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.

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!

Kate Bush 'The Directors Cut' review (for Kevchino.com)

See the original article posted here: http://kevchino.com/review/kate-bush/director-s-cut/2269

Kate Bush's latest release, Director’s Cut, is the first on her own label, Fish People. Comprising of four tracks taken from the original album Sensual World (released 1989), and seven tracks from original album The Red Shoes (1993), the songs have been rerecorded by Bush to offer a new take on various old favorites. While most of the instrumentation has remained the same, many of the tracks have been recorded in a lower key due to Bush’s now lower vocal tones.

Bush has even gone as far as to alter the lyrics to The Sensual World’s title track, giving it the new moniker “Flower of the Mountain.” The reasoning behind this being, when originally recording this song, Bush wished to set an excerpt from Ulysses by James Joyce to an instrumental piece she’d composed, but was refused the rights. Upon asking a second time around for the Director’s Cut project, permission was granted, and the initial concept came to light.

The two original albums have an endearing and unique Bush-esque quality about them that is no doubt also swayed by memories associated to them around the original release dates. Both were outstanding albums and did relatively well at the time—The Red Shoes being the last album Bush recorded before taking a twelve-year hiatus, and being accompanied by a short film Bush produced herself, titled The Line, The Cross and The Curve. The new album is available in a deluxe box set, which includes all three albums, enabling the listener to sample both the old and the new and survey the merits of having new life breathed into the tracks.

However, one cannot help but wonder the point of all this. Why rerecord these albums? Were the original recordings not a worthy caliber within themselves? And if Bush was stepping into the studio, why not simply record new pieces instead of altering older songs? While the recording of the aforementioned “Flower of the Mountain” is an interesting story in itself, most of the remaining tracks come across as overproduced, erratic, and sometimes just plain bizarre. The addition of bloodcurdling screaming at the finale of “Lily” is a fine example of this, and “A Woman’s Work” has not benefited from the rerecordings whatsoever.

In theory an interesting project to undertake, but in the end a seemingly pointless one.

Mick Harvey 'Sketches from the Book of the Dead' review (for kevchino.com)

See the original article posted here: http://kevchino.com/review/mick-harvey/sketches-from-book-of-dead/2268

Mick Harvey's musical talents stretch far and wide. From his days with The Birthday Party (featuring Nick Cave), Crime and the City Solution and Nick Cave and the Bad Seeds to his stints as a producer with PJ Harvey (3 albums in total including her latest 'Let England Shake') and The Cruel Sea, the multi-talented Australian singer-songwriter has a musical resume that would make anyone swoon. He's written soundtracks, he's won a Mercury Prize, he's even recorded and translated 2 Serge Gainsbourg albums from French to English. And now he provides us with the hauntingly beautiful 'Sketches from the Book of the Dead'.

The album takes us across a dark emotional landscape of what remains once loves and lives are lost. An epic storyteller Harvey's lyrics transport you deep into the heart and soul of the artist through heavy low-toned vocals. The guitar effects are melodic yet eerie making for an intense listen. The soft piano and minor vocal harmonies layered beneath create tumultuous moods and place macabre, Tim Burton-style images in the minds eye.

The bulk of the tracks are shady and brooding - the love story of 'Frankie T. & Frankie C.' ending fatally, as well with 'That's All Paul' who '…took it all when (he) took the drivers seat…'. But the amazing descriptiveness and personality of the lyrics makes it easy to delve into Harvey's world. As a finale he throws us a curve ball with 'Famous Last Words', a perfect summary to the album with up tempo, sultry rock'n'roll riffs and audacious content '…everybody dances with the Grim Reaper…'.

While the album sets a morbid yet consistent tone throughout it can lack continuity lyrically. There are so many lives and stories to be told they often get lost in translation. But it must be said this is a great offering from a fine Australian artist, and one that will no doubt afford him great critical acclaim. It is well deserved.

Beirut 'The Riptide' review (for kevchino.com)

See the original article posted here: http://kevchino.com/review/beirut/riptide/2258

Listening to a Beirut album is like taking a round-the-world trip. Their aptitude to swathe the musical elements of different cultures makes them shine like a star in the world of modern music. They’ve been described as world music, folk, and indie, all the way over to Balkan and Eastern European Gypsy. What they are is simply outstanding, and The Rip Tide further showcases their pure talent and ability to think outside the box.

Founding member Zach Condon’s vocals both comfort and haunt as they lead you across the landscape of this latest offering from the US-based act. Staying true to their original Eastern Gypsy feel with the use of a great range of horns and brass, accordions and waltz-tempoed drum rolls, the album does include hints of modernism within its folds, making it pure poetry in motion.

The first single released from the album, “East Harlem,” medically depicts another love lost on the deceptively small island of Manhattan—“uptown, downtown, a thousand miles between us.” Ballads such as “Goshen” and “The Peacock” present perfectly the strength and character of Condon’s vocals and tug sharply at the heartstrings. And title track “The Rip Tide” sways with rousing string and vocal compositions that leave you adrift in a sea of worldly harmonies.

An inspiring listen that leads you to thoughts of the finer things in life—dancing, kissing, singing, a fine glass of wine, a moonlit night—The Rip Tide transports you to lands far away in an instant and leaves you full of life and humbled by Beirut’s musical prowess. Sweet, beautiful music indeed.

'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.

SHOW REVIEW: Maximo Park, Brixton Academy, London (26/5/09)

Apply Some Pressure
Tuesday 26th May 2009
Brixton Academy, London

Maximo Park are England’s answer to Grinspoon: everyone loves them whether it be for their punchy pop-rock style, care free Northern stained lyrics or stylish dress sense and dance moves. They’re an easy band to love and even easier to sing along to, so it’s no surprise they spent 2 sold out nights at Brixton, especially when backed by popular newcomers The Noisettes.

The Noisettes have eclectic musical influences and it shows. Every song tells a different story, with guitar riffs and drum beats bouncing from the synth-pop of the 80’s to the proper R’n’B riffs of the 60’s. Their lyrics tell you to shake your tail feather whilst musing of loves won and lost, all with the soul driven smoky vocals of Shingai Shoniwa.

Maximo Park then explode at us like a firecracker with perfect stepping stone chord progressions and stick cracking beats. They’re a tight outfit with a stylish pop sound and an even more stylish lead singer. Paul Smith looks the part in his usual white collared shirt, black suit, sleeves rolled up and black bowler hat, and this man has the moves. His Northern twang and charm bounce around the stage along with his sexy crutch thrusts and leg kicks that catch every girls eye.

They pull out all their hits including Graffiti, I Want You To Stay, Limassol, Girls Who Play Guitar, and finish off with obvious crowd favourite Apply Some Pressure – a song I hold dear to my heart and live by more often than not in my various world travels. And after such an amazing show I will continue to do so.

SHOW REVIEW: The Specials, Brixton Academy, London (7/5/09)

Come on in, it's been a while...
Thursday 7th May 2009
Brixton Academy, London

Thanks to my folks I’ve been listening to The Specials from a very young age. ‘A Message To You Rudy’ was a favourite of mine as a little girl and I played it so much even my folks got sick of it. So when, after 30 odd years, the boys from Coventry announced 5 – count ‘em 5! – night’s at Brixton Academy I was first to sign up for bar shifts.

Then came the wait – 3 months of barely containable excitement pushed to boiling point until the afternoon of the first show. I ran throughout my day job shouting ‘Happy Specials Day!’ to everyone, listened to their tunes all day and watched old footage of clubs gig’s I wished I’d been alive for. Then I got the call. 5:15pm Wednesday 6th May 2009. 45 minutes until I was due to work at Brixton. ‘It’s Tina’ said my boss ‘They’ve cancelled due to illness’.

My screams echoed throughout the office and snapped everyone out of their Outlook afternoon haze. This was awful! This was horrible! ‘They haven’t cancelled tomorrow though so be on stand by’. We’d been waiting for 30 years I suppose, what’s one more day?

It’s hard to describe the energy that fills a room when 5000+ people arrive to see a band they’ve been waiting to see for 30 years. To say everyone was ‘excited’ would be an understatement (and my tips for the next 5 nights certainly proved this!). Sitting through supports was almost torture, apart from the Dub Pistols who played the first 2 nights and were excellent. But I’ve gotta say, Ska these days just isn’t the same. I’m not sure if it’s the cultural influence, social conscience or music that’s lacking, but it just ain’t the same.

There was also a DJ and MC playing some top notch old ska and dance hall tunes that provided perfect pre-set sing-a-long conditions. Every night the crowd turned into a grand choir delivering drunken versions of ‘A Town Called Malice’ and ‘The Israelites’ at the will of the MC. And his ever present chant of "Ruuudde Boooyyy’ was always met with an enthusiastic response.

Anticipation was at breaking point when The Specials hit the stage. Opening with ‘Do The Dog’ they set Brixton off – beers were thrown, clothes and bags were cast aside as years of bottled up skanking exploded in 2 hours of beats, jams and lyrics that have been blasted in bedrooms for years. They played the perfect set each time: Monkey Man, Little Rich Girl, Rudy, Rat Race, Ghost Town, my very favourite Night Klub, and the perfect finale Enjoy Yourself.

It was so amazing to see The Specials after 30 years off the circuit, and after some tumultuous times they’re still as relevant as ever. Their performances were spot on and they never missed a beat, nor the chance to convey their regret to the crowd for having taken 30 years to return. I am now stylishly equipped with a Specials bag and T-shirt (never to be worn together lest ye risk looking like a stalker). They later announced shows at both Glastonbury and Hammersmith Apollo (my other place of bar tending) which pleased me no end, as they became like a house band no one ever wanted to see the end of at Brixton. Once they were gone I missed them so. And as I recall these skatastic tales I feel butterflies in my stomach as I remember the excitement and happiness they’re shows produced in people.

Enjoy yourself, it’s later than you think.

SHOW REVIEW: You Am I, The Electric Ballroom, Camden (27/3/09)

Where do I start, Where do I begin
Friday 27th March 2009

Electric Ballroom, Camden

Until now I hadn’t seen any Australian bands play in London. I’ve often thought paying pounds to see bands I can see at home was slightly pointless and I should be immersing myself in British and European culture. But if ever there was a reason to break tradition it be You Am I. Plus I knew a few people from home were going and I hadn’t seen them for an age, and I love Tim Rogers. A lot.

I hadn’t been to Camden for a while and was glad I opted for black jeans and a black cardigan as apparently black is compulsory when walking the streets of this London borough, along with black hair, metal studs, stripes, piercings and a massive chip (burnt until black) on your shoulder. I’m afraid I let the team down on the latter. Once inside the Electric Ballroom however it could have been any capital city in Australia. I did pick a French accent here; a Polish accent there; but most of the audience were Antipodeans. I admit I missed the support act due to a nice glass of white and a vegetarian pho down the road, but if I hadn’t have done my friend Oli and I wouldn’t have scored free tickets from the lovely lady sitting next to us in the restaurant (thanks so much Mel Crawford, I owe you one!). So instead of forking out our hard earned pounds Oli and I took on the guise of Stephen Pritchard +1 and swanned our way through the door. Gracias Mr Pritchard, whoever and wherever you are.

With drinks in hand we watched You Am I take to the stage looking extremely dapper in various vest, neck scarf and trilby hat ensembles – I’m not sure if this was purely for the UK or their normal attire nowadays as I haven’t seen them for nigh on 2 years, but they looked great and their usual fiery spark was ever present. They filled the first ¼ of the set with a good mix of fast and slower paced newbies – apologies for not providing a proper set list but as I mentioned, being out of Oz for almost 2 years has lead me to neglect the Australian music scene somewhat. One thing I can tell you is that Mr Rogers has been practising his dance moves in the mirror, looking somewhat like a cross between Iggy Pop and Steven Tyler he smashed, shimmied and hip-thrusted his way across the stage like a bawdry burlesque dancer, all the while using his axe as a tool of sexual persuasion. And as always has been and forever will be Davey Lane sang to us through those magical finger formations backed by the ever-solid never-swayed rhythm and beats of the mighty Andy Kent and Rusty. You can tell this band has been together forever as their shows are effortless but still full of fire and passion every time.

They made my night complete by playing Cathy’s Clown, Berlin Chair, Purple Sneakers and Mr Milk – cliché I know but they excite me no end! They also threw me for six when in the encore they returned to sing Thank God I’ve Hit The Bottom, as it was the first time I had ever seen them play it and therefore the first time I had ever seen Tim Rogers without a guitar strapped to him - EVER, let alone singing! It wasn’t at all an unpleasant experience but I must admit it unnerved me somewhat. So after a two hour Australian sing-and-dance-a-long You Am I left us to return home with a four-pronged salute and vivacious waves.

Mid-way through their set I accidentally bumped the girl next to me whilst dancing and turned around to apologise, only to find it was a French girl I work with at the Hammersmith Apollo, which was quite random indeed. When I asked how she knew the band she told me she lived with two Australian boys who insisted that she come and see them. She then asked me how well I knew the band which got me to thinking – You Am I were the very first band I went to see at my very first all ages gig, taking place at The Metro Theatre in Sydney. Little did I know then that I’d go on to book both the venue and band throughout various stages of my venue booking career. Funny how it all begins…