended family – all Halfway’s eight band members meet twice a week at ‘Halfway House’ (a room underneath Busby’s mother’s house) to “have a beer, play music, and just talk,” says Busby. “It’s never really toil. I love hanging out; it’s the best part of being in the band.”

    The country tones that coloured their first two albums – 2004’s Farewell To The Fainthearted and 2006’s Remember The River – are marginalised on Outpost, which features 10 songs played “straight up, with tension and drama,” according to its producer and former Go-Between Robert Forster.

    Forster’s wisdom triggered a shift in the pair’s approach to songwriting. This time, the pair ensured that every song worked with just guitar and vocal first, before soliciting embellishments from their bandmates. Busby suggests Forster gave them confidence by exposing each song’s acoustic core; “rather than just trying to make a lot of racket”. “That’s how we ought to go forward,” Dale concludes.

    “Just let the songs do their thing.”

    For more Halfway, visit their MySpace. I reviewed An Outpost Of Promise for Mess+Noise earlier in the year. It’s ace!