All posts tagged album

  • March 29, 2011

    The Vine album review: Collarbones – ‘Iconography’, March 2011

    An album review for The Vine. Excerpt below.

    Collarbones – Iconography
    (Two Bright Lakes)

    Despite being written and arranged by two dudes living in different cities, Collarbones’ debut record is surprisingly cohesive. The product of the interstate collaborations (or should that be collarborations? *cymbal crash*) between Sydney-based Marcus Whale and Adelaide native Travis Cook, Iconography is the disorienting soundtrack to a ride through multiple sounds and scenes: electronica, pop, R&B and hip-hop all seem to inform the duo’s sound in equal measures. This has been Collarbones’ best asset since Whale and Cook began fooling around together in 2007: they can’t be confused with anyone else, they’re on their own wavelength. Iconography is worthy of your attention if only for its unique individuality.

    Describing Collarbones’ music robs the experience of much of its pleasure, so here’s a couple of cliff notes. Most every song is built around an eclectic selection of sampled beats, synths and instrumentation, all of which are chopped and shunted into a shifting mass of sound. The results feel organic and effortless, the effects beguiling. In spite of the disjointed nature of their compositions, the production smooths over most jagged edges to ensure Iconography stays on a fairly even keel. Whale sings on the majority of the album’s 11 tracks; more often than not, his voice is discombobulated just as much as the surrounding instrumentation. Some of the album’s best moments are lyricless; the hook of ‘Id’ – if it can even be called a hook – is essentially a symphony of swelling vocal samples, intercut with staccato beats. Previous singles ‘Beaman Park’ and ‘Kill Off The Vowels’ feature Whale’s voice prominently, though the songs’ moods are vastly disparate. The latter is bent around a dark, almost industrial vibe and lower-register singing; ‘Beaman Park’ pitch-shifts Whale’s voice to improbably lofty heights. Both work incredibly well.

    For the full review, visit The Vine. For more Collarbones, visit their Tumblr. Music video their song ‘Don Juan‘ embedded below.

    Elsewhere: an interview with Marcus Whale of Collarbones for The Vine

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  • March 6, 2011

    Mess+Noise album review: Art Vs. Science – ‘The Experiment’, March 2011

    An album review for Mess+Noise. Excerpt below.

    Art Vs. Science – The Experiment

    On debut album ‘The Experiment’, Art Vs. Science understand that repetition is the foundation of dance music – but it’s a trick that wears thin, writes ANDREW MCMILLEN.

    Popular culture generally exists to meet demand. Most artists spend their lives attempting to offer works that resonate with as wide an audience as possible. By tapping into popular sentiments, savvy artists can short-circuit the often lengthy process of artistic acceptance. Case in point: Art Vs. Science, who – legend has it – formed on the spot while its three members stood watching Daft Punk playing in Sydney some years ago. The crowd was going bonkers for two dudes in robot suits atop a glowing pyramid. They probably stood and wondered aloud: “Why not us?”

    Following on from a high-profile spot at Splendour In The Grass in 2008, thanks largely to debut single ‘Flippers’ – whose goofy chorus was comprised entirely of “Hey! Ho! Use your flippers to get down!” – and nearly topping the 2009 triple j Hottest 100 with ‘Parlez Vous Francais?’, Art Vs. Science have emerged with their first album, The Experiment. True to form, it’s packed from top to tail with brash electronica, delivered with their now-trademark dance-punk attitude. Here, we hear guitars furiously tapping away at fretboards during oh-so obvious breakdowns that lead into slamming synth-led choruses; all custom-made for hands-in-the-air dance festival sets. (By the by, this is a band who’s known for performing live covers of ‘Where’s Your Head At?’ and ‘Boom! Shake The Room’ to tents full of peaking munters).

    In isolation, The Experiment is a dull record, because these songs won’t come to life until they’re heard and felt in a live environment. A five-minute instrumental rave-up like ‘Meteor (I Feel Fine)’ sounds foolish playing on your home stereo (though interestingly, it’s the closest they’ve gotten to sounding like Daft Punk). Several songs here are based around single words or short phrases – ‘Higher’, ‘Bumblebee’, ‘Sledgehammer’ – which seem to be included for the sole purpose of giving crowds something nonsensical to shout amid the pulsing synth din.

    For the full review, visit Mess+Noise. For more Art Vs. Science, visit their website. The music video for their song ‘Finally See Our Way‘ is embedded below.

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  • March 1, 2011

    Mess+Noise album review: Nova Scotia – ‘Nova Scotia’, March 2011

    An album review for Mess+Noise. Excerpt below.

    Nova Scotia – Nova Scotia

    After two EPs and several years spent gigging at every Brisbane venue imaginable, this self-titled album is indie rock quintet Nova Scotia’s first full-length. Released via Lofly Records and mixed by label co-founder Andrew White (Mr. Maps, restream), Nova Scotia is just as demonstrative of the band’s songwriting abilities as their previous discs (2007’s Bear Smashes Photocopier and 2008’s Maritime Disasters), but the sonic differences here are instantly noticeable.

    As great as those EPs were, the recording and production – or lack thereof – left a lot to be desired. Here, the instruments can each be heard clearly in the mix, but they haven’t lost that sense of five dudes jamming in a room, which has always been a big part of Nova Scotia’s charm.

    Two re-recorded tracks from Photocopier (‘Second Sun’ and ‘Everything’s Perfect’) appear early in the piece, and while they sound better than ever, here’s where nostalgia ends. There isn’t a bad idea on Nova Scotia; if anything, the songs get better as the record progresses. Instrumental opener ‘Teeming With Voices’ is seemingly intended as the band’s theme song, and they frequently open their live sets with it too. Three different guitar tones sit atop clattering percussion. More than once, you get the feeling that it’s all about to cave in on itself. This sense of tension pervades most of the tracks here, and crucially, it’s an asset, not a distraction.

    For the full review, visit Mess+Noise, where you can also stream the album’s final track, ‘The World Is Not Enough’. For more Nova Scotia, visit their Myspace.

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  • February 8, 2011

    Mess+Noise album review: Mr. Maps – ‘Wire Empire’, February 2011

    An album review for Mess+Noise. Excerpt below.

    Mr. Maps – Wire Empire

    When you hear the phrase “Brisbane music”, what comes to mind? The ironic, self-aware pop of The Go-Betweens? The swing-for-the-fences, stadium-ready grandeur of Powderfinger? The urgent, sneering, fuck-the-world aesthetic of The Saints? Whatever your answer, it’s unlikely that moody, instrumental post-rock will rate a mention. Yet Brisbane is where Mr. Maps are based, and it just goes to show that a band’s musical style cannot just be defined by their location.

    The lack of vocals on the band’s debut album Wire Empire gives off a sense of disembodiment, though a sense of warmth runs through these 10 tracks. Wire Empire is an immersive listen. These are complex arrangements that demand full attention – lest you miss the finer points – but it works just as well in the background, as the subconscious mind happily rides out the peaks. This is tough music to criticise. Objectively, there is very little “wrong” here. The bass swoons, the piano twinkles, the cello yawns; the guitars either shimmer with distortion or ring clean, depending on the mood that’s attempting to be summoned.

    For the full review, visit Mess+Noise. For more Mr. Maps, visit their Tumblr.

    Elsewhere: Mr. Maps’ EP ‘Nice Fights’ reviewed for Mess+Noise

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  • January 31, 2011

    The Vine ‘first listen’: Cut Copy – ‘Zonoscope’, January 2011

    A ‘first listen’ for The Vine. Excerpt below.

    ‘First Listen’ ruminates on forthcoming records we’re excited about – penned before their release date and whilst still drunk with the confusing hot flush of first impressions. Previously: The National. M.I.A. Arcade Fire. Matthew Dear.

    —

    Cut Copy
    Zonoscope
    (Modular Recordings)

    Release date: February 4th 2011

    Three years after Cut Copy’s breakthrough second album, In Ghost Colours, comes the much anticipated follow up in Zonoscope. Now a fully-fledged four-piece, there’s a lot riding on this release for the Melbourne-based act. Such as, “Do people still care?”.

    But upon hearing the disco throb of opener ‘Need You Now’, there’s no initial announcement of urgency on the band’s part. The track doesn’t so much reach a climax as maintain an insistent rhythm across six slow-burning minutes. This is a new tact for Cut Copy. The hooks of In Ghost Colours were built around verse escalation toward euphoric choruses; remember the way that they stripped everything back for those few seconds before reaching the chorus of ‘Lights And Music’? That doesn’t happen here. This is disorienting at first. ‘Need You Now’ is a crafty opener, because it confounds expectations. It reveals that the quartet hold higher aspirations than what they’ve achieved thus far, as – alongside The Presets – Australia’s chief synthpop proponents.

    So it’s with some disappointment that Zonoscope’s next track, ‘Take Me Over’, follows that established formula of leaving a bar of vocal silence before launching into a chorus that’ll sound most at home sung by thousands-strong audiences. There’s the familiar echoes of swooning “oohs” that colour the song’s backdrop; the same they worked throughout In Ghost Colours, so much so that they’ve become something of an integral part of the band’s sound. The song’s familiarity – its sheer Cut Copy-ness – acts as a buffer between the system-shock of the opener, and the blatant pop of ‘Where I’m Going’, which was first released for free via the band’s website in late 2010. The latter track’s mood is ebullient, contagious; it’s difficult to shake the image of the band members yelling “Yeah! Yeah! Yeah! Woo!” while fist-pumping at their triumphant Parklife 2010 headline spot.

    For the full ‘first listen’, visit The Vine. More Cut Copy on their website. The music video for their track ‘Lights & Music‘ is embedded below.

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  • January 19, 2011

    Mess+Noise album review: ‘He Will Have His Way’, January 2011

    An album review for Mess+Noise. Excerpt below.

    Various Artists – He Will Have His Way: The Songs Of Tim & Neil Finn

    The songs of Tim and Neil Finn – from Split Enz to Crowded House, and their respective solo careers – are cherished by many Antipodeans. To do them justice is to walk a tightrope; iron will and resolute self-belief are required.

    He Will Have His Way comes five years after the release of She Will Have Her Way, whose original concept was to invite female musicians to sing the Finns’ songs. Here, it’s the blokes’ turn, and the array of talent sourced isn’t to be sniffed at. Many of these covers are faithful to the source material, so let’s deal with the two strangest birds of an otherwise uniform flock.

    Electro-rock trio Art Vs Science do ‘I See Red’. They’re full of piss and vinegar, as usual, both musically and lyrically. Led by waves of pulsing synths, a breakneck drumbeat and a high-speed finger-tapped guitar solo, it’s a garish tribute to an already energetic song. In the coda, they opt for a heavy groove flanked by natural harmonics and guitar effects. In a word, it’s ridiculous. But a band like Art Vs Science were never going to play it straight, and their contribution here is memorable if only for the sheer velocity and enthusiasm they bring to the project.

    For the full review, visit Mess+Noise. For more on He Will Have His Way, visit the project website. The music video for Oh Mercy’s version of ‘I Feel Possessed‘ is embedded below.

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  • January 19, 2011

    The Vine album review: Gorillaz – ‘The Fall’, January 2011

    An album review for The Vine. Excerpt below.

    Gorillaz – The Fall

    This album costs zero dollars. Released via gorillaz.com on Christmas Day 2010,The Fall could be the biggest free album release this side of Prince taping his discs to British newspapers in 2007 – but even that cost a pound or two. Sure, Radiohead released In Rainbows that year, but the element of guilt (“pay what you think it’s worth”) translated into at least a couple of million for the band, and that was pre-physical release.

    Gorillaz aren’t interested in that. For the cost of an email address, The Fall is yours. This also puts music critics in an interesting position. Arguably, a key value of music critics to their reading audience, is our willingness to test the artistic waters, musically speaking. To suggest, in part, whether an album is worth buying (or – these days – “downloading”). When music is free, that barrier to entry is destroyed. Here, listeners have nothing to lose besides time. The music critic is effectively defanged. So what you should do right now, before reading any further, is visit thewebsite, plug in an email address, and download your own copy. (Interestingly, the disclaimer at the bottom states that the album may not be “sold, transferred, altered or copied (including burning and uploading to the internet) without the express prior written approval of EMI Records Ltd”. Good luck with that.)

    This isn’t a traditional Gorillaz album like Plastic Beach or Demon Days. It was written and recorded by head Gorilla Damon Albarn while the band toured North America in late 2010. All of the songs were arranged using an Apple iPad, though the production platform is less compelling than the notion itself.

    For the full review, visit The Vine. For more Gorillaz, visit their website. The music video for ‘Phoner To Arizona‘ is embedded below.

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  • December 23, 2010

    Rolling Stone album reviews, December 2010: The Naked and Famous, Fuzz Phantoms

    Two albums reviews for the January 2011 issue of Rolling Stone.

    ++

    The Naked and Famous
    Passive Me, Aggressive You
    Somewhat Damaged/Universal

    New Zealand punks bring the dance-noize to new audience

    Owing to their fascination with Loveless-like walls of guitars and the synth-led electro-pop of Passion Pit and MGMT (circa Oracular Spectacular), this N.Z. five-piece have a foot planted firmly in both past and present. Their debut album bristles with nervous energy, like they’re itching to impress. And they do. Central to Passive Me, Aggressive You’s success is the skill with which their two main reference points are balanced: “Frayed” paints a mood of dark, distorted menace, yet it follows the album’s most optimistic jam (“Punching In A Dream”). In “Young Blood”, though, the band has conjured up one of 2010’s best singles. Alisa Xayalith delivers its self-aware opening line (“We’re only young and naïve still”) amid a storm of skittering synths and a hefty bass swoon. It’s a monster track masterfully handled, yet there’s the unshakeable sense that their best is still yet to come. Despite pursuing two disparate musical styles, The Naked and Famous embrace both, and thrive.

    Key tracks: “Young Blood”, “Punching In A Dream”, “Frayed”

    Elsewhere: An interview with singer/guitarist/producer Thom Powers for The Vine

    ++

    Fuzz Phantoms
    Fuzz Phantoms
    Independent

    Kisschasy frontman’s garage rock side-project unveiled at last

    Best known as the lead singer and songwriter of pop band Kisschasy, Darren Cordeux has left his bandmates behind – for the time being – in favour of pairing up with his partner Tahlia Shaw under the Fuzz Phantoms moniker. Funded by 50 individual backers via online platform Kickstarter, this debut is a 12-track, 28-minute collection that flits between power pop and garage rock. Shaw is no gun on the kit, but her loose style is nicely juxtaposed by Cordeux’s considerable chops: his occasional flights of six-string fancy (best exemplified in “Met A Youngster”) are tasteful and impressive. Fans of Cordeux’s past work will find much to like here. The singer seems to have found solace in simplicity: stripped back to basics, Fuzz Phantoms sounds like two musicians (and their bassist pal) enjoying themselves. They’re unlikely to set the world alight with this release alone, but for the moment, the pair seem content – and rightfully so.

    Key tracks: “No Crime”, “Nowhere”, “Met A Youngster”

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  • December 22, 2010

    The Vine album review: AXXONN – ‘Let’s Get It Straight’, December 2010

    An album review for The Vine. Excerpt below.

    AXXONN – Let’s Get It Straight

    Once a duo featuring No Anchor (and ex-Iron On) bassist (and sometime TheVine contributor) Ian Rogers, AXXONN now exists solely as an outlet for Brisbane artist Tom Hall, whose spectral sounds are captured on Let’s Get It Straight, Hall’s debut full-length under the AXXONN moniker.

    Stylistically, it’s a surprisingly mixed bag: where past releases consisted almost exclusively of noise and electronica-based compositions, here, Hall displays a willingness to step outside his comfort zone. He experiments with layered acoustic and electric guitars in ‘Golfini’, and a clean piano tone in ’10 Pound Trouble’, which opens with an extended sample of sparrows chirping. It’s unexpected, and almost laughable at first; then, cute. It’s the only moment that could be construed as humourous across nearly 50 minutes of furrowed-brow concentration. This isn’t to say that the album isn’t enjoyable – it is – but while it’s a tough record to hate, it’s even tougher to love. Diverse though the sounds contained within Let’s Get It Straight are, there’s few highlights, in the true sense of the word. Instead, the album works best as just that: a document to be observed in full. If just one track appeared on your iPod Shuffle, you’d probably skip it.

    But if you began with ‘Slave Driver’, the album opener, and let it play through to ‘Nai’, it works. ‘Slave Driver’ opens with less a roar than a glacial synth yawn; it evokes imagery of deep space, or an arctic tundra, or somewhere desolate; somewhere free from mankind’s greasy fingerprints. This feeling of isolation is why I return to the album: gradually, Hall’s soundscapes seem to increase in both density and volume until you find yourself lost in the mix.

    For the full review, visit The Vine. For more AXXONN, visit his website. The music video for his song ‘Let’s Get It Straight‘ is embedded below. Watch it – it’s great.

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  • December 22, 2010

    The Vine album review: INXS – ‘Original Sin’, December 2010

    An album review for The Vine. Excerpt below.

    INXS – Original Sin

    A simple question: what the hell was wrong with 1994’s The Greatest Hits? Its 20 tracks represented everything that was great about INXS, one of the most popular Australian acts of all time: pomp, excess, bombast, and above all, both musical and songwriting ability. Sure, there was 2002’s The Best Of INXS; was essentially the same product with a reordered tracklist and an tacked on remix. Both of these compilations ticked all the boxes: fans got to hear their favourite songs, band get paid royalties forevermore. Everyone’s happy. Even if the band does see fit to reform down the track, and star in a reality TV show to find a replacement for their long-dead lead singer, at least they’ll never fuck with the classics, right? We could rest easy in the knowledge that although INXS might tour their back catalogue until they die, they’ll never re-record their best work in attempt to capture a young audience. Right?

    Wrong. So fucking wrong.

    Everything about this album is abhorrent. Even if the songs came close to doing justice to the originals – and to be crystal-clear, they don’t – there’s just no sugarcoating this bald-faced cash-grab. The band have described it as a tributealbum. This is a lie. It is the musical equivalent of pissing on one’s own (or Michael Hutchence’s) grave. A revolving door of guest vocalists results in an assembly-line mentality, thus no performer here is given the chance to connect with the listener. The decision to enlist the smoky vocals of trip-hop star Tricky for ‘Meditate’ is one of few inspired decisions; if only he was given a darker environment in which to work his magic, instead of the shimmering, neon-glow that surrounds his urgent rhymes. When the band pause the song for a few bars to introduce their high-voltage instruments, you can just envisage the cheesy, sunglass-clad grins that were passed around the recording studio.

    For the full review, visit The Vine. Please avoid listening to this album at all costs. It was probably the worst thing I voluntarily listened to all year.

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