'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.

My first published article - woop woop!

Mx Magazine Sydney - Citybeat Entertainment Section - Thursday 4th February 2009

http://docs.google.com/Doc?docid=0AVUMcGRiodSRZGQyM3E2NDZfMGMzY3BjNWNy&hl=en

Stay tuned for more every Thursday!

:-)

FESTIVAL REVIEW: Big Day Out, Homebush, Sydney (23/1/10)

How Many Bands Can You Fit In One Day?
Saturday 23rd January 2010
Sydney Showgrounds, Homebush
　

It was a milestone for the Big Day Out today as they celebrated their 100th show, and what a ride it’s been! I’ve been attending Big Day Out’s from the tender age of 12 and they have never disappointed, offering up a plentiful and diverse range of acts that make it very hard to choose from. Sticking to the Main Stage this year my first act of the day was Sydney’s very own Bluejuice.

This is one hard working band who’ve been treading the musical boards for years so it was good to see them make it to Main Stage status. They drew a large and very young crowd ready to shake their thang to Stav and Jake’s catchy vocals. They’re a fun band with a good sense of humour – donning yellow jump suits with black racing stripes, not so wise a choice for the almost 40 degree heat – and the music is just as entertaining. Bouncing beats, rocking rhythms and a huge inflatable lizard side of stage made the perfect opening act for my day.

Karnivool and Mastodon followed, both with slightly smaller crowds than Bluejuice, and both hammering out the harder rock style. Unfortunately both failed to impress. Karnivool replicated the same epic dramatic sound they have always had which is kinda cool, but I don’t see any great advances on their behalf as far as their new stuff goes. And Mastodon looked and sounded the part with their heavy metal musings but nothing stand out – metal music by numbers comes to mind.

Kasabian were next to the plate and the huge crowd gathered showed how far this band has come. I’ve recently returned from London and they have definitely trumped Oasis in the Brit-rock stakes, producing a mighty fine piece of work in their latest slab West Ryder Pauper Lunatic Asylum. The world has gone literally crazy for their ever-growing sound and the set they delivered was nothing short of perfect. Fire, Shoot The Runner, The Underdog and various others were played with talent and fervour and were met with ecstatic sing-a-long’s and dancing. I have no doubt if Kasabian ever return to the Big Day Out circus they will be placed much higher on the line-up ladder.

Biggest Main Stage crowd of the day is a tall title to hold, but the next 2 acts won it hands down. Hilltop Hoods drew an amazing surge of people all ready to throw their hands in the air and witness the MC stylings of the boys from Adelaide. I am not a huge fan of Australian hip-hop but these guys sure know how to get down and work a crowd. Old favourites Hard Road, Nosebleed Section and Clown Prince rang like Australia Day anthems throughout the stadium with the crowd knowing every word. Newer releases Chase That Feeling and Still Standing were greeted with the same enthusiasm, and the MC talents of the boys were highlighted by one of the longest freestyle runs I have ever seen.

Dizzee Rascal represented the hip-hop/grime genre from across the pond and drew even more people into the bowl. Everyone loves a rascal and Dizzee certainly lives up to his name, holding the crowd in the palm of his hand with old and new material including Fix Up Look Sharp, Sound Of The Police, the horribly main stream Holiday, and of course Bonkers. I’m not sure if you’ve ever seen a stadium full of people going bonkers but I can tell you it’s a sight to behold. A great set from the boy from London and an awesome afternoon crowd pleaser.

Sticking to the London theme Lily Allen shuffled on next and provided some light and girlie relief to the afternoon. I like Lily – she’s so cute and fun and entertaining in her personality, however her music leaves a little to be desired. Her lyrics are sweet and personal to the point of prying, but she lacks substance and ability. Her voice is great and the set was fun, but I can’t help feeling she’s a bit of a show pony, wooing the crowd with her beauty and girl power without producing anything that credible. Fun to watch regardless.

Award for best band to clear a stadium goes to The Mars Volta as almost two thirds of the crowd evacuated once their screaming chords kicked in. The dedicated few that stayed to watch were oblivious and went bezerk as the band ploughed through their long and winding list of hits. A friend of mine once described them as being guilty of ‘musical masturbation’ and I tend to agree to a point, but there’s no denying these guys have a wealth of talent that should be admired and their set today showcased those talents well. Their dramatic lyrics, crescendos and time changes make for a rock’n’roll ride like no other and their sound boomed about the stadium nicely.

Australian headliner for the day was Powderfinger and I think we all agree that you can’t get much more Aussie than The Finger (except for maybe The Spoon). Of course everyone came to see them and of course everyone knew all the words and of course we all waited for stalwart favourites My Happiness, (Baby I’ve Got You) On My Mind, These Days and Love Your Way. However I can’t help feeling The Finger have become a little run-of-the-mill as far as festival acts go. They were good, and it was nice to see them, but their sets don’t seem to be as exciting as they used to be. Their new material was so-so and the rest were just the same as usual.

Then it was time for the big guns, the boys from Devon, Muse. I am ashamed to say that up until a few years ago I didn’t give this band the time of day, finding Matt Belamy’s shrill vocals grating. However a close friend has since converted me and I am appalled that it took me so long to catch on. They exploded on stage in an aura of lights, LED screens and audiovisuals perfectly complementing their huge sound and driving rock beats. Muse are a force to be reckoned with and deserve all the accolades they receive. Matt Belamy’s guitar prowess is beyond compare, Chris Wolstenholmes deep basslines keep it all grounded and you could set your watch by Dominic Howard’s heavy beats. Plug In Baby, Knights Of Sydonia and Starlight were among an array of hits that packed the arena, and an encore cover of Back In Black with Jet’s Nick Cester on vocals left us all gagging for more. Far and away the best band of the day and one of the best festival performances I’ve ever seen.

So once again Ken West and Vivien Lees provided us with a stellar day out and showed just how much musical talent is flying around these days. I can only imagine the amazing performances witnessed on the other various stages and wish I could have seen them all. Too much music, too little time.

SHOW REVIEW: Alice Cooper, Hammersmith Apollo, London (6.12.09)

No Mister Nice Guy
Sunday 6th October 2009
Hammersmith Apollo, London

Decapitation, zombies, skeletons, stabbings, straight jackets – not many rock shows can boast such an array of violence and creatures of the undead. But if anyone were to serve it so it would be the Devil of rock himself Alice Cooper.

With a band clad in black and his name in 8ft high silver letters Alice took to the stage with a spectacular version of Schools Out, and the remainder of the set did not disappoint. I’m Eighteen, Be My Lover, Muscle Of Love and No More Mister Nice Guy were all featured amidst various heinous acts. These included Alice himself being decapitated, returning to life brandishing his own head, being strapped into a straight jacket, being stabbed, poisoned and generally harassed by an evil nurse who later demonstrated her prowess with a circular saw on an innocent piece of sheet metal – not to mention the zombies, skeletons and poor unfortunate bride of the undead Alice threw and kicked about the place.

Rather confusingly the encore consisted of another rendition of Schools Out, however this time Alice donned a sliver mirrored 2-piece suit complete with top hat and tails. All in all a great night and fun for all the family, should you be of the family Adamms.

SHOW REVIEW: Editors, Hammersmith Apollo, London (21.10.09)

To Synth Or Not To Synth
Wednesday 21st October 2009
Hammersmith Apollo
　

The lesser-known Airship kicked of proceedings tonight but failed to take flight. They were dull, boring and every indie clad pop milais sounded the same as the next.

Novascotian outfit Wintersleep were an excellent main support. Reminiscent of Midlake and Wilco with a little Arcade Fire thrown in they provided us with fine story telling lyrics, hefty and wholesome guitars and a sound rhythm and drum section that made them an instant crowd favourite. A fine set of talented musicians that complement each other well and will be seen around the traps a lot more in the future I predict.

As you may know Editors have taken a liking to the synthesiser/80’s sound on their most recent slab In This Light And On This Evening, which has obviously worked as it went straight to number 1 in the UK. I personally hate both the synthesiser and the 80's, so was going to be a tough nut to crack. As they exploded on stage in a luminous haze of laser lights and an AV screen big enough to dwarf a zeppelin it became clear they hadn’t lost any of their indie-pop talents. The chasm of difference between old and new was clearly visible, with old hits such as An End Has A Start and Racing Rats pumped out to an adoring crowd. Their melodic riffs and walking-beat hard hits perfectly blend over the amazing tone of Tom Smith’s voice. This may be a random comparison but his vocals have a commanding presence not unlike Brian Blessed’s – they hold your attention whether you like it or not.

Synth-based newer hits such as Papillion were received with equal enthusiasm, coupled by audiovisuals that made you feel like you were in a remake of Tron. A great stage presence and stage show to boot, Editors showed us exactly why they went to number 1 and sold out 2 Brixton Academy shows the following week; cause regardless of whether or not you like synthesiser, they’re good. Damn good.