Air 'Le Voyage Dans La Lune' album review (for kevchino.com)

Amour, imagination, rêve (love, imagination, dream). This is the backronym Nicolas Godin and Jean-Benoît Dunckel constructed to form Air in 1995. Since then the duo from Versailles have been delighting us with just that—albums full of love and great imagination that take us into dreamlike states and beyond. The very same can be said in regard to their latest work, Le Voyage dans la Lune (A Trip to the Moon).

A celestial work with twinkling synthesizers, heavenly harmonies and spacey computer tones, Le Voyage dans la Lune is the definitive soundtrack to any space voyage. The slow, heavy tom-toms and blasts of brass in “Astronomic Club” serve nicely as an opening track, giving a sexy yet sinister feel as rocket ship captains prepare to enter the unknown. “Moon Fever” is a soft, calming, melodic space ballad, perfect for floating weightlessly through the cosmos, taking in the Moon and all its splendor. “Parade” and “Cosmic Trip” bring a nice element of disco-rock to the album, with “Cosmic Trip”’s heady monotone male and female voice-overs welcoming you on to your space voyage and ensuring you will have a pleasant trip and “will return home safely.”

Inspired by Georges Méliès’s classic 1902 silent science-fiction film A Trip to the Moon, Air recently had the honor of composing an original score for a new version of the film, which is currently being played at film festivals worldwide, and a better duo they could not have picked. Air’s work transports you into outer space with the greatest of ease and leaves you flying high with each and every listen. Another fine effort from a musical act for whom it seems creativity knows no bounds.

The Maccabees 'Given To The Wild' album review (for kevchino.com)

The UK’s favorite lads the Maccabees are back with their highly anticipated new offering, Given to the Wild. With such fine efforts given previously in Colour It In and Wall Of Arms, the band set the bar quite high and have failed to disappoint.

There’s no question Given to the Wild differs greatly to their previous offerings and is a much more intricate album. The tracks have a lot more depth and weight to them involving an eclectic range of instruments, lots of layering, and some great production. The album has an almost esoteric sound, like the whole band went on a month-long Yoga retreat to find themselves, and what they found was utterly creative and inspiring.

The first single from the album, “Pelican” is pretty much the only solid-sounding rock song present. It’s punchy, poppy, and has the Maccabees’ usual edge to it. The remainder of the tracks play like a soundtrack that run into one another in a dreamlike state, ebbing and flowing across a rich musical landscape. The starting track, “Given to the Wild (Intro),” opens almost like a soundtrack with minimal vocals and soft instrumentals, leading into “Child,” which starts off slow, but eases into a faster finish with the band’s signature disco drums and high-paced guitars.

“Glimmer” does just that, with sparkling guitar riffs and floating melodies, followed by the eerie and macabre “Forever I’ve Known,” which features less of the higher-toned vocals you hear throughout the album and more of the old English-accented vocals we’re used to. “Went Away” is one of the more electronic-sounding tracks on the album, an upbeat piece with good solid drums and sweet dripping guitar melodies. “Go” is another electronic-based track with nice fades, interesting bass lines, and some beautiful guitar solos.

Given to the Wild is by far the most complex album produced yet by the Maccabees. It takes you places you never thought they’d go, and they do it well. But one can’t help feeling they’ve lost a little of their musical innocence on this album, which was part of their allure and charm on previous albums. The vocals and guitar effects are much more heavily produced, and the little simplicities of the previous two efforts that brought them such critical acclaim have been lost. That said, all bands must grow up at some stage, and the Maccabees are surely one you can take home to Mum. They have definitely matured beyond their years musically and created an album already fit for the top ten of 2012.

Gotye 'Making Mirrors' album review (for kevchino.com)

Gotye has been playing around the traps in Australia for many years now, so it’s nice to see him finally getting some critical acclaim, especially in the Northern Hemisphere. His latest album, Making Mirrors seems to have taken over the world, with the first single “Somebody That I Used to Know” (featuring Australian female artist Kimbra) charting in the top ten in over twenty countries, six of which were at the number one spot. It also won a whopping six out of a nominated seven ARIA awards in his country of residence, Australia.

With one listen of the album, you can see why. With his expert use of varied instruments, keen ear for sampling and loops, and heartfelt lyrics, Gotye has hit the mark with this album. “Somebody That I Used to Know” is a great track, but definitely not the standout on the album.

“Easy Way Out” is a weighty tune featuring 60s-style guitar riffs and some nice drum fills, with whispering verses leading into a heavy mod-esque chorus. “Smoke and Mirrors” features some old-school-sounding keys, tribal drum beats, and some fine sampling work, a laid-back, eerie tune. This is followed by the modern Motown tribute “I Feel Better” (reminiscent of one of his previous hits, “Learnalilgivinanlovin”—if you don’t know it, look it up), an upbeat, soulful track that makes you instantly feel better (funnily enough). “In Your Light” is about as Australian as it gets as it transports you with an acoustic guitar and some hand clapping into the sunshine on the beach. And “State of the Art” is an amazing tribute to a man and his instrument, an insanely innovative and imaginative song that basically takes you through Gotye’s creative process in his lounge room, all done in a vocal effect akin to Lurch from The Addams Family. Definitely the show stealer for me.

Gotye’s pure talent at bringing together such an eclectic use of instruments, samples, loops, and vocals shines through on this album. It is original, interesting, passionate, and inspiring. He has managed to harness an international flavor while keeping his Australian undertones, which is what makes him unique, and he fully deserves every piece of success and critical acclaim that comes his way.

Tasseomancy 'Ulalume' album review (for kevchino.com)

I sat down to review Tasseomancy’s latest effort, Ulalume, alone in my house at night. Possibly a questionable idea. A melodic and beautifully haunting epic, the album could almost double as the soundtrack to a weird, twisted psycho-thriller, perhaps set in an abandoned mental hospital or ancient graveyard, or a once enchanted forest now taken over by the Dark Lord.

Formerly known as Ghost Bees, Tasseomancy consists of Canadian twins Sari and Romy Lightman. Ulalume is their second full-length release and tends to move on from their earlier, more acoustic-based arrangements into experimental, ambient, and brooding tones laden with the sisters’ uniquely sweet and harmonic vocals (not unlike those of Karen O or perhaps fellow Canadian songstress Feist).

“Heavy Sleep” features a nice, slow, tambourine-soaked drumbeat, and eerie and intense keyboards with high-pitched ethereal vocals floating over the top. “Diana” has a choral, almost hymnlike sound to begin with, then transcends into a harmonious chorus backed by 60s-style keyboards and light acoustic guitar. “The Darkness of Things” is the only track containing male vocals, with an angelic female accompaniment—a sweet and light track conveying that there is perhaps a light through the darkness. “Night” starts off lighter and happier also, but then draws you into the dark night with heavy guitar breaks and menacing riffs.

Named after the Edgar Allen Poe poem “Ulalume,” wherein a man finds himself following the night sky and wrestling with his jaded heart, only to find the moon and stars have led him to his long-lost love Ulalume’s grave on the year anniversary of her death, it’s no wonder this album is as haunting as it sounds. Though it may not be a crowd favorite at parties, I must give credit where credit’s due. Ulalume is a creative and uniquely original work and a fine second effort from the Tasseomancy twins.

Mark Lanegan Band 'Blues Funeral' review (for kevchino.com)

Blues Funeral is the latest album to hit the airwaves from the Mark Lanegan Band. His seventh release, and first release of new material in eight years, it would make you think he couldn’t go wrong. But alas, you’d be wrong. Unlike its title suggests, it lacks any semblance of what is generally considered blues, unless the actual death of blues is what he was going for (hence the funeral).

Lanegan’s deep, sultry, smoky vocals are the only thing that holds the album together, along with the one standout track, “The Gravedigger’s Song,” which opens the album with a gritty, heavy bass line, eerie guitars, and spooky synthesizers—a walk of the damned, if you will. After this, the album falls apart like a decomposing corpse. “Riot In My House” and “Quiver Syndrome” are two good basic rock songs, but lack any standout riffs or the edginess we’ve witnessed from the band on albums past. “St. Louis Elegy” features some nice Latin-esque country guitar riffs in the chorus, which would prove handy for a Mexican standoff, and “Deep Black Vanishing Train” is a quieter, moodier piece, with some nice deep vocals and haunting cellos to match. But though the aforementioned are bearable, it seems most on the album are not.

“Gray Goes Black” does nothing of the sort and stays a banal and bland shade of gray. “Ode To Sad Disco” is exactly that—sad, contains elements of disco, and goes for 6.24 minutes too long. And “Tiny Grain of Truth” completely misleads, with any true musical talent being lost in over seven minutes of hippie, trippy, esoteric synthesizer improvisation that makes you wonder if the machine simply got stuck on a loop.

The primary track is exciting and outstanding, which makes the rest all the more disappointing. An avid fan of his past work, it pains me to say it, but I wouldn’t even play this at a funeral.

Steffaloo 'Meet Me In Montauk' album review (for kevchino.com)

It's the simple things in life that are usually most pleasing and Steffaloo lays testament to this in her latest release 'Meet Me In Montauk'. A photographer, musician, traveler and general lover and liver of life Steffaloo has comprised a selection of mostly acoustic tracks that strive to restore beauty in the basics.

With soft and whimsical vocals reminiscent of Feist yet tinged with a hint of Karen O, laden with acoustic fingerpicking, clicks, claps and melodic harmonies 'Meet Me In Montauk' is bare, raw and often shows how simply enigmatic music and words can be when stripped back to the bare essentials. The production is minimal, the instruments perfectly paired and the lyrics sincere and heartfelt. Tracks such as 'Oh My God', 'Just Strangers' and 'On Fire' tug squarely at the heart strings, while the more upbeat 'A Song to Sing', 'The Letting Go' and title track 'Meet Me in Montauk' definitely have a more island-hopping stolling-through-the-sand feel to them. The only oddity of the album is final track 'Fly Away (version ii)' and it's horrible use of a synthesized vocal effect that does not sit well as the last brush stroke of her masterpiece.

While the vocals are melancholy and the lyrics intriguing the constant use of barely-there acoustic guitar lets the songs run into one big lovely soft lullaby for grown ups. The music is simple and effective but can lull you into forgetting which track it is you are in fact listening to. The album is a fine one overall but one waits with anticipation for a more definitive album. That said it may be Steffaloo's creative simplicity and undefinability that eventually propels her into greater success. A self-professed '…hippy heart… wanderin' soul' it's easy to see her wandering her way with her siren song into peoples hearts the world over.

Cass McCombs 'Humor Risk' album review (for kevchino.com)

A well versed and well traveled Californian, Cass McCombs has recently released his latest effort 'Humor Risk'. This is an amazing feat considering his fifth LP 'Wit's End' was released a mere 7 months ago.

We are left to wonder whether the release of 'Humor Risk' is simply an attempt to sell off leftover scraps and editing suite cuts from his last album, due to the rapidity of it's release and it's dismal quality. It features some lovely guitar melodies here and there and tracks like 'Robin Egg Blue' contain some nice instrumental layering, but the song tends to get lost in the layers and on a whole the album is dreary, drab and goes on and on and on and…

Opener 'Loves Thine Enemy' and 'The Same Thing' are definitely the only 2 tracks worth listening to with their sweet indie-pop tones. 'Mystery Mail' would get a look in also if it didn't go for 7 minutes and 50 seconds. It starts off well with a good rock sound and some nice hooks but ends up sounding like a record stuck on a needle. Basically the album peaks at the end of the first track and it's all downhill from there. I think the biggest low is when McCombs squeezes an extra line (and a bad one at that) into the last line of 'To Every Man His Chimera'.

The album is drab, dreary and uninspiring. McCombs lyrical masturbation coupled with the albums lack of definition and bad production makes for some displeasing background music at best. The songs are bland and go on for too long, the lyrics are slow and draining and I for one will never be listening to this again.

Apteka 'Gargoyle Days' review (for porkandmead.com)

Apteka have listed some of their 'likes' as "…large kick drums, amplification and face melting…" and these are certainly prevalent on their newest release 'Gargoyle Days'.

The Chicago 4 piece have produced a solid indie rock album with some nice heavy overtones, creating a sound not unlike that of Stone Temple Pilots or Janes Addiction (the latter who they have also previously opened for). Fuzzy droney riffs and almost tribal drum beats on tracks such as 'Gargoyle Days' and 'We Know Time' certainly do melt the face as intended, and softer tracks such as ''In Clouds' and 'This Time' have a more melodic feel with some truly special instrumental breaks thrown in. Stand out tracks are 'Striking Violet' with it's swing style drum beat coupled with a nice punk sound, and 'Where Days Go' which could pass as the modern day soundtrack to a good old Mexican stand off.

Their at times old school rock sound laden with overtones of early 90's grunge and heavy riffs makes for a heady album full of good riffs, great loops and samples and stimulating vocals. Well worth a listen.

The Rapture 'In The Grace of Your Love' album review (for kevchino.com)

See the original article posted HERE!

With dissension in the ranks and the eventual loss of a member it's no surprise The Rapture's latest offering 'In The Grace of Your Love' was turned out a good 5 years after their previous critically acclaimed release 'Pieces of the People We Love'. Frontman Luke Jenner took time out from the band in 2009 due to personal issues - many of which themes are present on the album - and rumored creative differences with bassist Mattie Safer who eventually left the band altogether. But we all know tumultuous times often produce the most inspired works, and with the help of Phoenix producer/Cassius member Phillipe Zdar The Rapture have turned their respective frowns upside down.

The album plays host to an astounding cross section of genres - from their usual electro-pop sound to indie rock to 80's disco (no doubt stemming from Zdar) to gospel, reggae and afro-beat. This is an obvious testament to the talents of the band and is put across with a good line of continuity. There is an ever-present dark and moody underlay throughout which may stem from the loss of Jenner's Mother to suicide in 2009 as well as the loss of a band member, but coupled with the at first slightly odd but eventually obviously essential 80's-esque dance and disco overtones, the album generates an impressive bass-laden, all-encompassing sound.

Each song is an epic musical exploration within itself but there are some true stand out tracks. 'Come Back To Me' is a fantastically simple dance number that turns from a jaunty island romp reminiscent of Boney M into a deep dark house track without skipping a beat. Title track 'In the Grace of Your Love' transports us back to the 80's with it's classic synth backdrop but keeps us at the modern forefront with it's brooding bass line, indie rock riffs and cymbal smashing drum fills. 'How Deep Is Your Love' hooks with it's dramatic piano from the get go and keeps you going with it's fantastic fuzz baseline and funky, almost tribal percussion effects. Closing out with 'It Takes Time to be A Man' ends the album on a definite high note with it's sexy bluesy tone and slow smooth tempo.

A fine piece of work from a fine NYC outfit. It's very clear that, even with familial loves lost and creative ties severed, this band will never have anywhere to go but up.

Cloud Control 'Bliss Release' review (for kevchino.com)

See the original article posted here: http://kevchino.com/review/cloud-control/bliss-release/2283


Hailing from the Blue Mountains near Sydney Cloud Control are a creative force to be reckoned with. Winning various local accolades, including most recently the Australian Music Prize, the band have jut released the follow album up to their self titled debut EP, the aptly titled 'Bliss Release'.

The band offers up a fairytale musical landscape featuring intricate, rich guitars and vocal melodies paired with constant-tempoed almost tribal drum beats to create a whimsical sound that spirits you away. The haunting choral-like backing vocals ever present throughout the album give it a depth and tone reminiscent to My Morning Jacket. 4 singles have already been taken from the album: 'Meditation Song #2' - a country-esque ballad that opens the album, 'There's Nothing in the Water We Can't Fight' - a funkier, up tempo number, 'This is What I Said' - a fun, sing-a-long track, and 'Gold Canary' - voted Single of the Week on BBC's Radio 6. Tracks like 'Ghost Story' and 'Beat of Love' give the album an eerie interlude, with 'Just For Now' and 'Hollow Drums' stripping back their folk sound to bare, basic acoustics.

All in all a fine sophomore effort from the Australian 4 piece. If this is what they're capable of on a debut album I look forward to seeing what the future holds!

Friendly Fires 'Pala' review (for Mesmer Magazine)

'Pala', the second full-length offering from British act Friendly Fires certainly shows their talent and diversity when it comes to differing sounds and genres. The album has a real 80's feel to it, reminiscent of British act Tears For Fears at times, with heavy use of synthesizers and soft flowing vocals. Throw in some latin and disco beats, a hint of R'n'B and add an edge of funk and you have an album that's definitely hard to listen to sitting down.

However this does cause the album to come across as very over produced at times. There's so much going on some things tend to get lost in the mix leaving a few tracks sounding confused and overdone. Towards the end of the album the songs start to run into each other due to overuse of similar effects and beats. 'Show Me Lights' opens with a great R'n'B dance floor bass line and heavy beats but these get lost under numerous layers of synth, guitar, lighter vocal loops and steel drum sounds. 'Pull Me Back to Earth' and 'Chimes' both have a disco and funk lean but fade into one another with use of similar techniques.

That said, opening rack 'Live Those Days Tonight' jump starts the album well with it's superb dance beats, lead-in verses and climactic chorus'. 'Hawaiian Air' whisks you away with it's good tribal drum beats, fresh airy sound and Nintendo-like synth sounds. And 'Running Away', 'True Love' and bonus track 'Strangelove' take you back to Friendly Fires older, original style with funkier baselines and quirky guitar riffs matched well with echoing glittery synthesizers. Slower and more romantic interludes are provided by the album's title track 'Pala' and the slow funk piece 'Helpless'.

While overall a stand-out album it seems the band need to reel it in and centre a little with their next release lest they literally lose themselves in the music. It's all well and good to be musically apt in various genres but not when it comes at the detriment of a flowing album. Taking it back a notch would let Friendly Fires' true originality shine through while also letting them present a much less-produced, much more distinct sound.

'And Then We Saw Land...' - Tunng Album Review

*AS FEATURED IN SYDNEY'S Mx MAGAZINE*

Picture this: One of those annoying young couples that are totally in love and immersed in themselves, laughing, caressing and kissing each other as they head off on their first ever road trip, innocently unaware this long uncharted period of time together will either make or break their whole relationship. This is the album they would be playing in their car.

Tunng have brought together beautiful harmonies, soft vocals and excellent acoustic sounds backed by a myriad of instruments ranging from piano to banjo to synthesiser, however overall it all comes across a little too sickly sweet. While the arrangements are daring and complex a lot of it gets lost in the mix. At times the quiet love-laden vocals are almost inaudible under the deluge of layered instruments that are thrust at you through the fold. And yet somehow, despite all this, the songs end up sounding the same, their having used the same formula throughout the album just with different means. The one song that truly stands out - October - does so only because it’s almost a mirror image of Simon and Garfunkles’ version of ‘Scarborough Fair’.

Great changes were afoot in the Tunng camp of late and you can tell. Original singer, songwriter and group founder Sam Genders is no longer with the band meaning the induction of a new lyricist and lead vocalist. Though these tasks have since been fulfilled by two of the remaining five members the album comes across as confused and chaotic. Though there is artistic merit in their work and the talent is definitely there, ‘And Then We Saw Land…’ certainly does give the feeling Tunng is a band lost at sea without their Captain.

'July Flame' - Laura Veirs Album Review

*AS FEATURED IN SYDNEY'S Mx MAGAZINE*

Laura Veirs’ latest work is a sweet and soothing album – the perfect soundtrack to a lazy afternoon in the sun, watching day turn to night and drinking in the sweet Summer air. With an array of talented guest musicians ranging from legendary arranger Stephen Barber to the fantastic Jim James of My Morning Jacket ‘July Flame’ really shows the full extent of Laura’s talent.

Her sweet-as-treacle vocals are beautifully harmonised and well accompanied by her cool and confident guitar and banjo playing. String arrangements and piano score hover in the background giving the album a wistful feel, like a cool change on a hot day. Produced by long time musical cohort Tucker Martine, Veirs describes the album as coming from a ‘…searching, soulful place’ and it does indeed take you away to memories of childhood Summers, trips to the park and scorching days spent swimming. It seems after 6 albums together Veirs and Martine have found their feet in this stripped back and simple yet engaging album.

Stand out tracks include Wide Eyed Legless, When You Give Your Heart, Summer Is The Champion and the title track July Flame. An honest album that floats through the air like shafts of sunlight through the curtains. Sweet, soulful and not to be missed.

'Transference' - Spoon Album Review

*AS FEATURED IN SYDNEY'S Mx MAGAZINE*

It’s been a roller coaster ride for Spoon since the band formed in their hometown of Austin, Texas, in 1994 and Transference is no different.

Opening with the haunting Before Destruction the album then punches in with use of reverb effects on the next song title questioning Is Love Forever? – A song that ends as abruptly as a relationship doomed. They take us into the subconscious in Mystery Zone where fate and destiny collide over use of eerie synthesiser and guitar effects. And Who Makes Your Money lays bare the reality of who works for whom in a world of capitalism and hierarchy.

The stand out tracks are to follow, with Written In Reverse already being released on 7” in the US and UK. The song returns to their indie rock roots with nice guitar breaks and hammer-home chords, perpetuating the songs theme of hindsight being 20:20 and seeing people for what they really are. I Saw The Light continues on this theme, as well as the simple yet effective rock elements that Spoon are cherished for. The stand out heavier track.

They coin a sweet modern lullaby in Goodnight Laura, and bare their souls with the reminiscent Out Go The Lights and Nobody Gets Me But You. Third stand out track of the album is Got Nuffin, releasing us from ‘…darkness and shadows… emptiness and hang up’s’.

The album can sometimes appear disjointed but their simple rough guitars and use of background piano and synthesiser hold it together and drive it home, with occasional strings adding to the drama. And though Transference seems to deal with a lot of love, loss and relationship issues – something the band are not so known for – they’ve avoided the soppy feel with their patented intricate and descriptive lyrics. All in all it’s another fine slab from Spoon.