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REVIEWS | CD |
‘People’
Vincent Van Go Go
(Creative Vibes/Murena)
Ignore Vincent Van Go Go's dubious name because their sophomore effort, ‘People’, is a little gem of a record. These Danes sound like they're from the other side of the Tasman, not the other side of the world, with an aesthetic that's heavy on roots, dub and reggae. It's a sound that will probably never net them any Grammys, which is a shame because the five-piece write songs that are simultaneously accessible and full of variety. ‘Fill It Up With People’, ‘A+’ and ‘Balele Blackstar’ are particularly impressive. It all adds up to be a highly involving and very impressive sophomore album.
‘A Place Where We Could Go’
Jeremy Jay
(Popfrenzy)
Jeremy Jay's wistful debut album is seemingly performed from a dreamscape inhabited by the Los Angeles native. Not so much an elegiac reminiscence on the 50s and early 60s, Jay's music seemingly exists in that time and with ‘A Place Where We Could Go’, he transports you into his little world. Jay's sonic template is relatively simple with a straightforward mix of guitars, bass, piano and drums. The scant collection of instruments is fastidiously arranged however, and Jay's measured delivery sits on top of the mixes with a fuzzy warmth and intimacy. Also, he cleverly keeps the tunes short and sweet, never letting them meander or become saggy. The end result is an exercise in total beguilement.
Matt Shea
'Tha Carter III'
Lil Wayne
(EMI)
Take some very average freestyling, add dodgy crooning, a cache of crappy analogies, a vocoder and blend ... and voila! A soufflé of the most superfluous, bloated, over-hyped shite I've ever tasted. The self-proclaimed ‘best rapper alive’ delivers a searing 16 tracks (seven extra if you were lucky enough to get the special edition) of utterly turgid cliché. On one track Lil Wayne advises ladies on genital hygiene and then apparently resuscitates hip hop whilst simultaneously murdering a David Axelrod sample. After reading such accolades as “he sometimes raps words that don't make sense just because they rhyme”(genius) I don't know what I expected but this is total shite. If Rolling Stone labels him the greatest mc at the moment maybe hip hop is dead.
Pesto
'Summerland'
The Herd
(Elefant Traks)
Well it's The Herd y'know? Shouldn't take things for granted but past experience is telling you that with this crew you are assured of two things: good songwriting; something to get your ass dancing; some simple-word socio-political comment; some horns, some kind of world music input … hang on that's more than two things. Point being you get a lot with this group. If you have heard lead single ‘The King Is Dead’ then they’ve already ticked most of the above boxes for you. Especially the dancing about one. Urthboy is as earnest and rollicking as ever. There is something so comfortable with his un-strained flow but it’s Jane Tyrell and her totally unique voice that really adds the colour and emotion to some damn fine tunes.
'Impossible Odds'
Imossible Odds
(Impossible Records)
Fred Leone aka MC Rival. Yep he's an indigenous rapper sure! But best look at it this way: he's a talented - and thus entertaining - rapper who uses his rhymes to tell his stories. Which like every writer is the stories of their people. If, like me, you are building a quiver of quality Australian hip hop then you want this EP in your collection. Not because of it's indigenous bent but because it's really easy to listen to. Whatever that means? Maybe just because the music and beats and what-not are all pretty laidback and Fred's distinctive voice doesn't try and get too flash, just hits the words right where they should be. Ah … it's called flow! And the more you listen the more you get how relaxed he is. Though he does shine his chops somewhat on 'Hey People’, where he spits a street-funk poem that shows off his tongue’s fitness. Five tracks. It's got funk and some perfectly-weighted slices of soul and R&B, quality beats and A-grade MCing!
Luke Robertson
‘Music For An Accelerated Culture’
Hadouken!
(EMI)
The debut LP of this Leeds dance-punk outfit finally gives listeners something they have been begging for - fulfilling the promises put forward by its title. 'Music For An Accelerated Culture' sends out an electro rave sound mixed with old Nintendo effects, whilst giving meaning within its lyrics and remaining consistent. Reflecting a society gone down the toilet, the tracks remain unique to the genre and refresh opinion. The bright lights and sounds may not be for everyone, but this is damn fun for those who are into this kind of music. And with a name like Hadouken!, who can disagree.
‘Canal Road Soundtrack’
Various
(Shock)
Australian television has long been surrounded by the same old dreary tones, seen on ageing serials such as 'Neighbours'. Instead of taking the lead of international productions, ‘Canal Road’ is splattered with bland local electric indie. For the lack of something constructive, one may point out that actress Toni Colette lends vocals to a few tracks. But even her songs, like the rest of the soundtrack, lack the intensity you'd expect for scoring a drama. Better saved for a chillout album, the underwhelming combinations pose the question: why bother?
Ryan Moore
'Remember That Night'
David Gilmour
(Sony/BMG)
This album demands silence; an incredibly nostalgic piece that will spark a tear in the eye of any fellow Floydians. Including the classics ‘Wish You Were Here’ and ‘Shine on You Crazy Diamond’ the disc also features a haunting rendition of one of Pink Floyd's most hailed works ‘Comfortably Numb’ belted by the king of Brit pop himself, Mr. David Bowie. The iconic balance between the sharp riffs and soft, melancholic vocals will not disappoint, and though they wrench up remorse for the bond that has been lost, Gilmour gives this pillar of rock the final cut that they deserve.
'To Drown A Box'
As We Are
(Baria Records)
'To Drown A Box' is the five track EP of an ambitious Brisbane band that started out at The Zoo and are now signed to an international label; nice work guys! The sound is quite similar to A Perfect Circle in that the instruments are solid and topped with a mournful/delicate sort of voice creating some lovely harmonies in sections. At times the album does pull towards being angst ridden and repetitious, but it is obvious how much work these boys have put in.
'War On Time'
Angela’s Dish
(Sony/BMG)
The first thing that crossed my mind is that I have heard this before, because it's very hard to distinguish Angela's Dish from a lot of modern bands like them. It doesn't really have a feature that jumps out at you, like the minimalism of Franz Ferdinand or the groove of The Organ, which is something that contemporary artists need now more than ever. I think one of the reasons that it doesn't work for me is that the lyrics are wishy- washy and the instruments and vocals lack guts.
'At Mount Zoomer'
Wolf Parade
(Sub Pop/Stomp)
Finally a band that knows how to capture the wonder of the past and present it to an audience of the present. Their use of instruments is incredibly intriguing; one of the chief reasons that I consider this to be such a visual band - not only do they have a groovy album jacket (a collage of the trippy and bizarre) but the lyrics and intervals are extremely thought provoking and tear you away to another world. If you're after something new, borrowing from a Beatlesque style, this is your next afternoon in.
Bindi
'The Bedlam In Goliath'
The Mars Volta
(Universal Music)
With the ghost of ‘At The Drive In’ resting its chalky bones, Cedric and Omar's music has become, if anything, less accessible than ever before on their fourth release, 'The Bedlam In Goliath'. It's a monstrous prog-rock beast awash with difficult time signatures, 10-minute epics and more drum rolls than I've ever heard before thanks to brilliant new skinsman Thomas Bugden. Stuttering and spraying malevolence, this is a schizophrenic, jazz-inspired record that channels Santeria direct into your headphones. There is high drama being played out in the minds of the creators, and this release catches that vibe like a spider web; as another reviewer put it, it feels like there are three bands playing at once at times, and this is both ‘Bedlam's’ redemption and undoing. The recording process must have been like birthing an elephant. Brutal, uncompromising, experimental and just plain fucking strange -The Mars Volta is the band Wolfmother aren't brave/talented enough to be.
'Time Traveller'
Plantlife
(Easy League/Shock)
I dunno about Plantlife - one moment they seem to be on the cusp of greatness, the next they sound like overblown, done-to-death retro porn funk. And that's the flag they fly on their new album. Put it this way - I just can't imagine where I'd play it. Too downtempo for serious partying, too black for white people and too white for black people, this sits right in the middle of the road. The faux-Prince vocal starts to grate after about three tracks, and while I can easily imagine Plantlife rocking the party live, this is a disc for home listening, which is where it all falls apart. It was largely under whelming the whole way through, with the exception of 'Don't Go Around Looking For A Broken Heart', which kinda worked. In fact, I can listen to the music, but I just wish the singer would shut it. Subtle can be sexy too, brother.
Toast
'Parlour Games'
Levon's Crown
(Independent)
Melbourne-based Kiwi lads, Levon's Crown debut album 'Parlour Games' is nothing short of rock and roll liquid gold. Although slightly polished with modern production, Levon's Crown nods confidently in the direction of the good time anthems from the 60s and 70s that get right under your skin. 'The Stomp' is the perfect opening for what is 47.5 minutes of exhilaration. With its slow chugging guitars and a more restrained, husky blues-inflected vocal, stand out track 'Sunshine' allows you to breathe but only momentarily, before 'Freedom' wraps things up with an explosion of pounding rhythm, rolling drums and some incredibly sexy guitars. 'Parlour Games' will have you swinging off the chandeliers.
Julia Baker
'The Sun'
Fridge
(Domino)
Several tracks on this album sound like Ewoks got their hands on a drum kit, and in a very groovy way. ‘The Sun’ is entirely instrumental and takes you on a musical journey through the mind with contrasts between graceful, flowing pieces and the highly-strung explorative kind. The intensity of the mood is very motivating and gets the creative juices flowing. It's a bit out there but well worth your time.
'*. pop'
Presseject
(Sub Pop/Stomp)
Think Robots In Disguise, or even better ‘The Mighty Boosh's’ Electro Boy. This all-female electro/techno band has a steady driving beat and playful songs that are uplifting and make you want to dance. The vocals get a bit monotonous but it suits the tone of the album and creates a distinctive sound. Personally I didn't really click with the band but for those who are into this sort of thing it would make good material for background music at a party or highway driving.
'Santa Barbara'
Mapletons
(Independent)
This band remind me a bit of Radiohead at times. They have gentle backing instruments coupled with a rich voice that projects a euphoric floating feeling. Quite a lovely blend of instruments, including classical guitar, keyboard and xylophone founded on strong base lines. There is definitely a hollow feeling that is quite beautiful but I can't quite place my finger on what aspect holds this. Overall a relaxing but contemplative album that has the power to both sedate and provoke.
'The Script'
The Script
(Sony/BMG)
First thing I'm going to say is that this is not my genre but for anyone who enjoys a light combination of soulful singing and dramatic instruments this could be your thing. The polyphony in this album works very well, not too busy but still a depth in the harmony between the instruments and vocals. The Script has quite a fast pace and a sense of loss but it doesn't break that barrier into despair. So all in all not really depressing but perhaps something to listen to if your feeling broken hearted.
Bindi
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