EELS

Tomorrow Morning (Shock Records)

Tomorrow Morning is about as arrestingly uplifting as Eels may ever get, which for a band renowned for their self-deprecating manner, is a welcome change. Following on from the despairingly pensive End Times, this closing chapter of a self-produced trilogy looks upwards from the murky pool of inspiration that is the mind of Mark Oliver Everett (known by most as E). With the wonderfully named Koool G Murder, and Knuckles on keys and drums, Eels’ seventh studio album is a colourful and disparaging exposition from a band clearly in control of their own sound.

Stripped-back and rooted in programmed drumbeats and selective instrumentation there is a simple youthfulness in the music that contrasts superbly with E’s battle-scarred lyrics. Awoken from the traumas of divorce, death and all of the rest of the shit human beings have to deal with there is a genuine optimism, which shines through on tracks such as ‘The Man’. "The little skinhead with the tattooed face / shows me a moment of style and grace," chimes E as a gleeful xylophone skips over a wobbly synth-line in the background. There is plenty of the witty irony masking the idiom of the subject matter, but the conviction resounding in E’s voice puts unadulterated emotion behind all the songs. ‘I’m A Hummingbird’ is one of many impressive laidback numbers that set the tone of the record early on. Led by a stirring string arrangement and not much else E masters a beautifully moving melody reminiscent of an on-point Peter Gabriel. The driving boogie-woogie of ‘Looking Up’ shows another facet of E’s versatile voice. As an old blues piano bashes away in the distance E silkily croons and screams through the number as it crescendos through bursting drums and stabbing guitar chords. From the funky electronic bounce of ‘This Is When It Gets Good’ to the sweet reverberating guitar ballad,  ‘I Like The Way This Is Going’, there is plenty of musical variety to explore, the simplicity of each allowing the record as a whole to not be too overwhelming.

There is something reminiscent of Lou Reed’s ‘Perfect Day’ in Tomorrow Morning, sure the words are uplifting and happy enough, but there may just be something disturbing lying dormant in the backdrop. The music, individualistic and sparse allows E’s words to perforate the core emotion of each track into the listener’s head, and the catchiness of the tunes possesses a lasting effect. For a band with already such an impressive back catalogue Tomorrow Morning, is clear indication that Eels are showing no signs of aging into mediocrity.

(Nolan Giles)

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ROSS WILSON



I Come In Peace (Shock)

It’d be a safe bet that if you ever visited Ross Wilson’s house there’d be a room, and inside that room there’d be a desk with a locked drawer and, finally, inside that drawer, a cassette tape holding a killer song or two.

Great songwriters always have a stunning song lying around and sometimes they keep them close to their chest for a long time. The song needs to peculate and then the stars have to align and then they’ll record it. Once it’s recorded, there’s no guarantee you’ll hear it. We need more radio stations in Australia playing more music  -  music aimed at adults. While our culture celebrates youth to the enth degree, there are people out there over 30 making great records. And, lets face it, it’s the people over 30 and 40 and 50 that actually buy CD’s.

Now, back to Ross. Recorded in Nashville with ex-pat Mark Moffatt, Wilson has recorded a tough, bright album full of well written/taut songs. Wilson’s linage includes not only his solo work, but also his tenure with Daddy Cool and Mondo Rock. He knows a good tune and there’s a swag here. The title track is a co-write with Rick Brewster from The Angels. Hearing Wilson’s vocals on the title songs outtro, he sounds like a man possessed. There’s a zest in the playing. After the initial sessions, Wilson re-cut some vocals in Melbourne after road testing the songs live. The experiment worked. Elsewhere he’s written with the gifted, though not widely known, Melbourne based writer Eris O’Brien.

A mature outing, there’s no cloying for modern sounds and Wilson sings about adult themes and ponders not only the Australian landscape, but also his place in it. Immediate, strong and littered with good songs, I Come In Peace is a welcome addition to an already impressive canon.

[Sean Sennett]

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DANGER MOUSE AND SPARKLEHORSE PRESENT...



Dark Night Of The Soul (EMI)

After a long legal wrangle, Dark Knight Of The Soul is officially on the shelves. An alleged standoff due to a deal Danger Mouse had ‘allegedly’ signed with Lex Records meant EMI had ‘reserved their rights’. Thankfully it’s all sorted now, even though thousands must have downloaded the album while it was officially sidelined. Filmmaker David Lynch produced visuals for the work and for a while the collective were selling a book to accompany the music with photos taken by Lynch and a blank CD to ‘use as you will’. Multiple official editions are out there from vinyl to MP3 bundles. This standard thirteen-track CD is fantastic. Danger Mouse and Sparklehorse have collaborated with the likes of Black Francis, Suzanne Vega, Julian Casablancas, the late Vic Chesnutt, Nina Persson, Iggy Pop and more. The gifts of the late Mark Linkous are apparent throughout. The music is dotted with enough sonic wizardry to keep your ears on continual alert. The songs themselves are fresh, engaging and, in spite of the collective on board, the album is seamless and rather beautiful. For a taster check out Nina Persson on the lullaby-like ‘Daddy’s Gone’ or Iggy on the growling ‘Pain’ which sounds like an outtake from his Berlin days with Bowie.

[Andrew White]



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THE DRUMS

The Drums (Moshi Moshi/Shock)

The Drums have arrived with their long awaited debut album. The English sounding American band has been making waves since 2009, initially with their Summertime! EP and the infamous whistled hook of ’Let’s Go Surfing’. The album opens in surprising melancholy fashion with ’Best Friend’, a song about a friend who died too young, with Jonathan Pierce’s infectious vocal melody betraying the sadness of the lyrics, "You’re my best friend but then you died / When I was 23 and you were 25 / You’re my best friend but then you died /And how will I survive, survive?" While Pierce doesn’t seem to be one for lyrical complexity, he sure makes up for this in the earnestness in which he sings.

Mostly there isn’t much depth to the music itself, with a lot of the tracks made up of basic guitar hooks, simplistic drums beats, handclaps and catchy choruses. The highlights are the more serious songs such as the aforementioned ‘Best Friends’ and the bittersweet ‘Book of Stories’. ‘Forever and Ever Amen’ is a good example of the Drums sporting their indie charm without sounding too kitsch, but ballad ‘Down by the Water’ is extremely average, overusing 80s cliches to a point where it’s hard to tell if they’re taking the piss or being genuine here.

Still a relatively new band, at times they repeat their own ideas, but the good outweighs the bad on this enjoyable debut.

(Bianca Martin)

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BRUCE SPRINGSTEEN & THE E STREET BAND

Greatest Hits (Sony)

This new compilation from Bruce Springsteen & The E Street band has been available overseas before now in a couple of guises. This edition, now out locally, mirrors last year’s European edition. A great entry level point for a new comer, and a refresher course for the rest of us, the record brings together highlights from Bruce’s years recording with the mighty E-Streeters: so there’s nothing from Tunnel Of Love, Human Touch, Lucky Town etc. What you do get is a 14-track set that opens with ‘Blinded By The Light’, ‘Rosalita’ and the sublime ‘Born To Run’. Skimming over the albums, Born To Run is further represented by ‘Thunder Road’. There’s ‘Darkness On The Edge of Town’ and ‘Badlands’ from 1978’s Darkness. There’s ‘Hungry Heart’ and ‘The River’ from 1980’s double album opus, The River. Born In The USA offers four tracks including the title cut, ‘I’m On Fire’, ‘Glory Days’ and ‘Dancing In The Dark’. There’s a big gap until 2002’s ‘The Rising’ and ‘Lonesome Day’. From Magic there’s the fantastic single ‘Radio Nowhere’ and ‘Long Walk Home’ and zip from Working On A Dream. A sweetener at the end is two live cuts lifted from the 75  -  85 box set, ‘Because The Night’ and ‘Fire’. Also spotted last week were the first seven Springsteen albums in a box for under $50.  Wow.

[Anna Holmes]



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HOT HOT HEAT

Future Breeds (Dine Alone/Shock)

Canadian four piece Hot Hot Heat have returned with their fourth studio album Future Breeds. It has been a rocky road for the band since the release of their debut album Make up the Break Down in 2002, with a string of new members, label switches and mediocre reviews plaguing the band for the last couple of years. Future Breeds sees the band return to their roots with their unique style of music consisting guitar driven rockers mixed in with frantic synths in a style that could only really be described as dance punk.

‘20@12’ is a highlight of the album, combining acoustic guitars against synth melodies and ‘Zero Results’ spans out into a crazy jazz-like sax solo. ‘Goddess On The Prairie’ has a nice melodic energy that is reminiscent of Phoenix’s latest release.

Still, despite the zeal of the first half, the final furlong drags. Despite this, it’s obvious that the band has brought out all the stops and created an album that any band should be proud of. Future Breeds marks a fantastic return for the band.

(Bianca Martin)

 



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KELIS



Flesh Tone (Interscope)

It’s been a while between drinks, or milkshakes, since Kelis last released an album in 2006. Here you can judge a CD by its cover. Looking like a futuristic Amii Stewart, Kelis re-emerges with a penchant for Euro-disco. There’s an army of co-conspirators on board with collaborators including Jean Baptist, David Guetta, Benny Benassi and will.i.am. Electro-pop is at the core of the record which finds its feet as the album progresses. Nine tracks over thirty seven minutes keeps the action pretty taut. Highlights include the Guetta produced ‘Acapella’ [penned for her new son], ‘4th Of July (Fireworks)’ and the closer ‘Song For The Baby’. Built around incessant grooves, the whole shebang flows like a DJ set. There’s no diva histrionics here, it’s all about electro clash/robotic pop. A throw back of sorts, it’s also, perversely, ‘of the moment’. You’ll hear flashes of Madonna, circa ‘Vogue’, on ‘Scream’, and find yourself humming hooks you’d swear you’d clocked before. Given her past, and divorce from Nas, Flesh Tone is obviously as much about emancipation as it is a curveball.

[Andrew White]

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REBECCA BARNARD



Everlasting (Ladybird)

This is a beautiful, charming record from Melbourne based singer Rebecca Barnard. You might know Rebecca as former front woman of Rebecca’s Empire [This is much better]. She also used to earn a crust as part of Stephen Cumming’s Lovetown ensemble. Here Rebecca, with a grant from Vic Arts, headed off to New York City to record with jazz expat, Barney McAll. There’s nothing overtly jazz about the album, so pop fans shouldn’t be alarmed. Instead Everlasting is an evocative collection of ‘adult’ pop songs. The opener, ‘Born In A Shirt’, is a gorgeous ramble and I’m not sure if I’ve ever heard Rebecca sound better. If there was any jazz influence lurking it might be in the way the tunes break the three minute mark and often forget about putting a killer chorus in the mix: instead opting for a languid feel. Yes, these songs actually make you feel something. Rebecca, in her liner notes, acknowledges the perils of creative women who have to balance children, ageing parents, hormones and other responsibilities. Life experiences are all over the grooves, despite the fact that her voice sometimes feels as light as air. Barnard also remarks, in those notes, how pleased she was that a 49 year old should receive such a grant in the first place. It kind of proves you don’t have to be between 18 and 25 to make good music. So, maybe more radio licenses need to be issued so more of us can enjoy music like this.

[Amelia Gough]

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TRAVIS MCCOY

Lazarus (Fueled By Ramen/Warner)

Anyone would think that McCoy is strategically following Timberlake’s ‘Cry Me a River’ footsteps with this post-Katy Perry debut solo album. Opening track ‘Dr Feel Good’ is an upbeat, full funk band track about needing something to "take this pain away". ‘Don’t Pretend’ tells of a heartbreaking confrontation with a cheating partner with matching dramatic drunken tears. And even the cheerful, acoustic reggae track ‘Billionaire’ (first single and undoubtedly the album’s stand out track) featuring Bruno Mars, includes a subtle stab with "been a few months since I’ve been single so, you can call me Travie-Claus minus the Ho Ho". Then again, what young rock star is not singing or rapping about relationships, love, heartbreak and partying.

McCoy is well known for his openness, from his candid blogging to his lyrical performances with Gym Class Heroes. With all the diverse alternative hip hop and rap rock fusions in Lazarus, it’s still his wordiness (noticeably more through singing this time) that stands out.

‘Superbad’ is a darker rock track (think Linkin Park) which incorporates auto-tune while ‘Critical’ also uniquely superimposes metal screams over placid melodies. Children take over the hook in the nostalgic, hip hop throwback track ‘Akidagain’ and ‘We’ll Be Alright’ is a cheesy, remixed cover of Supergrass’ ‘Alright’. ‘The Manual’ featuring T-Pain and Young Cash explores losing yourself in fame.

Lazarus has lots of different sounds, lots of words and lots of McCoy’s signature, one syllable laugh. But with all that stirring in the pot, all the right ingredients still somehow aren’t blending to make it a stand out debut.

(Jann Angara)

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BLISS n ESO

Running On Air (Illusive Sounds)

It’s a strange thing to judge this ‘Aussie’ hip-hop. There certainly has been some credible releases since its nineties inception from groups such as Bliss & Eso, as well as TZU and Hilltop Hoods. Still, you wonder how Australian hip-hop could garner any respect in the slums of Staten Island or the mean streets of Compton, where rap music literally means life or death.

It is a pleasant surprise to see true hip-hop heavyweights such as Wu Tang Clan’s RZA, as well as rap culture icon Xzibit, exchanging verses with Sydneysiders on Running on Air. What is even more impressive is how well MC Bliss and MC Esoterik stand up against their US counterparts, and how damn sweet Bliss, DJ Izm and the guest producer’s beats go down. Nineteen tracks of Aussie hip hop may seem like too much for some, but sonically this record might be as deep and exploratory as the genre has ever gotten. ‘Addiction’ is an instant favourite, staccato piano opening into an almost drum n bass exposition, which bounces back and forward between verses from the two versatile MC’s.

‘Versatility’, is what really stands at the heart of this record. Clearly the group’s role models such as Gangstarr, A Tribe Called Quest, and Wu-Tang played a part in the eclectic album’s inspiration, but there are a number of wonderful, oddball tunes thrown into the mix as well.  ‘Family Affair’ sports hand-claps, banjo rhythm and bluegrass guitar with a ridiculous hook that states "My grandma told me, never ever take no shit, that’s probably why my grandpa hides all my grandmas wine, but my grandma’s heart don’t quit". Weird enough for you? The introspective garbage that clogs way too many an Aussie hip-hop CD offers few stumbles along the way, sickly lyrical sentiment ruining the aptly titled, ‘Reflections’ and ’Golden Years’.

So, let’s face facts, the Australian inflection in hip hop is never going to acquire any attention outside of our fair shores, besides who else would understand what ‘doing loops in a Rexy burning’ means anyway. It’s crass lines like this, however, which have given Aussie hip hop its personality and have landlocked it to a dedicated audience. This audience will embrace Running on Air as it may be the genre’s finest release with Bliss & Eso really hitting their stride five studio albums into their career.

(Nolan Giles)

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ARCADE FIRE



The Suburbs (EMI)

Montreal’s finest return with their third album. Possibly the coolest band on the planet, The Suburbs follows 2004’s Funeral and 2007’s Neon Bible. Working again with producer Markus Dravs, the work was recorded at studios in Montreal, Quebec and New York City. Inspired by growing up in the suburbs of Houston, front man Win Butler claims the album echoes everything from ‘Depeche Mode to Neil Young’. Strangely, there’s a hint of Springsteen, the Bruce that you’ll find in the margins between Nebraska and Born In The USA.

Lyrically there’s lots of teenage angst, ‘abandonment and escape’ The opening gambit of the title track brings a little folk rock into the equation, while the follow up, ‘Ready To Start’, sounds like the band have been infused with the spirit of The Strokes. A superb effort, the album is a jump on Neon Bible; being, in turn, more ‘mature’, conceptually bolder in its outlook and loads of fun. Nick Launay (Midnight Oil/Silverchair/Nick Cave) was brought in to tweak a smattering of mixes. Mastered to vinyl acetate before being committed to life on CD, the album feels, in modern day terms, unusually warm and analogue. The sonic approach is old world, while the lyrics harbour a sense of dread that is buried beneath a hypnotic rumble of the band mixed with strings. A possible major commercial breakthrough, don’t be surprised if this is their OK Computer or Automatic For The People. Highlights, and there’s nary a dud track here, include the rocket fueled ‘Empty Room’, the Robert Forster-esque ‘City With No Children’, the pomp of ‘Half Light II’, the evocative ‘Suburban War’ and the cherry-bomb pop of  ‘Month Of May’.

[Anna Holmes]

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THE MYSTERY JETS



Serotonin (Rough Trade)

The Mystery Jets are everything that is good and pure about pop music. For example, who would ever think the word ‘serotonin’ could be used to form a devastatingly catchy sing-a-long chorus? Clearly Mystery Jets front man Blaine Harrison does...he is after all the same guy who thinks that it’s ok to let his dad play drums on his records and shun indie contentiousness to write lyrics mainly about girls and love.

On Serotonin, Harrison has honed his songwriting into a finely tuned hit-making machine, with verses driving witty lyrical narratives into astoundingly anthematic hooks. The tunes still follow the guitar/synth indie standard the group shamelessly flaunted on Making Dens and Twenty One, yet they feel fresh and purposeful. Tinged with eighties glory, whilst giving head nods to indie contemporaries such as Friendly Fires as well as nineties dance, producer Chris Thomas (Beatles, Sex Pistols) has utilised his studio experience to give the record a clean and timeless feel. While no songs shine with the chart-topping brilliance of 2008’s ‘Two Doors Down’ each number offers a unique, enigmatic, personality, culminating in the long-player as a whole being the groups strongest yet. ‘’Too Late’ is of one the finest of these tracks, the spacey piano ballad building into a spine-tingling, tumultuous climax to rival Whitney Houston herself. Retro without being nostalgic ‘Waiting on a Miracle’ pits shimmering U2-esque guitar noise against bold, euphoric synth, while Harrison arrestingly croons some of his more poignant and uplifting lyrics.

Short, sweet and beautifully melodic, Serotonin is British pop escapism in a highly digestible form. Harrison makes cynicism and heartbreak as gleeful to the ears as Morrissey did with the Smiths.  As most of the naughties indie-guitar groups drown in a new wave of beats-based hipster laptop confusion, Mystery Jets are staying put, and it’s a pleasure to have them around.

(Nolan Giles)

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TOM PETTY AND THE HEARTBREAKERS



Mojo (Warner)

Tom Petty and the Heartbreakers appear to have rediscovered their mojo.  Largely penned by Petty with or without Mike Campbell, the album title is fitting as the band is captured here with an hours worth of new material. The opener, ‘Jefferson Jericho Blues’, sounds like an outtake from Dylan’s Highway 61 Revisited. Self produced by the band with Ryan Ulyate, the urgency in the playing is down to the fact that the group recorded all of the material live. Flick through the liner notes and Tom provides dates and times. One can possibly attribute the accrued zeal with Petty recently looking through his own back pages via the Peter Bogdanovich video biography Running Down A Dream. Then there was the inspired reunion of his pre-fame band Mudcrutch and the excellent self-hosted satellite radio show, Buried Treasure, where Tom plays lost nuggets from his youth; very little of which has an overdub in site. Now before we go reaching for the superlatives, Mojo is a return to form  -  but falls short of the truly magnificent albums of the band’s glory days. Having said that, Mojo is dotted with top-drawer moments. ‘First Flash Of Freedom’ has a late 1960’s hint of magic to it, while ‘I Should Have Known It’ is a cracker. The ghost of the original Allman Brothers band occupies some of the ether that hangs over Mojo, and there’s the occasional surprise like the reggae lilt of ‘Don’t Pull Me Over’. Despite the need for the odd song to be trimmed, there’s much worth hearing.

(Andrew White)

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HOW TO DESTROY ANGELS

How to Destroy Angels EP (The Null Corporation)

How to Destroy Angels is the latest project from Nine Inch Nails front man Trent Reznor. The industrial/electronica group features his wife Mariqueen Maandig on vocals and former NIN collaborator Atticus Ross. In similar style to the NIN Ghosts albums, How to Destroy Angels EP was released as a free download from the band’s website. With all of these factors, and not to mention the musical style itself, it’s difficult not to raise comparisons to Nine Inch Nails. The pulsating industrial music often sounds like calmer leftovers that didn’t quite cut it for Reznor’s previous band.

’Parasite’ is the highlight of the EP, with slowly building layers of distorted guitar noise a groovy bass line and industrial drumming. It is one of the better vocal tracks as well. While Maandig’s efforts on the mic do make a nice change, they’re still not quite up to scratch. Obviously a strong singer, she lacks the emotion and intensity that these tunes require. ’Fur Lined’ and ’Big Black Boots’ stray from the industrial feel a bit and lean more towards an almost danceable electronica. Closing track, the massive seven minute ’A Drowning’, is absolutely gorgeous - a more melodic track featuring piano that creates an intense and urgent atmosphere. Overall, the EP is of a high quality. There are six complex and driving tracks, diverse enough to show that there is a lot of potential for this project.

[Bianca Martin]



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BIRDS OF TOKYO

Birds of Tokyo (Independent/EMI)

Perth alt-rockers Birds of Tokyo are back with their third release. Formed in 2004, the group has had people talking since the get go. Birds of Toyko is an easy listen  -  an extremely cohesive album that plays through with barely a glitch.

Their ‘alternative’ sound is commercially accessible with the album set to debut at #1. With distorted guitars and soaring choruses, the heavier moments are special. Check out the dirty guitar riff towards the end of ‘Murmurs’ for that very reason. Frontman Kenny’s vocals are always at the forefront, allowing the lyrics to be heard clearly. Single ‘The Saddest Thing I Know’ is emotionally charged, and ‘The Unspeakable Scene’ is dotted with staccato strings and urgent, almost falsetto, vocals.

The only downfall is that the album seems to stay on a pretty level playing field over all eleven tracks. There’s no filler and it’s hard to pick favourites. The album requires patience though, on first listen the album is fairly pedestrian and it isn’t until the fourth or fifth listen where it all morphs into something more arresting.

(Bianca Martin)



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KYLIE MINOGUE



Aphrodite (Warner)

La Minogue returns with not only a commercial smash, but also, possibly, the finest album of her career. It’s certainly the most infectious and consistent. All electro-pop bliss, chiming in at just under 45 minutes, it’s like those classic vinyl LP’s that need flipping over almost as soon as they’re finished. Opening with the sublime single ‘All The Lovers’, the album is littered with disco beats, programmed cellos, blips and beeps and lots of neat vocals that swirl in and out of phase. Produced by Madonna’s old flame Stuart Price, the record is reminiscent of Madge’s early and mid-period work [see ‘Illusion’] with the bulk of the songs preened within an inch of their lives with nearly everything sounding like a potential single.

It’s hard picking favourites. ‘Aphrodite’ is fantastic and yes, we ‘can feel you on the stereo’. Crunching guitars with Giorgio Moroder style euro-disco has never sounded better. Lending a hand is everyone from Calvin Harris to Jake Shears and Keane’s Tim Rice-Oxley. The results are unadulterated sugar coated bliss.

(Anna Holmes)

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EMINEM

Recovery (Interscope/Universal)

Well, he’s back with his seventh album and another #1. Sell out or sell in? Eminem is coining it with this latest paean to his own misery. Despite the angst, and there’s plenty of it, there’s enough polish to excite the singles charts al la ‘Love The Way You Lie’ which features Rihanna as a guest. Dr. Dre is back as executive producer, though he doesn’t appear to have been as involved as on past ventures. Other guests include Kobe, Pink [who nails the chorus on ‘Won’t Back Down’] and Lil Wayne.

Recovery opens with the punch in the face that is ‘Cold Wind Blows’. The album is an extension of Relapse, with some of the basic tracks originating from those sessions. The artist himself has described the work as more emotionally direct, focusing on more songs and no skits. Eminem is still a clever lyric writer, but there’s a mean streak in the work that’s sounding tired. The wit of past efforts is missing and the thinly veiled misogyny is never fun. Hardly his best work, the artist often sounds like a punch-drunk boxer trying to recapture the glory days of yore. Despite the obvious hits, the pony needs to update the trick.

(Alistair McDonald)

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VARIOUS



Video Hits - The Greatest Covers (EMI)

There’s a real trick in pulling off a good cover. You want to retain the magic of the original while imbuing a little of your own DNA. This triple set features the sublime and the...well, shall we say, not so great. With fifty-eight tunes on board you can expect a few highlights. Standouts include Roxy Music ‘Jealous Guy’, Sinead O’Connor ‘Nothing Compares 2 U’, Florence + The Machine ‘You’ve Got The Love’, Placebo ‘Running Up That Hill’, Soft Cell ‘Tainted Love’, Frente ‘Bizarre Love Triangle’ and Jeff Buckley ‘Hallelujah’. There’s even Ryan Adam’s ‘Wonderwall’ that reportedly caused Noel Gallagher to fall in love with the song all over again. There are also iffy pop moments courtesy of Orgy, The Chimes, Martika, Westlife and Jessica Simpson. Still any album that features Lily Allen doing ‘Womanizer’ alongside Marilyn Manson’s ‘Sweet Dreams’ is worth the price of admission.

(Peta Kent)

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PARKWAY DRIVE

Deep Blue (Resist Records)

When you think about it, many groups who become immensely popular within a particular scene seem to either reach their demise by the release of a second or third album, or alternatively succeed in discovering some sort of winning formula that continues to drive their success. The latter is clearly demonstrated by Parkway Drive through their third full-length album, Deep Blue.  

Although using this winning formula of powerful, catchy hardcore riffing and brutal vocals, Parkway Drive has shown subtle signs of progression with Deep Blue. It is Parkway’s first attempt at a concept album, featuring a narrative "about the search for truth in a world that seems to be devoid of that."

The opening track, ‘Samsara’, showcases the band’s ability to paint a picture using only sound. In a style that is reminiscent of the acclaimed 2007 full-length Horizons, albeit one that is most predictable, this track captures the vibe that Deep Blue aims to achieve. At around the minute and a half mark is where the ambient sound effects of heavy, desperate breathing and slow, melancholy guitar licks abruptly stop. A split second silence then separates these atmospheric tones from the sudden, booming subsonic drop of the bass, the infamous, Drop-B-tuned, guitars and slamming drums of what can only be fairly classified as a Parkway Drive breakdown.  

Another noticeable perk of Deep Blue is the production values. Parkway Drive brought in ‘Evil’ Joe Barresi for studio magic this time. With Barresi’s credits as producer for Bad Religion and engineer for Tool, the result is a more natural, uninhibited sound in comparison to the ‘overproduced’ (but very good sounding) 2007 release Horizons, and again is pivotal to a sense of progression for the band. While this time around it may seem a little loose at first, barely three tracks into Deep Blue, the vocals of Winston McCall have had plenty of time to simmer with the technical guitar work of Luke Kilpatrick and Jeff Ling. The result is a melting pot of hearty, wholesome, technically proficient performance. The vocals are louder than ever and only manage to complement the meaty guitar riffage that is the signature at the bottom of the page for Parkway Drive. The rhythmic backbone provided by Jia O’Connor on bass and Ben Gordon on drums is hard to fault, too.

The last thing you will notice about Deep Blue comes as the first single, ‘Sleepwalker’, fades in. Listening to what is arguably the highlight of the album brings forth a realisation that this sounds just so quintessentially Parkway Drive. Is this a bad thing? Not at all. After banging your head against your knees to ‘Sleepwalker’, shouting "Not one more step, In the name of progress!" you’re invited to a selection of maliciously heavy, yet seductively solemn tracks such as ‘Wreckage’, ‘Alone’ and ‘Deliver Me’. Only Parkway Drive can deliver this perfect energetic mixture of Hardcore and Metal, and it’s not getting old. Not just yet anyway.

(Tom Kojrowicz)

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SCISSOR SISTERS

Night Work (Universal)

Scissor Sisters danced onto the scene in 2004 and won the world over (aside from the US, their home country) with their unashamedly camp disco-pop sensibilities, and overt sexuality. Their third release has a lot to live up to, and it delivers, leaving a big, pink lipstick kiss on the ass cheek of those who didn’t think they could make something even catchier. The cover art says everything you need to know to decide if this is the album for you  -  and trust me, it is. Sex? Check. Obligatory retro vibe? Check. Camp and over the top? Check. Night Work is a little bit glam rock, a little bit modern electronic, but very much Scissor Sisters.

Lead single, ‘Fire With Fire’, is an anthemic, slower paced track, with singer, Jake Shears unique vocals taking the focus. It is the exception from the rest of the album, representing their softer side  -  a 2010 ‘Land of a Thousand Words’, really. If you don’t get into it at the start, by the time the final chorus rolls around you won’t be able to refrain from belting it out. The title track is catchy ‘80s inspired fun that leaves the listener with images of the band running on the spot in legwarmers and sweatbands chanting, "Nananananana night work".  ‘Whole New Way’, and ‘Something Like This’, while still being instantly recognisable Scissor Sisters, have a cleaner electronic sound. This polish could be due to their working with producer Stephen Price. The most effective tracks on this record, however, are those crazy, sexy moments where they haven’t stripped back any excesses.

‘Any Which Way’ is the musical fruit of the loins of The Bee Gees and The Bloodhound Gang with backing vocals by Kylie Minogue. That last part is actually true. It’s a sexually charged retro romp, with vocalist Ana Matronic declaring, "I’m gonna find that man, who’s the right shade of bottle tan/ a man that smells like cocoa butter and cash/ Take me any way you like it, in front of the fire place, in front of your yacht, in front of my parents". ‘Running Out’ is another standout, lyrically, it’s clever and has a level of depth, but come the chorus, it’s still danceable. Closing the record on a high, is ‘Invisible Light’ which Ana Matronic calls a "magical song". It is unexplainably likable in the same way as Empire of the Sun’s ‘Walking on a Dream’. It is a psychedelic pop mix bag, with gloriously camp voiceovers and synth layering, and a winning falsetto chorus. It is almost too much, but if anyone can pull it off, it’s these guys.

(Anna Angel)



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THE CAT EMPIRE

Cinema (EMI)

Famed for their high-energy jazz/ hip-hop, party vibe The Cat Empire have embraced old age gracefully, maturing into their fifth studio album, Cinema like a fine merlot. The fruity trumpet solos are still residual, but the wogilicious raps have been replaced by more subtle lyrical meanderings and melodies. In maintaining with the cinematic album title, each tune takes on a telling lyrical and musical narrative, Felix Riebl and Harry Angus sharing the vocal interplay once again.

The eerie organ recoil of ‘Only Light’ is reminiscent of vintage Stevie Wonder in parts, soulful vocals lamenting over life and love as the song builds and jerks with tight drumming and odd samples. Despite each number rattling along at a danceable pace the mood remains haunting and atmospheric throughout. The jazzy keys work is often captivating; the two-minute piano outro over the smokey dub of ‘Shoulders’ is simply inspiring. The quick-witted lyrical glide of Angus often emerges at the forefront of the tunes. On Cinema his snappy lyrics are drenched in melancholy and regret, confessing on ‘Reasonably Fine‘, "I lost my shoes, I lost my wife, I lost my keys, I lost my kite, and though I’m young at heart, I’m so much older". The lyrical doom and gloom is contrasted with some uplifting musical moments, gracious trumpet and scratching dominating on ‘Call Me Home’.

Cinema may be the Empire’s most compatible record to date, the drums, keys, horns, vocals, samples and scratching all blending effortlessly to create a coherent piece. The world music styling is present throughout, but there is an inescapably soulful vibe that tugs on all the right heartstrings. Expelling past silliness The Cat Empire have explored their darker side and in the process bottled a bit of an Australian classic.

(Nolan Giles)



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KAREN ELSON



The Ghost Who Walks (Remote Control Records)

Despite its impeccable songwriting and production credentials, altogether too many critics have been dismayingly and puzzlingly quick to dismiss Karen Elson’s debut record as unmemorable and unoriginal, the stuff of dilettantism rather than actual musical talent. The alabaster-skinned, flame-haired former supermodel, hitherto best known for her years spent walking the high fashion runways of the world and, more recently, her marriage to White Stripes frontman Jack White, is not to be underestimated, however. With its pared back, eclectic mix of folk, Americana and alt-country, The Ghost Who Walks charts an impressively soulful musical landscape that is at times as spookily otherworldly as its’ title suggests. Populated by tales of murderous and faithless love, slightly off-kilter waltzes and poetic, sometimes borderline vaudevillian ballads, Elson’s voice is the thread that binds this gothic songbook. ‘100 Years’ has the feel of a mid-nineteenth-century dancehall number while most of the other songs (mostly notably ‘Garden’ and ‘A Thief At My Door’) foreshadow romantic doom and chart the terrain of romantic loss. Whether she’s singing solo or subtly accompanied by members of her long-time collaborators, the New York-based cabaret troupe the Citizen’s Band, Elson lends these songs resonance and authenticity. At once strong and ethereal, White produced this record and he balances Elson’s ghostly vocals with organs, lap-steel guitar and a host of other instruments to bring trembling life to the titular story of a woman murdered by her one-time sweetheart and eleven other songs of heartbreak, dust-bowl lament and starvation, both literal and metaphorical. This is one of the best records of the year thus far.

(Heidi Maier)

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ROBYN



Body Talk Pt 1 (Modular Records)

Does a mini album, deserve a mini review? In Robyn’s case certainly not, Body Talk’s eight punchy tracks equate to thirty-five minutes of blissful and highly intelligent pop indulgence.

Body Talk Pt 1 is the first chapter in an ambitious musical trilogy; three albums planned to be released in rapid succession this year. In fitting with this abstract approach she has candidly titled the opening track, ’Don’t Fucking Tell Me What To Do’. The track itself wouldn’t sound out of place in the kind of club where they drain the toilets, so the chemically influenced have to buy water from the bar. Brimming with feminist angst, Robyn casts astray all her inhibitions in violent a rant over a building electronic beat, unabashedly declaring: "my PMS is killing me!" This teeth-clenching, synthy brand of electro plays a big part in the record, but its not all blips, snare, claps and bass drops. The fruity dub of ‘Dancehall Queen’ is an instant head-bopper, blending wobbly two-step bass, with witty on-point lyricism. Robyn’s cuter than cute vocals would be a major off-put if they didn’t meld so seamlessly with the razor-edged production. The sugarcoated melodies are wittingly deceiving; her lyrics are actually very cutting and steeped in melancholy. On ‘Cry When You Get Older’, she tells her younger listeners that love might be blissful when you’re an adolescent, but when you grow up you’re basically screwed. Robyn rounds the album off with an eerie, traditional Swedish ballad that wouldn’t sound out of place in a warped Tim Burton animation. The record comes in a little bit short length-wise, but then again so did Michael Jackson’s magnum opus, ‘Thriller’.

This hipster-pop princess may have been knocking out dance-floor thumping singles since she was sixteen, but it has taken her eleven years to finally hit her stride on record. She’s done it with style on Bodytalk and with two follow-ups to come it looks like 2010 could be finally be the year of the Robyn.

(Nolan Giles)





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BALL PARK MUSIC

Conquer the Town, Easy as Cake (Mucho Bravado)

Eclectic seems to be the key word thrown around when it comes to talking about Ball Park Music. At times it has almost negative implications, and for some bands it can be their greatest downfall. But to these kids, it just seems to be the way they are. They’re exciting and energetic, and to throw in a cliche, they seem to be a nice breath of fresh air in the Brisbane music scene.

Some bands that fall under this label of ‘eclectic’ seem to have difficulty capturing their sound on record, but Conquer the Town, Easy as Cake, as varied as the songs may be, absolutely works. If you’re yet to hear anything from the band, think super-catchy indie pop with clever lyrics, fun hooks and memorable melodies. Latest single ‘iFly’ has one of the best hooks we’ll probably hear this year, closely followed by the chorus of ‘Sea Strangers’. ‘Hello Anais’ shows off a different side of the band, featuring a very groovy brass section. ‘Western Whirl’ is the would-be ballad of the album, but probably the weakest link here. The band really seems to work better with more up beat tracks, but that’s not to say that ‘Western Whirl’ isn’t an enjoyable listen. The combined male/female vocals suit the band’s ever growing style wonderfully, which is probably a reason why they’re able to cover so much ground musically. A truly fantastic listen.

(Bianca Martin)



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SEJA



We Have Secrets But Nobody Cares (Rice is Nice)

Seja Vogel has been around the local Brisbane scene for a few years. She started out in indie pop band Sekiden, playing keyboards and vocals but was then recruited by Regurgitator to be their touring keyboard player. We Have Secrets But Nobody Cares is her debut solo album, and a bit of a departure from both of those styles. Composed almost entirely on her collection of vintage synths, she’s created a unique style of rich and lush sounding pop.

Lead single ‘I’ll Get to You’ and ‘We Can’t See Past Our Hands’ both have gorgeous melodies and the most instant of all the tracks. ‘Wir Haben Geheimnisse’ (which is the album title translated to German) is sweet and makes for an interesting change being sung by Vogel’s in her native tongue. The intimate ‘We Begin’ brings Vogel’s vocals come to the forefront a little, and it’s the first time on the album where you recognise just how gorgeous the timbre of her voice is.

The style of music varies on the album. ‘Framed in Fiction’ is sombre electronica featuring male vocals. ‘Fire This Fuel’ is poppier and much closer to the style of music Vogel created with Sekiden. For the most part the eclectic mix works well. The only downfall of the album is that it gets a little too simple at times, ‘One Year Later’ is a prime example, especially when matched against some of the more well crafted tracks. At times the middle of the album lulls a little. This isn’t a spectacular release, but it’s certainly is a classy album, and a sign of what’s to come from this talented artist.

(Bianca Martin)



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TEENAGE FANCLUB

Shadows (Liberator Music)

Teenage Fanclub offer more of their trademark gentle harmonies and melodic guitar-pop that we’ve come to know and love on their tenth studio album, Shadows.

The twelve tracks on the album are shared equally between its’ three songwriters, Norman Blake, Gerard Love and Raymond McGinley. Shadows is brimming with beautiful moments, most notably on lead single ‘Baby Lee’. Other highlights include ‘Shock and Awe’, ‘When I Still Have Thee’ (which name-drops The Go-Betweens), the understated ‘The Fall’, and the psychedelic shadings of ‘Into The City’. Meanwhile, the melancholic ‘Dark Clouds’ marks a departure from classic Teenage Fanclub, by replacing guitars with somber piano to create one of their finest ballads.

It’s hard to pick faults with Teenage Fanclub. If anything they’re almost too consistent to their own detriment. Shadows is a great album by most standards, but after two decades of solid releases it’s as though it’s just what we’ve come to expect. There’s no real surprises here, but Teenage Fanclub appear to abide by the maxim "if it ain’t broke, don’t fix it". No complaints here.

(Stephanie Bourke)



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EUROVISION SONG CONTEST 2010

Various Artists (EMI)

This really needs to be a DVD, to capture the spirit, and the hilariously over-the-top vibe of Eurovision. Let’s assume we’re making do with the songs themselves, (this is supposed to be a song competition, after all), no matter how much funnier the whole thing is with a wind machine and lighting. Eurovision has created some greats in the past  -  it even gave the world ABBA. This year didn’t provide anything promising to be quite as big, but gosh, 19-year-old German winner, Lena is adorable. ‘Satellite’ was by far the most appealing song on offer from this year’s competition, and the most modern. What probably made it stand out from most of the competitors is that it doesn’t sound like a throwaway pop track from 1996 we’d all forgotten about. The beauty of Eurovision is that even the worst tracks  -  like ‘Butterflies’ by 3+2 from Belarus ("Just emaggeeeeeeeeein"), are at least worthy of a sing-a-long with a deliberately bad accent and a fake moustache. That is, except the wooden spoon of this year  -  the UK’s dismally bland ‘That Sounds Good to Me’ by Josh Dubovie.

This is definitely not an album to play all the way through, but there will be a few great tracks for everyone, depending on your style. My favourites were not in genres or languages I would normally listen to, but there’s a surprising element to competitions like this  -  don’t pass them all off as camp novelties. For example, on the softer side of Eurovision, inject a little Spanish into your iTunes, with ‘Algo Pequenito (Something Tiny)’, or try the acoustic pop ‘Me and My Guitar’ by Tom Dice. The standout of the pop/dance tracks are Iceland’s ‘Je Ne Sais Quoi’, an synth-tinged pop track that is begging to be remixed, and Greece’s ‘Opa’, an unashamedly simple pop call-and-response party tune with a chorus of "Opa!" That’s what it’s all about.

(Anna Angel)



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ANATHEMA

We’re Here Because We’re Here (Shock)

Seven years between albums (with the exception of a couple of internet released singles) British progressive doom rockers Anathema return with their 8th full-length record. An expansive record that sees the band continue to move away from its’ heavier, darker roots to a band that you can compare to the likes of Radiohead and Coldplay. We’re Here Because We’re Here is an ethereal sounding album full of atmospherics and ambience.

The addition of a female vocalist gives the group an extra dimension. The songs ebb and flow and weave a rich tapestry of beautiful pianos backed by a precision rhythm section and subtle guitar work to back Lee and Vincent’s voices. The songs also display a sense of light to them. The days of darkness that were always present through the bands songs is all but gone. While the themes are still at times dour and depressing, the music itself is uplifting and angelic. 

Opening the record is ‘Dreaming Light’, an almost pop ballad type song with a huge orchestral chorus. ‘Thin Air’ is the closest the album comes to previous Anathema records with a guitar based doom tinged rock song before settling into their prog/ rock mode with ‘Summer Night Horizon’ and lead single ‘Angels Walk Among Us’. The album relies on Les Smith’s keyboard work and arrangements in creating their sound. ‘The Presence’ is a 2-minute interlude of Les’ work with a sampled monologue underneath and the final track, the 8-minute ‘Hindsight’ rounds out what is quite an enjoyable album.

There will be old school fans wishing for a return to their original sound but sadly this will never happen. What Anathema has become is a progressive band with a huge sound and the power in the songs to carry them over to some independent success. The album is a grower, and will take a few listens to really understand, but once you do, you’ll be surprised by how good this is.

(Jason Strange)





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HALFWAY

An Outpost of Promise  (+1 Records)

Halfway are consistently excellent with their delivery of heartfelt country flavoured rock and roll albums, and their latest offering, An Outpost of Promise, is no exception. Recorded live in the studio by engineer Wayne Connolly (The Vines, Josh Pyke, You Am I), the record was produced by Australian music legend Robert Forster of The Go-Betweens. It is well crafted and superbly recorded. Featuring a rich palette of songs, the themes explore stories of love, loss and human tragedy. The narratives are reminiscent of Paul Kelly and Springsteen.

Opening track ’Oscar’ recalls a late night conversation tainted by wine and regret; a note left behind and the familiar ache of unanswered questions. ’It’s OK’ is hook-laden and infectious with swirling Wurlitzer organ and wonderfully confident singing by Chris Dale. It jumps out of the speakers like he’s right there in the room beside you. The dynamic ’Tell Them I Called’, already a foot-stomping live favourite, builds to a crescendo finish of kick drum, electric guitar, pedal steel and brass, leaving the listener eager for more. ’Monster City’ is set to a backdrop of weeping pedal steel guitar, banjo and mandolin and conjures poetic images through lyrics like ’Moonlight splits the trees and flying foxes sing/it’s a song we know now, something drunk and proud’. ’The Old Guard’ is a swaggering electric rocker delivered with power and punch - a fittingly rousing opening to the second half of the record. ’Sweetheart Please Don’t Start’ relates feelings of angst, love and separation, building powerfully with John Busby and Dale trading vocal refrains and harmonies as the musical and emotional tension climaxes at the end of the song. Busby and Dale seem like they were made to sing together - each intuitively singing off the emotion in the other’s voice. This is one of the great strengths of a band burgeoning with talent. ’Tortilla Code’, credited as being inspired by a John Steinbeck novel, starts with the lament of a pedal steel guitar. The song develops into a picturesque ballad revealing subtle instrumentation. ’Stevie’ is another muscular rocker destined to become a crowd favourite in the live arena.

Showcasing the power of the 8-piece band in full flight, it builds to a crescendo, which has become a musical signature. Closing track ’Bluebird Tattoo’ brings the tempo down to a hauntingly beautiful conclusion, telling the story of a couple comfortable with each other’s shortcomings and human faults; secure in the love they still share after many years. Featuring restrained electric guitar, a sweet mandolin refrain and an organ solo that swells wonderfully in the latter stages, it delivers the sublime descriptive line, ’Busted knuckles and a Bluebird tattoo’. The album is also available as a limited edition vinyl release.

[Andrew Prentice]



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CROWDED HOUSE

Intriguer (Universal)

What can only be described as the first ‘real’ Crowded House record in seventeen years travels with the same velocity as its remarkable predecessors. In short it’s another classic. While 2007’s Time On Earth marked a comeback for the band, it was classed more as a Neil Finn solo record rather than a collaborative piece. Finally, on Intriguer we can hear the telling results of the reunification of the southern hemisphere’s most understated rockers.

Opener ‘ Saturdays Sun’ drenches the soundscape in moody colour as a dark, fuzzy bass churns under flashes of bright guitar and synthesizers. These contrasts of light and shade are present throughout the record, each movement intricately layered with uplifting instrumentation, yet steeped in the melancholy of Finn’s lyricism. Musically, Strong Americana influences are splashed with drops of psychedelia, all balanced subtly with classic Beatleseque pop melodies. While no hits instantly jump out from the woodwork, the tunes bleed into each other in a hypnotising fashion taking the listener on a reflective journey. ‘Either Side of The World’, is the centerpiece of this trek and truly a breathtaking song. Rattling country percussion winds down through a valley of lush guitar and gorgeous vocals, opening up into a beaming expanse of psychedelic noise. A Split Enz worthy hook and some blissful piano and guitar work draws us back in again. The tune is valid insurance that this band is still very much on top of their sound. The chemically altered sound, which was inherent in 1991’s Woodface oozes throughout Intriguer from the trippy, shimmering guitars of ‘Isolation’ to the stoned brit-pop of ‘Inside Us’.

Crowded House are true survivors of a time when musical substance mattered more than a stove-pipes and a hip label. They may not have quite the impact of other rock greats touring the planet, but if Intriguer is anything to go by they’ve certainly got the quality.

[Nolan Giles]







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THE FLAMING LIPS



Dark Side Of The Moon (Warner)

Alongside Stardeath, White Dwarfs, Henry Rollins and Peaches, The Flaming Lips have covered Pink Floyd’s masterpiece Dark Side Of The Moon in its’ entirety.

A grand idea, the collective have stayed true to the original songs and format, but there’s a grittier edge in the playing. ‘Breathe’ finds a dirty riff and it’s like dragging Pink Floyd out of Abbey Road and into an American garage. At other times, the Floyd’s finesse is really missed. Wayne Coyne does a superb job with the dreamy vocals, as opposed to Peaches who murders ‘The Great Gig In The Sky’. Henry Rollins handles the spoken word parts with the right amount of gravitas, though he could be higher in the mix. Odd bits are hard to listen to with the sonic backdrop feeling, on occasion, too industrial to be vaguely pleasurable.

In a weird parallel world, it’d be fun to hear this without knowing Floyd’s effort so well. Essentially a curio, destined to a life in the back of a cupboard.

[Amelia Gough]







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BOY & BEAR

With Emperor Antarctica (Universal)

There’s a lot of anticipation surrounding this hard-touring Sydney band’s debut EP. The hype is sure to build following its release; especially since they scored a spot at this year’s Splendour in the Grass. Boy & Bear is the amalgamation of three front men, who first performed under the name of probably their most well known member, lead vocalist Dave Hosking, and two other members. There are a number of bands around doing a similar thing musically right now  -  think Fleet Foxes, Grizzly Bear and that whole bandwagon. But once you hear Boy & Bear, if you haven’t yet caught their first single, ‘Mexican Mavis’ on the air, you’ll know why they’re deserve a place, too.

They combine influences to create ‘70s-inspired indie rock that is at once distinctly Australian, sincere and fresh. The five-track collection feels tight and stylistically united, but not to the point of repetition. You can almost hear the different songwriters coming in to play, so it’s not the same indie structure  -  catchy but quiet intro, building into sweeping guitars and soaring vocals  -  time and time again. Opening track ‘Blood to Gold’, and the anti-establishment second single, ‘Rabbit Song’ are the most immediately likeable songs when taken separately, but the whole collection combines the harmonies of talented vocalists, and clever song writing in a way that will make you pine for a full record.

(Anna Angel)



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JANELLE MONAE

The ArchAndroid (Badboy Records)

Badboy Records isn’t necessarily known for breaking musical boundaries on its urban releases, yet this is exactly what new signing Janelle Monae has achieved on the enigmatic The ArchAndroid. The genre-bending release may appeal to the same brats who devour Lady Gaga whilst simultaneously facebooking and texting, but unlike the uneventful Fame Monster this ambitious pop number requires the listeners’ full attention.

Janelle Monae is a twenty-something of insatiable talent and taste, the girl can sing, rap, scream, play, dance, pull off a quiff but most notably write songs of an exquisite blend. Monae has compacted this talent onto eighteen tracks entitled The ArchAndroid, which should (if music critics have their heads screwed on) be heralded as the pop release of the year. There is not one weak moment on an album that floats through R&B, pop, rock, nu-soul, psychedelia, folk and trance, in fact there is few genres that the record doesn’t touch on. The futuristic tinged album is in parts reminiscent of a Ziggy Stardust-era Bowie, in fact Monae wonderfully imitates the man who brought us the Spiders From Mars on ‘Make The Bus’. Blurring the lines between music, art and poetry in the same vain as her mentor she shouts, "I saw you spit on London, just like you were a Peter Pan", over an eerie funk backing. It’s strange to hear a Bowie-esque number followed by the bubblegum, pop bounce of ‘Wondaland’, where Monae playfully explores a synthy tropical beat. Yet this is the unsettling feel that whole album creates, Monae sucks you into so many different worlds that you can’t determine whether she is Nina Simone, Missy Elliot or Karen O. At the end of the day, she is all of them, Monae has the chameleon-like skill to go from leading a haunting choir through an orchestrated ballad to spitting grimy rap verses over floor-shaking electronic beats. Despite this skitzophrenic vocal styling, there is a distinctiveness shining throughout that acts as a telling counterpoint to the record’s jumbled ambition.

The closest comparison to another modern work can be seen in Andre 3000’s The Love Below, however Monae takes a less comedic approach to pushing the boundaries of black pop music. Thankfully Monae’s seriousness and ambition pays off due to delightful production, superb songwriting and her genuine star quality. ‘Tightrope’, which features Andre 3000’s other half, Big Boi, is an outstanding, tribal blur of hip hop and sixties jive, the number also reflects the hit-making potential of this young star. Is there anything this woman can’t do? Janelle Monae makes Lady Gaga look about as experimental and controversial as Will Smith, she is a supernova talent who hopefully will have enough impact to point future pop princesses in the right direction.

(Nolan Giles)



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THE DEAD WEATHER

Sea of Cowards (Warner Music)

Supergroup The Dead Weather deliver on their sophomore album Sea of Cowards. Comprised of Jack White (The White Stripes, The Raconteurs), Alison Mosshart (The Kills), Dean Fertita (Queens of the Stone Age) and Jack Lawrence (The Greenhornes, The Raconteurs), The Dead Weather dispels any lingering notions that they’re simply "another Jack White side project" on Sea of Cowards.

Released just ten months after Horehound, Sea of Cowards is more collaborative than its predecessor. Their sophomore release may not have stand out tracks like Horehound’s ‘Treat Me Like Your Mother’ but it’s more cohesive and enjoyable as a whole.

There are few choruses, but that’s not to say it isn’t catchy. Instead the hooks come in the form of solid guitar leads, blistering organs and strong vocal delivery throughout. While vocal duties are shared evenly between Mosshart and White, it’s Mosshart that excels with her confident and sultry delivery that’ll have you hanging on her every yelp and moan.

Swagger abounds as a Jack White brazenly sings, "Check your lips at the door, woman/And shake your hips like battleships" on album opener ‘Blue Blood Blues’. It sets the tone for rest of the album. Highlights include ‘Hustle and Cuss’, synth-driven ‘The Difference Between Us’ and single ‘Die By The Drop’.

At times Sea of Cowards provides glimpses of just what this group could be capable of; there’s certainly a feeling the best is yet to come.

(Stephanie Bourke)



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THE CUBICAL

Come Sing These Crippled Tunes (High Spot)

Just when you thought indie guitar rock had been wrung out, along comes The Cubical. It’s menacing stuff with deep roots and a bit whacko. Singer Dan Wilson has a voice as raspy as a bastard file on black granite and is certainly an acquired taste. But oh those guitars! Raw, chiming, Vox-clean ghosts of the Crawdaddy Club, the Reeperbahn and the Cavern. Primal re-invented rock at its best. Opener ‘Great White Lie’ is a straight up boogie. ‘In The Night’ is a throbbing ring shout that would have Cab Calloway twisting counter clockwise in his grave. A few dirges slacken the pace but the run out is pretty much 60’s British blues revisited. Australian listeners will recall The Sunnyboys, The Loved Ones and The Throb as they work their way through this one. A classy bit of rough in a world that’s too cool for school.      

(Bruce Hardy)                                                 

           



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B.o.B

B.o.B Presents: The Adventures of Bobby Ray (Grand Hustle/Atlantic)

B.o.B is the new hero of genre-bending geek rap ala Kanye, Kid Cudi and fellow Atlantan, Andre 3000 (Outkast). The 19-yr-old’s debut is an entertaining blend of steady piano melodies, cosmic electronica, ATL beats and the occasional rock riff. Add in a diverse range of high profile talent (including Emo princess Hayley Williams, cool kid Lupe Fiasco, new-skool soul songbird Janelle Monae and Marshall Mathers himself) and you have iPad downloading gold.

‘Airplanes’ features the recognizable cry of Paramore’s Hayley Williams. In an interesting twist, ‘Airplanes, Part II’ (which includes an expectedly enraged Eminem verse) looks into what might happen if all you do sit back and wish on planes without action. ‘Don’t Let Me Fall’ and ‘Ghost in the Machine’ are both dreamy, melodramatic monologues exploring inner doubt. ‘Bet I’ featuring executive producer T.I. takes us back to his ATL roots with its spitfire and snap beat and drawling raps. The simple bass and electric scale on ‘The Kids’ underneath Janelle Monae’s velvet vocals is an interesting mix. ‘Magic’ is quite literally the evolution of Andre 3000’s ‘Hey Yah’. And everyone’s been a victim to the feel good catchiness of ‘Nothing on You’ featuring Bruno Mars.

He raps with the best in the South, he sings with soul and not synthesizers, he writes engaging and honest lyrics, he’s produced a hip hop album of 12 distinctly entertaining jams which breaks down stereotypical hip hop barriers and he can pull off a pair of black rimmed geek - frames. Is there anything Bobby Ray Simmons can’t do?

(Jann Angara)



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THE GIN CLUB



Deathwish (+1 Records)

That surprising Brisbane collective The Gin Club has been up on The Property sculpting another beauty. Not easily branded, The Gin Club loosely match an alt country tag although those not familiar with their work will either marvel at or shrink from their varied styles and genre hopping. A rich and varied vocal capability combined with a great guitar blend and bold rhythm section give The Gin Club a fine kit of enablers with which to deliver the goods. Deathwish presents a mature and tantalising set of vignettes. Not since Harry Chapin has the cello been such a welcome addition to the pop template.

The feisty belter ‘Pennies’ is a confident entre with the unexpectedly rapturous acoustic folk ballad ‘Say You Will’ floating around on a bed of dark chocolate cello in the second slot. This early mood change sets the tone of the album and almost playfully breaks up one’s expectation of what should follow what. ‘Rain’ is an instant hook and not surprisingly the first single released in the lead up to the album launch. Title track ‘Deathwish’ is a dreamy dirge eerily reminiscent of The Church and underpinned by those superb, snaking guitar motifs.

There’s not a bad apple in the basket. Compelling compositions are the norm not the exception. Check out the vocal weave on ‘Slow Down’. Be lulled by the loping, pastoral, ‘Do Right’. ‘I Am My Own Partner’ is so delicate as to scarcely leave binary pits on the CD. Closer ‘Shake Hands’ is an anthemic power piece with a CSNY chorus and the best Leslie guitar sound since ‘Badge’.            

Deathwish is produced by the legendary Magoo and it shows. A beautiful sounding set that demands rotation. It all seems to be over too soon; not that it’s too short, but like Monty Python’s cream donut its’ arrival gives us pleasure and its’ departure merely makes us hungry for more.

(Noelle Neill)                                                 





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TAYLOR HAWKINS & THE COATTAIL RIDERS

Red Light Fever (Sony)

When the Foo Fighters decided to take a year off, everyone was free to pursue other projects. Chris Schiflett released an album with his band Jackson United, Nate joined reformed Sunny Day Real Estate and toured out here for Soundwave and Dave had Them Crooked Vultures. So, what about drummer Taylor? Well, he put together this solo album and out of all the efforts combined, this is the best of the lot.

Inspired by grandiose 80’s rock (think Queen) Taylor Hawkins has put together a solid album of tunes. The first thing to prick the ears is the roughly hewn vocals. The second is the quality of the songwriting. There’s an abundance of talent there and it’s hard to not make comparisons to band mate Grohl.

Starting proceedings with the great ‘Not Bad Luck’, there’s an emphasis on solid riffs and arrangements. Guest appearances by Queen’s Brian May, Elliot Easton of The Cars and Grohl add a little weight to the songs. The only criticism is that the album seems a little too polished and over produced, which takes away the jagged edge to some of the tracks. The better tunes include ‘Hell To Pay’, ‘James Gang’ and ‘Don’t Have To Speak’.

If Foo Fighters ever call it a day, Taylor will be fine.

(Jason Strange)





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KAKI KING

Junior (Rounder/Shock)

Kaki King is one of those musicians that will unexpectedly blow your mind. At least that’s what happened to me. She’s not just your average folky acoustic singer-songwriter  -  she’s a musical mastermind. It’s none more evident than on her fifth full-length album Junior. King has an ability to create flawless melodies and interesting song structures in both her instrumentals and her more basic pop songs. The beautifully titled instrumental ’Everything Has an End, Even Sadness’ is simple, but sonically pleasing and forward moving. ‘Falling Day’ is frantic, with a sense of urgency in the vocals that gives it a really intense atmosphere that pulls you in. Even the simpler pop tracks like ‘Communist Friends’ or rocker ‘Death Head’ work extremely well.

These tracks are textured and dense with multiple layers of instruments. King’s guitar playing is simply astonishing throughout the album, coming more to the forefront than her soft vocals. There are undertones of jazz in ‘Hoopers of Hudspeth’, and closing track ‘Sunnyside’ heralds back to King’s old days as an acoustic singer-songwriter. Junior doesn’t lull or drag at any point. It’s an album where everything just fits together perfectly.

(Bianca Martin)



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USHER

Raymond V Raymond (La Face/Jive/Sony)

The original Jackson protege and Sinatra of Crunk makes a comeback six years after his esteemed Confessions albums. Judging from the fist pumping, dance beat of first hit single ‘OMG’ (feat. producer of year will.i.am), Usher has seemingly transitioned into the R&B/dance/pop realm. But surprisingly Raymond V Raymond has somewhat maintained that original 90’s sound which made him the King of R&B.

‘Hey Daddy (Daddy’s Home)’ and ‘Pro Lover’ both have his signature formula of crisp, mid-tempo beats mixed with heartfelt vocals. This can also be heard in ‘Fooling Around’ on which Usher switches between singing and rapping over a music box- piano loop in a Confessions Part III-like manner.

While this album will definitely appeal to the old school room heads, Usher still proves that he’s keeping up with the kids. The electro samples and keyboard riffs in ‘Guilty’ and ‘Making Love (Into The Night)’ make a new sound and ‘So Many Girls’ has a futuristic sub sound that you can still pop n’ lock to.

Each of the 12 tracks has its’ own distinctive appeal, from the sexy, bass dominant ‘Lil’ Freak’ to the slow jam ‘There Goes My Baby’ which takes you back to a time when it was still cool to profess your love  -  and not to a stripper. And most refreshing of all, there’s no hint of auto-tuning. The songs may not have the same holding power of classics such as ‘My Way’, ‘You Make Me Wanna’ or ‘Burn’ but it will definitely make you get your groove on  -  and that is the most important quality of a good R&B album.

(Jann Angara)



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THE ROLLING STONES

Exile On Main Street (Universal)

The Rolling Stones sprawling masterpiece is back in a new spruced up format. The original double album is re-presented on a single disc. It was remastered by Virgin in the mid-90’s, and it’s been remastered again in 2010. Still as muddy as ever, the album features such classic Stones’ numbers as ‘Tumbling Dice’, ‘Happy’ and ‘Sweet Virginia’. [See main article for the how’s, where’s and when]. The critic Greil Marcus once noted that the genius of the album lies in the margins. He’s probably right. What’s of real interest is the bonus disc of material finished off by Mick Jagger and Keith Richards earlier this year. Produced by Don Was, the original vaults were raided for leftovers. Some of the tunes barely needed work; others required Jagger, Richards and a host of backing vocalists to lend a hand. Even guitarist Mick Taylor, who replaced Brian Jones in 1969, was called back into the fray. Frankly, this reviewer can’t stop playing it. Highlights include the opener ‘Pass The Wine (Sophia Loren)’, ‘Plundered My Soul’, alternate takes of ‘Loving Cup’ and ‘Soul Survivor’ and the rambling ‘Following The River’. Purists may argue about Jagger/Richards finishing material forty years on, but they’ve always dipped into old tapes. ‘Start Me Up’ was five years old before it was released. The album still holds up well. The extra material, which runs to ten tracks, really is icing on the cake.

[Amelia Gough]    





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BLACK FRANCIS

Nonstoperotik (Cooking Vinyl/Shock)

Nonstoperotik is the latest solo effort from Black Francis, aka Frank Black, aka Charles Thompson, or just simply put, the singer from the Pixies. As the title suggests, the album is a collection of supposedly erotically themed tracks. The theme isn’t immediately obvious unless you look into the lyrics and even then it borders more on romanticism at times (well, except for the aptly named ’When I Go Down on You’). For the most part it isn’t really comparable to any of his work with the Pixies, but if you’re looking to compare, opening track ‘Lake of Sin’ is probably the closest, with a grungy feel and howling vocals. The key difference is all in the vocal delivery  -  for the most part of the album we hear much more melodic vocals than we ever heard with the Pixies.  

A fairly strong album, the weaker points of Nonstoperotik aren’t even too bad. Musically the album has a retro rock sound, with a slight surf rock influence occasionally. ‘Wild Son’ could easily be a Doors’ song. The only downfall in having a retro sound is that some ballads end up a little cliche. That being said, each slower track has a wonderful sense of energy and momentum to them with ‘O My Tidy Sum’ being a wonderful example of this. The best is saved for last with ‘Cinema Star’, a track that reminds us why Francis is well known for being able to craft a perfect, yet obscure, pop song.

(Bianca Martin)



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ANAIS MITCHELL

Hadestown (Shock)

Despite its artsy concept as a folk-opera based upon a Greek myth, Anais Mitchell’s Hadestown is as gritty, real and moving as anything you will hear this year. The collaborative project features Justin Vernon aka Bon Iver as Orpheus, Iowan folkster Greg Brown as Hades and Mitchell herself as the frustratingly naive Eurydice.

Mitchell places the ancient Greek tale of star-crossed lovers Orpheus and Eurydice within the desperate confines of nineteen thirties America. Themes of love, betrayal and jealousy all surface as the poet Orpheus trudges to hell and back (literally) for his dithering muse. Revelling in the gritty cabaret of Tom Waits and splashed with the grainy colours of a depression-era New Orleans, Hadestown is an ambitious venture to say the least.

Musically the tale waltzes through country, gospel, jazz, ragtime, chamber music and everything in between, yet a compelling plotline holds these disparate genres together. It all sounds like a lot to take in, but Mitchell’s engaging lyrics will drive you deep into this woeful story and keep you coming back for more. Vernon as Orpheus is another reason to stick around. With a falsetto to melt your heart, he beautifully portrays the depth of his character, from the ridiculously optimistic on ‘Wedding Song’ to the vengefully heartbroken: ‘If It’s True’. Not to be forgotten is the masterful work of conductor Michael Chorney whose orchestral score subtly befits the parameters of such a complex project.

Vocally, Mitchell’s prissy tones and Brown’s growling baritone may not be for some. The prudish ideology of the record also is off-putting to the casual listener. However, tracks such as Ani Difranco’s devastatingly soulful ‘Lady of the Underground’ are an utter joy and should not be missed by any music fan.

(Nolan Giles)

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PAUL WELLER

Wake Up The Nation (Island/Universal)

The title is a clarion call to Paul Weller fans. Written and produced with ex-Noonday Underground’s Simon Dine, the album is a move away from his last effort 22 Dreams. There are no acoustic guitars to be heard and anything remotely pastoral has been left by the curb. Wake Up The Nation is a vital album from a man who’s still got work to do, despite being in the game for over three decades. The opening salvo ‘Moonshine’ sounds like a band road testing the gear. There’s a tough new groove in the playing and a metallic sheen to the production. Weller’s in fine voice on the rockers, but he really excels on the slower tunes. ‘No Tears To Cry’ recalls The Walker Brothers and is a top-notch ballad. ‘Fast Car/Slow Traffic’, which sees Weller team up with former Jam bassist Bruce Foxton, is punk meets the White Album. ‘In Amsterdam’ is a neat psyche interlude, while ‘Find The Torch, Burn The Plans’ is a rare Weller sing-a-long. ‘Aim High’ sees Weller almost revisiting The Style Council with a stab at Philly style soul that’s replete with cliched horn lines which work a treat. With sixteen tracks on board, there’s a lot to take in. While there’s still a smattering of songs that are yet to gel, with each listen, the album gets better and better. Expect hints of jazz, polka and even a little sound collage. We’re calling it a late period mini-masterpiece.

[Michael Horne]







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AC/DC

Iron Man 2 (Sony)

AC/DC have never succumbed to the temptation of doing a ‘best-of’, so here’s the next best thing. While, in this reviewer’s opinion, the new Iron Man fell short of the first film in the franchise, this compilation is first rate. Of course, there’s other music besides AC/DC used in the movie, but you’ll only find AC/DC tunes on the accompanying disc.

Featuring a fair split between the Bon Scott and the Brian Johnson years, the album kicks of with the sublime ‘Shoot To Thrill’, followed by the ‘lesser known’ ‘Rock N’ Roll Damnation’. Steering away from including all of the massive hits, it still finds space for ‘T.N.T.’, ‘Thunderstruck’, ‘Let There Be Rock’ and ‘Highway To Hell’. Other highlights include ‘Back In Black’, ‘Hell Ain’t A Bad Place To Be’ and the more recent ‘War Machine’. The mastering is fantastic, so the set hangs together perfectly.

Also worth checking out are David Fricke’s excellent liner notes.

Amelia Gough

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BULLET FOR MY VALENTINE

Fever (Sony Music)

Bullet for My Valentine has always had a grip on the metal scene, whether you love them or hate them. The boys were welcomed with their fresh hard gripping sound that typically involved strong percussion and riffs complimented by powerful vocals and harmonies. The Welsh band only seemed to put more heart into their music with their second hit album Scream Aim Fire, with fans agreeing that it was their sophomore album that launched them into the limelight.

Bullet has picked up exactly where they left off with their third explosive new album Fever. Opening with ‘Your Betrayal’, the album starts with a slow rhythmic track that pumps out their heavy percussion only to be followed later by a familiar wail from Bullet’s 6 string lead. Loyal listeners of the band will not be disappointed as the boys have maintained their renowned sound, which echoes fellow metal band Killswitch Engage. Title track ‘Fever’ opens with the some tasty shredding dropped onto the boys’ double kick, reminiscent of Bullet’s previous track ‘Hit The Floor’ from album The Poison. ‘Pleasure and Pain’ will get all the mosh kids kicking and screaming for that powerful chorus and will undoubtedly be a hit at all Bullet mosh pits in the near future.

The boys pump out a few other gig worthy tracks. ‘Dignity’ and ‘Begging for Mercy’ are both blaring with plenty of throaty pig squeals and the traditional roaring sound that fans love. However the boys failed in recording an equally moving love ballad (such as previous hits ‘Tears don’t Fall’ and ‘Forever and Always’) with only ‘A Place Where You Belong’ stepping up to the plate. The track is a heavy but melodic love song complimented by lead singer Matt Tuck’s roaring vocals.

Jann Angara

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STEPHEN CUMMINGS

Tickety Boo (Head)

We’ve lost count of how many fine albums Stephen Cummings has made. This, recorded with former Ferret Billy Miller, is another reminder of the terrific work Cummings is capable of. There’s plenty of clever wordplay, choppy melodies and harmonies to burn. The set opens strongly with the hook laden ‘Now Here She Comes’. The title track is a neat slice of whimsy, and the album builds a head of steam as Cummings moves forward while giving a subtle nod to his own past. After the bump and grind of ‘Bob Hope The Death Of Vaudeville’, the artist hits you with the rather beautiful, ‘Eyes Lock: Heart Stops’. The tune could have come from his masterpiece This Wonderful Life. By ‘Happy City’ he’s recalling his rockabilly roots. With ‘Great Stereo’ it’s as if Cummings has conjured up the ghost of The Sports circa Reckless [1978]. Lurching further back ‘Kiss Me Honey’ sees Cummings channelling Buddy Holly with what sounds like Rockpile as the backing band. The album smacks you between the eyes from the outset. Check it out. This guy ‘works without a safety net’.

Mitchell Peters

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JOHN BUTLER TRIO

April Uprising (Jarrah Records)

April Uprising is the newie from John Butler. Following 2007’s Grand National, this release heralds the arrival of a new rhythm section; a move that understandably shocked some die-hard fans who admired the six year old trio as a unit rather than viewing it as a front man and his hired help. That really shouldn’t rate as a criticism given Butler’s primacy in the scheme of things. The album has been presaged by the single ’One Way Road’ which is promoted as the most successful radio single to date. There are 15 tracks all up and the Australian CD release comes with a few goodies including a poster and booklet in a six-panel fold out. Those that get in fast might also score a free hat.

The album opens with a ’fade-in’ that initially leaves one wondering whether there’s something wrong with your particular copy or at worst your stereo.

This eventually reveals ’Revolution’, a sparse, weighty opener inciting its title. Next in line is the media friendly single ’One Way Road’ followed by ’C’mon Now’, both high paced pieces destined to apply the heat in upcoming live sets. ’I’d Do Anything’ darkens the mood a little and ’Ragged Mile’ is underpinned by a nostalgic, old timey claw-hammer frail. ’Close To You’ is the most electric we’ve heard him and ’Don’t Wanna See Your Face’ comes closest to sounding like Butler of old.

This is a new start for John Butler. It’s natural and healthy to seek a different and/or wider audience and explore other directions and markets. To this extent the whole thing is generally a more commercial venture compared to previous works and more reliant on pop than roots or reggae influences.

This might rattle some of the old fan base. Make no mistake though, as a guitarist John Butler will always rate as a world class roots virtuoso and a great Australian export to boot. You can’t blame the guy for wanting to morph a bit at this stage of his career. The process began when he ditched the dreadlocks.

(Noelle Neill)

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XAVIER RUDD & IZINTABA

Koonyum Sun (Universal)

Xavier Rudd set up his gear in Byron Bay, wrote a batch of new songs and recorded a superb new album. Given his track record, there’s no real reason to be surprised. The album, which is still uniquely Xavier, sounds like a mix of Paul Simon’s Graceland, minus the pop hits, with antipodean overtones. For once a bio has got it right and the work delivers on its’ promise of providing ‘a collage of world music’, mixing reggae, funk, folk and blues.

A new phase in Xavier’s career, the collaboration with Izintaba sees him working with bassist Tio Moloantoa and percussionist Andile Nqubezelo. Their first recorded effort, the album is littered with playful time signatures and stunning harmonies.

Self produced by Rudd, the album was mixed by Midnight Oil alumni Warne Livesey and mastered by Bob Ludwig. Highlights include ‘See Me Free’, ‘Fresh Green Freedom’, ‘Time To Smile’ and the title track. The results are infectious and immediate.

(Amelia Gough)





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JAKOB DYLAN

Women & Country (Sony)

Sans The Wallflowers, Jakob Dylan returns with his sophomore solo album, Women & Country. Teaming up with producer T Bone Burnett, Dylan has tapped into a collective that produced Robert Plant/Alison Krauss’ Raising Sand and the stellar soundtrack to Crazy Heart. Dylan and Burnett had worked together previously on The Wallflowers’ Bringing Down The Horse. Here Dylan’s songs are allowed to glow over a rootsy backdrop. The opening tune ‘But The Whole Wide World’ is a highlight, as is the follow up ‘Down On our Shield’. Nine of the 11 tracks feature backing vocals from either Neko Case or Kelly Hogan. (Both from the Emmylou Harris school of bv’s, the singers’ contributions give the songs a lift but hardly dominate proceedings). Hazy, reflective and nicely arranged, Dylan’s created an album that reveals itself with repeated listens. Sounding more like Joe Henry or occasionally Tom Waits (‘Lend A Hand’), this is a subtle slice of Americana. There are no jaw-dropping highlights, just well crafted tunes and sense of mature intent.

(Amelia Gough)



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MGMT

 

Congratulations (Sony)

Not many album releases are preceded with an apology from the artist, especially not an apology for the record having ‘no hits or singles’. But Brooklyn’s hippest hippies, MGMT have always defied the norms, and now they’re turning their backs on millions of fans, possibly for good.

‘Commercial suicide’ is really the only way to describe the psychedelic freak-out that is Congratulations. Not that the record is terrible, it’s actually quite good, it’s just never going to be the ‘soundtrack of the summer’, that its predecessor Oracular Spectacular was.

‘Soundtrack of the stoned’ is probably a better way to describe this acid-drenched trip, which pays homage to Brian Eno, television personalities and a Barrett-era Floyd. Frustratingly complex, Congratulations is a difficult album to grasp even after a number of listens. While it is not quite Metal Machine Music, the album is exponentially weird and dabbles in obscure prog-rock and neo-psychedelia sub-genres that only a band who think flute solos are hip would have ever heard of. Give Congratulations time though and the addictiveness that the group’s music has always possessed shines through.

The necessity of dragging centre-piece ‘Siberian Breaks’, out to a whopping 12 minutes is uncertain, but the epic does offer some of the highlights of the record. The freaky ferris wheel organ bounce that envelopes the song is the perfect backdrop for vocalist Ben Goldwassers’ haunting drawl. The song ends on a transcendental spacey, synth trip, which is an infinite high point and musically, betters anything the band have already produced. ‘Brain Eno’ is pure fun, which features a chanting chorus of ‘we’re always one step behind him, he’s Brian Eno,’ over a thumping bass and screeching organ. The track offers elements of the cleverly weird lyrics that made past hits such as ‘Kids’ so likeable. The instrumental, ‘Lady Da Da’s Nightmare’, is certainly a weird point and the album’s most Floyd-esque moment. Distant drums echo hauntingly as a woman’s scream is heard over a wonderful textured backdrop of piano, strings and synth.

Dripping with colour and sonic texture, Congratulations is a freaky fairground ride that takes unexpected twists through song patterns, chord changes and lyrical imagery.

MGMT’s desire to answer their pop success with such a fun, weird, yet utterly self-indulgent release shows a passion to the music that few artists bathing in dollar bills possess. So who cares if no one buys it? They obviously don’t.

(Nolan Giles)



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KICK ASS

Soundtrack (Universal)

We love this movie and the soundtrack is a nice memento as to why. The fourteen-track album features contributions from The Prodigy, The Dickies, Mika vs Redone, The Hit Girls and The Little Ones. Intercut among the tunes is dialogue from the film. You have to give the compilers big wraps for including material from Sparks (‘This Town Ain’t Big Enough For Both Of Us’) alongside New York Dolls (‘We’re All In Love’) and Elvis Presley (‘America Trilogy’). Having said that there’s Ennio Morricone’s masterful ‘Per Quache Dollaro In Piu’ (For A Few Dollars More)’, which is the icing on the cake.

(Megan Watt)





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THE BREAK

Church Of The Open Sky (Bombora)

Take away Peter Garrett and you’re still left with one of the most incendiary bands in the history of Australian rock. Like The Stones, The E Street Band and precious few others, the muscular flex comes from the unique chemistry embodied by the players. The Break teams Midnight Oil’s Jim Moginie, Martin Rotsey and Rob Hirst together with Violent Femmes’ bassist Brian Ritchie. An instrumental album, Church Of The Open Sky is nothing short of magnificent. Bold, demonstrative and littered with chiming guitar attack and thunderous drumming, you’d be hard pressed to find a more exciting record. It’s certainly this reviewer’s ‘album of the year’ so far. The sounds lean towards ‘surf’ instrumentals with influences ranging from The Oil’s own ‘Wedding Cake Island’ through to the sonic ghosts of The Atlantics and Hank Marvin. Produced by Moginie, Church Of The Open Sky features material named after various ‘breaks’ around Australia’s coastline. Calling it purely ‘surf music’ would be selling the project short. Inside the grooves you’ll hear echoes of what might have been a fifties film noir soundtrack, then there’s an intergalactic and various other moods that scream sci-fi. Nick Launay lent a hand with the mixing, and it’s hard to pick favourites. ‘Five Rocks’ could very nearly raise Joe Meek from the dead, while the rest of the album is just waiting to be liberated by Quentin Tarantino for the big screen. Fantastic stuff.

(Sean Sennett)





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GLEE

The Power Of Madonna (Sony)

Heaven knows the music biz needs to come up with ideas to get punters back into the stores. This seven-track collection from the second series of Glee will obviously help the cause. Here at TOM, we love Glee as a piece of television, but chew our nails when the soundtracks are released. With the visuals, the tunes are usually a cheesy hoot. On their own, the songs are cringe worthy. Let’s face it, they sound like the best high school voices doing the hits, which is what the show is all about. This collection from the Madonna songbook is soulless, sexless and without zing. Having said that, we’ll be sitting there when Ten screens the episode. Apart from a so-so ‘4 Minutes’, the rest of the material is pretty lame. Among the lukewarm fare are ‘Express Yourself’, ‘Borderline/Open Your Heart’, ‘Vogue’ [which neatly name checks Will], the rather apt ‘Like A Virgin’, ‘Like A Prayer’ and ‘What It Feels Like For A Girl’. Rather than ‘glee’, it made this reviewer ‘glum’, but we can’t wait to see the team work their magic when the episode airs.

(Amelia Gough)

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BEFORE TOO LONG

A Tribute to Paul Kelly - Various Artists (ABC Records)

Before Too Long pays tribute to one of Australia’s greatest musical sons, Paul Kelly. Recorded at the Forum Theatre in Melbourne the live album features interpretations of some of Kelly’s genre-spanning masterworks by a number of triple j favourites. A third disc also features Kelly originals, adding to the great value of the release. To get the most out of this record however, you really need to get a hold of the DVD, which truly captures the celebratory vibe of such a prestige show. The audio recording does still offer some of the magic of the evening and although some of the versions are sloppy, there is a lot of quality to indulge in.

The eminent John Butler, Paul Dempsey and Missy Higgins don’t disappoint stamping their own trademark on Kelly greats such ‘How To Make Gravy’, ‘Dumb Things’ and ‘From Little Things Big Things Grow’. Augie March play host-band, backing the bigger tunes with lap-steel guitar, dusty drums and bone-rattling bass. The man himself also makes an appearance later on, humbled by the occasions he jokingly asks if he can join the party before firing into a thunderous ‘Leaps and Bounds’.

The real standout moment of Before Too Long doesn’t come from any of the big guns, it is in fact rapid-riser Dan Sultan who all but stands toe to toe with Kelly on ‘Give In To My Love’. The rendition is a soulful vocal powerhouse, awash with Joe Cocker-esque grit. Sultan’s confident, raw vocals rise high above blaring horns and dirty, distorted blues guitar to bring the Forum down with a rapturous response. Generally it is the more drifting and uplifting numbers from Kelly’s collection that go down the best. Surprisingly the man with the worst name in Australian music, Ozi Batla, delivers a great, clap-a-long rendition of ‘Sydney From A 727’. Batla’s breathless Australian twang bouncing over a colourful banjo and Irish accordion is a delightful combination. Sultan and Batla both prove that not taking Kelly’s songs too literally and injecting their own zest to the numbers is a much better approach than copying the songs verbatim.

Perhaps having the originals disc becomes a hindrance to some of the weaker artists on the record. Listening to Megan Washington’s pitch imperfect cover of ‘Meet Me In The Middle Of The Air’ back to back with the original does not do her any favours at all. To call Washington’s acoustic rendition a butchering is a bit cruel, but it certainly does not belong in the same CD case as the immortal original.

While Before Too Long is not going to go down in the same vein as The Last Waltz, it will still be remembered as a beautiful recollection of an Aussie great. The triple j endorsement will also hopefully turn the lyrical/musical genius that is Paul Kelly onto a whole new generation of Australian songwriters.

(Nolan Giles)

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THE BIRD AND THE BEE

Interpreting The Masters Volume 1: A Tribute To Darryl Hall And John Oates (Blue Note/EMI)

The Bird And The Bee return with a nine-track homage to 80’s hipsters Hall And Oates. Eight of the tunes are from the Hall and Oates catalogue while the opener, ‘Heard It On The Radio’, is a self-penned tribute to the duo. A delicious slice of electro-lite pop, the song sets the tone for the rest of the album.

Greg Kurstin (best known for his production work with Lily Allen) is the ‘bee’ and Inara George is the ‘bird’ with the vocals. Short and sweet, highlights in the set include ‘I Can’t Go For That’, ‘Rich Girl’, ‘Kiss On My List’ and ‘Maneater’. Despite Kurstin’s production skills, there’s not a lot of sonic variety. It’s like an aural template has been set and the melodies are woven on top. Like all confectionary, you’ve got to be in the mood. On first listen, the album is pure bliss. Three or four spins later, the sugar rush starts to wane and you’ll be cherry-picking tracks for your I-Pod. Still, when it’s good...it’s very good.

(Mitchell Peters)





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MADONNA

Sticky & Sweet Tour (Warner)

Since Madonna has forgotten where Australia is, we have to make do with these CD/DVD re-caps of her shenanigans. This concert, shot in Buenos Aires, captures Madonna in full flight promoting the Hard Candy album. Not as good as the jaw-dropping Confessions CD/DVD, this is still a must have for Madonna enthusiasts. The show is a notch or two down from previous exploits, but has enough fine moments to impress. In fact, the live take on ‘Into The Groove’, replete with skipping ropes, is stunning. On the old hits, Madonna gets out the axe and grunges up the likes of ‘Borderline’. ‘La Isla Bonita’ is a hoot and the obligatory ‘Don’t Cry For Me Argentina’ can be skipped over. Highlights include ‘4 Minutes’, ‘Ray Of Light’, ‘Vogue’ and a ‘Hung Up’ medley. The DVD features the full concert, while the CD only offers thirteen tracks. You could quibble with the choices on the audio CD, but it ain’t bad. Still, if you’re going to enjoy this...it’ll be in front of a big screen TV not a stereo.

(Georgia White)



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CHARLOTTE GAINSBOURG

IRM (Warner)

The French chanteuse returns with her third studio album, with the results, this time around, produced by Beck. Hot on the heels of 2008’s fantastic 5:55, IRM is disappointing in comparison. With a pairing like Beck and Gainsbourg, expectations are high. The lion’s share of the material was written by Beck, and Gainsbourg does a solid job in performing the tunes. Sadly, much of the album lumbers along. ‘Dandelion’ is a standout, though it feels a little ‘made-for-measure’ with its’ subtle hints of late sixties pyschedelia. The album takes its’ name from what we know as an MRI. Gainsbourg had such a scan after suffering a cerebral haemorrhage in 2007. ‘Heaven Can Wait’ isn’t bad, and the clip is impressive, but the rest of the fare fails to quicken the pulse. Various digital editions are available with tweaked remixes. We’re reviewing the smartly packaged digi-set that comes with a bonus DVD. All in all, we love the concept...but the reality is under par.

(Mitchell Peters)  



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JAMES REYNE

TCB (Liberation)

James Reyne and producer Charles Fisher have collaborated on this collection of Elvis Presley covers. Reyne was the unmistakable singer with the great Australian Crawl and has released a clutch of fine solo albums. Fisher’s CV includes everything from Radio Birdman to Savage Garden. One wonders if this concept comes from the same vortex as Human Nature re-working Motown? The first listen is a disappointment. Presley, one of the defining voices of the 20th Century, largely owns for eternity any tune he recorded. Hearing Reyne warble over ‘Such A Night’ and ‘Bossa Nova Baby’ isn’t for the faint hearted. A couple of more listens and things aren’t sounding so bad. ‘Kentucky Rain’ is impressive and should be a single. So it goes, for every misstep, Reyne hits the mark with the next track. A classic mixed bag, if it sells, it’ll remind audiences that Reyne is still around and they should check out his self-penned solo albums.    

(Amelia Gough)







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GOLDFRAPP



Head First (EMI)

Well Goldfrapp are back and they’ve tapped into a mix of Eurodisco and 80’s pop. Short and sharp, the whole affair is over in less than 40 minutes. There’s a punch in the material, coupled with Alison Goldfrapp’s light, airy, vocals over shredded guitars and drum machines, that will have you thinking of everything from late period Genesis to Bananarama. The titles themselves reflect the upbeat vibe of much of the record; try ‘Rocket’, ‘Believer’, ‘Alive’ and ‘Dreaming’ for size.

Their fifth album, Will Gregory’s synths get a chance to shine and, for once, the press release has got it right. ‘Optimism, euphoria, fantasy’ are promised and that’s what you’ll get.

Check out ‘Dreaming’ and you’d swear you’d found a long lost Eurythmics outtake. Co-produced by Richard X, at times it feels like the dynamic duo are playing catch up with La Roux and Ladyhawke while reflecting the pop of their own youth. [Alison is 44 after all!].

Despite the 80’s gloss and pop hooks, the album still takes a listen or two to warm up. Despite the nod of the hat to Olvia Newton-John’s Xanadu period, there’s nothing here as addictive as the power pop singles turned out by the dozen from the era the album quite overtly celebrates. Still, it’s all good fun and one of the most commercial efforts of Goldfrapp’s career.

(Peta Kent)



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MASSIVE ATTACK

Heligoland (Virgin)

Heligoland marks the fifth studio album and a return to form from trip-hop pioneers Massive Attack. It also sees the return of Grant ‘Daddy G’ Marshall back at the helm after twelve years of absence since 1998’s Mezzanine.

Heligoland features an impressive array of guest contributors including Damon Albarn, Tunde Adebimpe of TV On The Radio, Hope Sandoval of Mazzy Star, Elbow’s Guy Garvey, Martina Topley-Bird, and Portishead’s Adrian Utley, as well as long time associate Horace Andy, who’s the only artist to contribute to all five of the Bristol group’s albums.

‘Pray For Rain’ sets the tense and foreboding tone for the rest of the album, with its ominous piano and thunderous drum roll underneath Adebimpe’s ethereal vocals. ‘Girl I Love You’ recalls ‘Angel’ from Mezzanine while ‘Paradise Circus’ serves as the highlight of the album, featuring Sandoval’s breathy vocals over minimalist piano and handclaps before building into a string-laden climax. Although Garvey’s vocals are in an unfamiliar context they contrast wonderfully against the dark backdrop of synths in ‘Flat of the Blade’. Similarly, Albarn’s vocals are well suited to the rich layers of acoustic guitars on ‘Saturday Come Slow’.

While Heligoland may not be as impressive or innovative as their first three albums, it’s a definite return to form.

(Stephanie Bourke)



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JOHNNY CASH



American VI: Ain’t No Grave (American/Universal)

Johnny Cash recorded this material while making American V: A Hundred Highways in 2003. His second collection of posthumous material under the American banner, Ain’t No Grave employs the same high standard as its’ predecessors. The songs, with the exception of ‘I Corinthians 15:55’, are all covers selected by Cash and producer Rick Rubin. Running for only thirty-odd minutes, it’s all killer and no filler. The acoustic tones are warm and Cash’s voice, despite his limited time left on the mortal coil, still bristles and plays its’ fragility with aplomb. It’s hard to pick favourites, but worth investigating are ‘For The Good Times’, ‘Satisfied Mind’ and ‘Last Night I Had The Strangest Dream’. The material was penned by the likes of Kris Kristofferson, Sheryl Crow and Tom Paxton. Fittingly the set closes with the near lullaby lilt of ‘Aloha Oe’.

(Mitchell Peters)





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JIMI HENDRIX

Valleys OF Neptune (Sony Music)

Valleys Of Neptune is the latest issue of previously unreleased Hendrix material as compiled and produced by Experience Hendrix LLC, a company run by Jimi’s stepsister Janie as part of an estate arrangement. These recordings, with one exception, cover the period February to September 1969 when the original Experience line-up started recording demos as a follow up to Electric Ladyland. Noel Redding had purportedly become frustrated with the side effects of Hendrix assuming the principal development role in the studio and later quit. Most tracks feature Redding but those from April onwards have Hendrix’s old army buddy Billy Cox on bass. Incredibly Cox had no idea his old mate was an international superstar.

In Hendrix’s comparatively brief career there were only four major releases that were in effect sanctioned by him for release. Whether Hendrix would have deemed the Valleys Of Neptune collection suitable for release is a moot point. He was a perfectionist and famously demanded 20 takes out of Dave Mason for the 12 string guitar on ‘All Along The Watchtower’. The reason ‘Stone Free’ and ‘Fire’ were being re-done during this period was because Hendrix believed they received short shrift in the original rushed recording sessions. The untidy endings on some of these tracks underline the fact that these were either works-in-progress or simply demos, not finished product.   

Valleys Of Neptune should not be mistaken for a ‘major’ release. As a second tier offering it’s certainly one of the best. This was a fertile period of transition for Hendrix. Not only was he messing with polyrhythmic grooves and more sophisticated arrangements, but his voice was improving demonstrably and the sounds he was pulling out of his guitar through modulation and tone manipulation were astounding even by modern standards.             

The set has been scrubbed up by legendary producer Eddie Kramer. Kramer had the privilege of producing everything Hendrix did at London’s Olympic Studio including the original renditions of many of the Neptune tracks. The collection sounds great and you’ve never heard Hendrix with so much bottom end before. As well as the basic three piece bands other people are involved including percussionists Juma Sultan and Rocki Dizdzornu, best known for his conga playing on the Stone’s ‘Sympathy For The Devil’. The main sideshow as always is Mitch Mitchell’s busy, brilliant drumming operating in tight symbiosis with the boss.

Here’s a snapshot of what’s in the pot:

‘Stonefree’

A worthy re-issue broadening the scope and feel of the original recording.

‘Valleys of Neptune’

Despite title track status a tentative and threadbare demo. 

‘Bleeding Heart’

A fabulous, free flowing Hendrix riff and groove version of the Elmore James song with killer wha-wha.

‘Hear My Train A Comin’

Magnificent, searing blues drone with great guitar/vocal scat and stratospheric soloing. 

‘Mr. Bad Luck’

Coming from 1967 this rollicking piece highlights the power of the original rhythm section and Jimi’s woman tone guitar. 

‘Sunshine Of Your Love’ 

A cute instrumental tribute to the Cream original but dwarfed by the difficult-to-get version from the Royal Albert Hall gig for which this is the rehearsal.

‘Loverman’ 

A superb lazy version of this.

‘Ships Passing Through The Night’

Funky rocker with chunky Leslie cabinet guitar sound and rambling freak-out.

‘Fire’

A not so worthy re-working.

‘Red House’

Another re-working, nothing to write home about but listen to the smooth vocal.

‘Lullaby For The Summer’

Classic Hendrix rave with multi tracked guitar and octave splitter working overtime.

‘Crying Blue Rain’

A wind-down piece that breaks into a canter and then fades away.

The review copy ends here but the iTunes release has another two tracks based on a jam called ‘Trash Man’ that add another 12 minutes playing time and are worth getting hold of.    

Jimi Hendrix transcends time, race and place. People born a hundred years from now may well be entranced and gobsmacked by his body of work. Hopefully Experience Hendrix LLC will unearth and polish more gems in the years to come.               

(Bruce Hardy)         





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JOHN WILLIAMSON



40 Years True Blue (EMI)

It’s hard to believe that it has now been 40 years since John Williamson first began entertaining audiences around the nation. An Aussie icon, Williamson’s brand of country is typically Australian and very few would have never heard one of his songs before; either on the radio, at an Australia Day gig, or at the local RSL. 40 Years True Blue celebrates Williamson’s successful career with a compilation of his best and most well known songs.

As you could imagine, a man whose music career spans over four decades has a lot of hits. Fortunately for Williamson’s fans, most of these have been included on this two-disc set. Disc one, titled ‘Absolute Greatest’ features 22 of his biggest hits. Classics such as ‘Mallee Boy’, ‘Cootamundra Wattle’, ‘Raining On The Rock’ and ‘Galleries Of Pink Galahs’ are included on the CD.  Of course there’s also plenty of Aussie anthems such as ‘Rip Rip Woodchip’, ‘A Flag Of Our Own’, ‘True Blue’ and ‘Glory To Australia’ to name a few.

Disc two; ‘Absolute Tribute’ comprises John Williamson songs performed by other artists. Some of the best ones include Wendy Matthews’ sweet version of the romantic ballad ‘Flower On The Water’, Troy Cassar-Daley’s great cover of ‘Raining On The Rock’, and Sara and Greg Storer’s interpretation of ‘Paint Me A Wheelbarrow’.

To finish it all off, the last track on the album is an instrumental rendition of ‘Old Man Emu’ by guitar legend Tommy Emmanuel. The song launched Williamson’s career back in 1970 when he performed it on the talent quest TV show, New Faces.

Value for money, 40 Years True Blue is the perfect musical accompaniment to an Aussie Sunday afternoon barbeque with the mates (if you like country music).

(Nikki Whelan)



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JJ

jj no3 (Secretly Canadian)

This is the second full-length album for the Swiss duo jj Also known as Elin Katlander and Joakim Benon. Their sound is a swirling mix of R&B and Balearic dub smattered with a hint of pop. The pair’s last release, no2, became one of 2009’s most critically acclaimed albums. Unfortunately, the same may not be said for no3.

no3  is easy listening music from start to finish, but it doesn’t quite have the same kind of euphoria or trance-like element to it that their last recording had. ‘No Escapin’ This’ is probably the closest thing to trance on the album.

Although it may not be the duo’s finest work, there are some moments worth hearing. ‘My Life’ featuring Katlander’s gospel-like vocals are a standout.

‘Voi Parlate, Io Gioco’ is the most up-tempo number on the CD and possibly the stand out track. ‘Light’ is another good number, so too is ‘You Know’, while ‘Let Go’ borders on being Enya-like.

(Nikki Whelan)

   





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GORILLAZ



Plastic Beach (EMI)

They might have ruffled Eddy Grant’s feathers with ‘Stylo’, but the Gorillaz are back with a cracking second album. There’s nothing incredibly new in their bag of tricks, but the ‘band’ have picked the bones of contemporary culture and come up with something special. ‘Welcome To The World Of The Plastic Beach’ features a twist on Gil Scott Heron’s ‘The Revolution Will Not Be Televised’ with Snoop Dogg out front. Other profile guests include Mos Def and Bobby Womack on the controversial ‘Stylo’, De La Soul, Lou Reed, Gruff Rhys and The Fall’s Mark E. Smith on the stand out ‘Glitter Free’. At times Plastic Beach sounds genre bendingly impressive. Elsewhere, it sounds like Malcolm McLaren got there first. Bowie certainly got there first when you hear ‘Broken’. Various editions of the CD are on the shelves; we’ve reviewed the economy class edition, which features extra material once you bang it in your computer. By morphing into a cartoon Damon Albarn seems to have pushed out the walls on any type of artistic boundaries. Welcome back.

(Mitchell Peters)

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ANGUS & JULIA STONE

Down The Way (Capitol / EMI)

The intrinsic web of sound that is Down The Way, reveals a remarkable growth in character from Australia’s most-loved musical siblings. The young indie folksters, who currently teeter on the edge of major commercial success, may have found their golden ticket in this beautiful, compelling, little package. Recorded between an isolated sawmill in the English countryside to a water tank in Coolangatta, the sophomore release bears the fruits of the band’s nomadic lifestyle.

Balanced between the smokey croon of Angus and the fragile yet confronting tones of Julia, the album weaves an enchanted current that glides through a lush and gentle musical landscape. As artists, the siblings have both mastered their own disparate sounds, lending harmonies and the odd lick to each other’s laid-back tracks. ’Yellow Brick Road’ is a seven-minute slow-burner, which demonstrates the beautiful imagery in Angus’ lyrical arsenal. The stirring ode to California develops around the confident guitar skill the 23-year-old now possesses and closes out on a rip-roaring solo, tarnished with the staccato rust of Crazy Horse. Julia’s words glow with honesty and hark at the beauty that life brandishes in the most unexpected places. Her lyrical gems glow more vibrantly than ever due to her technical growth as a singer, where she demonstrates a breathtaking hushed restraint. ’And The Boys’ is her trump card. It’s an anthemic, orchestrated, masterwork that grows organically around an insatiably catchy melody. Other great moments on the highlight reel include the hazey ’Big Jet Plane’, where a dazed Angus asks if he can ’take you higher?’ while strings glide hypnotically over Telecaster fuzz in the background. Equally engaging is Julia’s ’Santa Monica Dream’, which places whimsical, whispered memories of a love left behind, over a simplistic picked guitar.

The most fantastic thing about Down The Way, however is not the chilled-out beach charm of Angus’s tunes or the magical hush of Julia’s daydreams, but how these two styling’s interweave so naturally. There is something so unguarded and inescapably compelling that binds the brother and sister’s music together. This gives the listener two wonderful takes on one vision, which has to be great value in anybodies’ book.

(Nolan Giles)





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CORINNE BAILEY RAE

The Sea (EMI/Virgin)

Corinne Bailey Rae has a sweet/velvety voice that makes her a mesmerising talent. And though this songbird needs nothing else to touch you, the full band playing on each track is just as captivating. The Sea is beautifully composed.  As the sound moves from classic soul to jazz to funk and even a little rock, each instrument is arranged with individual peaks and troughs, which combines with her vocals’ own peaks, and troughs, creating scrumptious perfection.

‘Are You Here’ starts off with serene acoustics and simple drum mid-beat, which builds up to keys and harmonies. The jazzy ‘Feels Like the First Time’ brings out a new wave of sound in each verse with a keys, drum and bass line at first; a bass solo in the second; then enter strings and electric strumming for a fuller sound.  ‘The Black Lilly’ has Euro rock sound with its electric riffs while the funky beat of ‘Closer’ makes an up-beat soul track.

‘Love’s On Its Way’ is a stunningly haunting track. The dramatic keys really allow Corinne to accentuate poetry such as "Oh Father. I wish I had understanding. Never known more...but I’ve never felt so powerless". The full band climax, complete with choir, comes into the final chorus where she cries for "Love" to come. The happier ‘Paris Nights/New York Mornings’ could be part of the soundtrack for a high profile romantic film.

With all the different genre influences and musical structures found in her second album (in which she plays guitar, piano and percussion), Corinne Bailey Rae’s voice is still definitely the driving element. The Sea is one of those albums that need to be heard clearly, not loudly - to get the full effect. Listening to a voice like this on lousy speakers would be a great injustice.

(Jann Angara)



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The Saw Doctors

To Win Just Once (Shamtown)

What is it about The Saw Doctors that they can lay fallow for nearly two decades and then bounce back with an Irish No. 1 shooting past Pink and Kings of Leon in the process? A listen to their new ‘best of’, To Win Just Once, goes a long way to explaining their 2008 resurgence. If you can’t settle down with a few pints and play this once (if not twice) you’re either dead or sadly disconnected from the simple joys of life. This is rollicking good Irish folk rock from a group whose live performances border on the riotous and whose hearts are as big as their sound. Their music is so spirited and joyous it seems to almost reside in a realm beyond critique. Featuring 22 tracks and a nice glossy insert this retrospective is good value to boot. Interestingly, the band got a third party music buff to select the compilation to circumvent any in-house contention.              

Opening the set is their steaming cover of the Sugarbabes R&B hit ‘About You Now’. This is the track that put them back on the charts. The result of an off-the-cuff rendition on an Irish TV late show, it was soon committed to record and the rest is history. The second track ‘N17’ has them in a live situation with the crowd going off like an army of soccer hooligans. ‘Green and Red of Mayo’ shows them resting on their gentler folk roots as does the title track ‘To Win Just Once’. ‘Small Bit of Love’ and ‘I Useta Lover’ (their first number one) are high steppers, the latter declaring cheekily ‘I used to watch her pass, the glory of her arse’. Despite the varied styles and tempos all selections hold together well and the backside never once drops out of it.

The Saw Doctors are a breath of fresh air. No rock star attitude here, just great songs about real Irish life, sometimes sad, but mostly exuberant and laced with good humor. So grab a Guinness and make an appointment with the Doctors.

(Bruce Hardy)

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BLACK REBEL MOTORCYCLE CLUB

Beat the Devil’s Tattoo (Abstract Dragon)

Beat the Devil’s Tattoo is the sixth album from American garage rockers Black Rebel Motorcycle Club [BRMC]. Unfortunately for the band, their last couple of albums have been a little inconsistent in sound and haven’t quite been able to match up to their critically acclaimed self-titled debut from 2001. This album is a step in the right direction, and definitely a step up from their last album, but doesn’t quite get there. BRMC are known for their bluesy, gritty, garage rock and there are a few tracks on this album that live up to that. The title track and ‘Conscience Killer’ brings out the rough around the edges rock that the band is loved for. There are even some tracks such as ‘War Machine’, which are a bit different from their normal style, but the woozy, swaggering, feel to it works extremely well. The downfall is in the ‘average’ songs  -  ‘Bad Blood’, ‘Long Way Down’ and ‘Sweet Feeling’; all stock standard tunes that will end up being skipped over on later listens. Sadly, despite the highlights it’s the so-so moments that wear you down.

(Bianca Martin)

 



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DRIVE BY TRUCKERS



The Big To Do (Shock)

The purpose of an album review is to comment on the strengths and/or foibles of a particular release and not focus on the history or pedigree of an artist. The Drive-by Truckers are not a household name in Australia so a bit of background is in order to put this three-guitar unit into some sort of context.

Co-founder Patterson Hood is the son of David Hood  -  the founder of the famed Muscle Shoals Sound Studio. This is where Atlantic’s Jerry Wexler turned to get help launching Aretha Franklin, where the Rolling Stones recorded ‘Brown Sugar’, Bob Seger recorded ‘Old Time Rock and Roll’ and the studio guitarist for a time was a young Duane Allman. That’s some environment to be raised in. The Truckers have recently backed Booker T Jones on his album Potato Hole which garnered a Grammy for Best Pop Instrumental Album in January 2010. Don’t think for a moment though that the three guitar line-up leans toward the jammy overkill of past southern guitar armies. The Truckers grind and kick arse over a song palette laced with thought-provoking narrative and what guitar solos there are blend but never bore.

The Big To Do is their eighth album, written on the road and recorded on a 16 track analogue machine in under a month. The opening track ‘Daddy Learned To Fly’ pumps along with unmistakable lashings of Neil Young and Tom Petty  -  not that there’s anything wrong with that. In fact these influences pervade the album. ‘Birthday Boy’ has a touch of the Stones whilst maintaining the grunginess of the opening tracks. ‘The Wig He Made Her Wear’ is a gritty ditty that outlines the dirt dug up at the actual trial of a woman accused of murdering her preacher husband "they seemed like the perfect family". ‘You Got Another’ winds the pace right off and introduces the high, airy voice of bassist Shonna Tucker. ‘Get Downtown’ is an out-and-out rocker while the dirge like ‘The Flying Wallendas’ illustrates just how well the guitar blend works so artfully to weave a fade-out symphony hanging on the edge of cacophony but beautiful and compelling just the same. 

This album rocks. With its hard edge and big grungy guitars it easily falls into the genre of alternate southern rock if there’s any such animal. Fans of Neil Young and Tom Petty will have no trouble warming to this one.

(Bruce Hardy)     



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BRYAN FERRY

The Best Of (EMI)

ABC2’s recent Roxy Music documentary piqued our interest and, lo and behold, a new Bryan Ferry compilation arrives in the mail. There have been a slew of past retrospectives, but this one focuses exclusively on Ferry’s career as a solo artist. The early material was released in tandem with the original Roxy albums in the early 1970’s. Ferry often recorded covers for his solo albums, while the original tunes were kept for his band. Single edits are preferred and the set opens with a great piano reading of Bob Dylan’s ‘A Hard Rain’s A Gonna Fall’. Next are definitive covers of Will Harrison’s ‘Let’s Stick Together’ and The Everly’s ‘The Price Of Love’. There’s also ‘The ‘In’ Crowd’ and ‘Smoke Gets In Your Eyes’. By ‘This Is Tomorrow’ and ‘Tokyo Joe’ Ferry was penning his own hits. When Roxy drew stumps Ferry had more success with ‘Slave To Love’, ‘Don’t Stop The Dance’, ‘Limbo’ and ‘Kiss And Tell’. Missing in action are ‘The Right Stuff’ and the terrific ‘Cruel’ from Frantic. [It would’ve been nice to have another tune from Dylanesque too]. Still, fans will have those and collectors are rewarded with two previously unreleased tunes, ‘I Don’t Want To Go On Without You’ and an alternate version of ‘A Fool For Love’. A UK edition features both a CD of the music and a DVD of the clips, though we’re yet to get our hands on a copy.

(Mitchell Peters)

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KIM SALMON & THE SURREALISTS



Grand Unifying Theory (Low Transit Industries)

Grand Unifying Theory is the first album from Kim Salmon & The Surrealists since 1997’s Ya Gotta Let Me Do My Own Thing. It’s much in the same spirit as their first album, Hit Me With The Surreal Feel, and follows on in the same vein as the tracks ‘Nitro’ and ‘Revhead’ by Salmon’s seminal swamp-rock group The Scientists.

Produced by Salmon and Mike Stranges (one of two drummers in the eight-piece instrumental group Salmon) Grand Unifying Theory is recorded completely live and features the outstanding musicianship of Stu Thomas on bass and Phil Collings on drums.

The album’s centerpiece ‘Grand Unifying Theory II’ is a twenty-two minute instrumental punctuated by searing feedback and dictaphone buzzing. While the ironically titled ‘Kneel Down At The Altar Of Pop’ recalls experimental krautrock group Can with its 9/4 time signature and free-form psychedelic-jazz leanings. Clare Moore of legendary post-punk group The Moodists features on ‘Childhood Living’ and the spaced-out rant ‘Pathological’. Highlights include album opener ‘Turn Turn’, the hypnotic percussion of ‘Order of Things’ and the dirty blistering riffs of ‘RQ1’.

Grand Unifying Theory is certainly the most far-out music Salmon has been responsible for to date. It won’t please everyone, but accommodating the masses has never been Salmon’s intent.

(Stephanie Bourke)



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CATE LE BON

Me Oh My (Irony Bored / Cooperative Music)

Me Oh My is the debut full-length album from Welsh singer songwriter Cate le Bon. A little known name to some, but to others she is the protege of Super Furry Animals front man Gruff Rhys and band-mate in his side project Neon Neon. Stylistically it could almost be classified as a folk record, but with a much more modern and almost psychedelic influence. Some tracks could even be closely compared to those of the Velvet Underground, with le Bon’s flat and deep vocal delivery even reminiscent of Nico. ‘Sad Sad Feet’ and ‘Showing the Bones’ are beautiful little pieces of simple acoustic folk, matched equally so by the more experimental styles of songs such as ‘Eyes So Bright’ and ‘Hollow Trees House Hounds’.

Lyrically dark, Me Oh My is also a musically somber album with le Bon’s melancholy voice ringing throughout the ten tracks. The album relies more on mood and tone than it does melody and maintains a similar atmospheric level throughout. For the most part Me Oh My has sparse and nuanced instrumentation, only occasionally with a full band kicking in. This style works well for le Bon, as to not overshadow her voice, which is clearly the lead instrument of her songs. While this makes the album extremely easy to listen to, it doesn’t make it exciting to listen to. It’s difficult to point out anything negative per se about any of the individual songs, but Me Oh My just comes across as flat, almost back ground music.

(Bianca Martin)



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LOS CAMPESINOS

Romance Is Boring (Wichita/Shock)

Most people probably wouldn’t have heard of Los Campesinos unless they had their ear firmly pressed against the ground of the blogosphere. Romance is Boring is the third release from the seven piece indie band, and arguably their best to date. Walking that fine line between chaotic and eclectic, Romance is Boring sounds like an organized mess. Far from predictable on any count, each song is a unique composition. Their sound is a bit of an acquired taste though, somewhere between Broken Social Scene and Mt. St. Helen’s Vietnam Band. It is an incredibly busy album that is a little overwhelming to begin with, but once it becomes more familiar is extremely enjoyable. The abrasive vocal style of Gareth Campesinos is matched perfectly against Alecks Campesinos more delicate and feminine voice, particularly during ‘This is a Flag. There is no Wind’. ‘The Sea is a Good Place to Think of the Future’ is absolutely stunning  -  a breath amidst the rest of the album, and containing possibly the most mature lyrics we’re yet to see of the band. ‘There are Listed Buildings’ is another highlight, showing the band’s ability to make a damn catchy melody. Once you make your way through the layers, Romance is Boring really is a fantastic album  -  it just takes a little while to get there.

(Bianca Martin)



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LAST DINOSAURS

Back From The Dead (EP) (Dew Process)

Currently making a name for themselves on the local and national scene, Brizzy boys the Last Dinosaurs deliver us the cute and brightly engineered Back From The Dead EP. Inspired by the British indie scene, there’s nothing truly original here but there are some great head nods to bands such as The Holloways, The Maccabees and Cajun Dance Party. The simplistic pop on the release is tight and polished. Produced by Jono Ma of indie precursors the Lost Valentinos, the songs have been meticulously structured, giving them a full-bodied appeal. The tunes are also catchy as hell, ’Saturn’s’ layered chorus, which seems to be about the planet’s lengthy orbit, leaps out unexpectedly from a reverb-soaked soundscape. Technically the band have honed the standard indie formula of bouncy call-and-answer guitars, chugging drums and harmonised vocals to great effect. Lead single, Honolulu, is an instant favourite, a tropical sounding number that utilises some brilliant vocal inter-play and a lovely guitar hook.

It looks like local record label Dew Process has handpicked yet another success story in the form of the Last Dinosaurs. Back From The Dead is a great showcase of the infectious personality and potential of these four young Brisbane lads.

(Nolan Giles)



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CRAZY HEART Original Motion Picture Soundtrack (Shock)



The soundtrack to this award-winning vehicle for Jeff Bridges has T Bone Burnett’s fingerprints all over it. The producer coaxes an impressive vocal performance out of Bridges, while the soundtrack mixes original music used in the film with old favourites. Bridges character, Bad Blake, is a down on his luck country singer. Famous enough to still get a gig in a bowling alley, Blake’s cache is that he had a knack for ‘writing’ quality songs. As the film develops, he’s forced to write a few more. Highlights from Bridges’ character include ‘Hold On’, the rollicking ‘Somebody Else’ and ‘Fallin’ And Flying’. Sounding like a mix between Waylon Jennings and Guy Clark, Bridges is certainly no slouch in the vocal department. Fleshing out the soundtrack are oldies like Buck Owens’s ‘Hello Trouble’, Jennings’ ‘ Are You Sure Hank Did it This Way’ and George Jones’ ‘The Colour Of the Blues’ alongside material from Townes Van Zandt, Lighting Hopkins and more. There’s a Texas Swing vibe on much of the material and a couple of pearlers from Ryan Bingham who closes the set with the film’s theme ‘The Weary Kind’. This deluxe edition features a little ephemera, but at the core of this collection is a fine country album.

(Mitchell Peters)





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ADAM LAMBERT

For Your Entertainment (Sony BMG/Columbia)

If you watched the 2009 season of American Idol you’ll be familiar with the singular voice and vision of pop-synth-glam rocker Adam Lambert, the 28-year-old’s experimentation and stunning vocal range set him apart. Best known for two performances during his time on Idol  -  his mind-blowing psychedelic rock interpretation of Johnny Cash’s ‘Ring of Fire’ and a heart-wrenching, pared back cover of the Tears for Fears song, ‘Strange World’  -  Lambert declares, halfway through the stomping ‘Strut’, "I wanna start a revolution" and elsewhere sings of listening to records that "make me want to listen to music again." With the wide-ranging For Your Entertainment, he’s certainly done his damnedest to create an album that does just that. Lambert indulges his musical magpie tendencies, trying multiple genres on for size and he succeeds almost every time, singing his way through everything from the glam rock ‘Music Again’ (surely a nod to David Bowie) to the gorgeously haunting ballads ‘Broken Open’ (on which his effortlessly vast vocals recall those of Queen’s Freddie Mercury) and the superbly emotive ‘Soaked’, a song written by Muse and drenched in eastern exoticism. Both Pink and Lady Gaga also gifted him songs, with the latter declaring herself to be Lambert’s "soul sister." Her contribution, ‘Fever’, is one of the album’s up-tempo highlights, though each song pointedly showcases Lambert’s versatility and extraordinarily impressive vocal talent, running the gamut from full-on rock wailing and falsetto shrieking to quieter, more understated moments. Indeed, it is possible that the best songs on here are the musically complex ballads that pair bare-bones production with Lambert’s majestic and haunting vocals. This is the sort of album contemporary popular music needs: brave and invigorating, eclectic and experimental. Here’s hoping For Your Entertainment is but the first small step on what is sure to be Lambert’s long and fascinating musical odyssey.

(Heidi Maier)



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FOUR TET

There Is Love In You (Domino)

There Is Love In You is the fifth full-length album from British esoteric electronic musician Kieran Hebden, better known by the moniker Four Tet. Hebden has been collaborating with a diverse variety of artists since 2005’s Everything Ecstatic including avant-garde jazz drummer Steve Reid and electronic dubstep producer Burial. The influence of such collaborations can be heard throughout as Hebden incorporates elements of hip-hop, techno and jazz into his minimalist yet intrinsic style of music.

Each song is expertly crafted and flows on seamlessly to the next, creating an album that is cohesive and consistent throughout without ever being too monotonous. Moreover, the songs are entrancing and hypnotic as they slowly build with new textures and loops being introduced throughout.

Highlights include album opener ‘Angel Echoes’ characterized by its ethereal vocal samples, the foreboding ‘Love Cry’ which serves as the album’s pivotal point, and ‘Sing’, which uses percussive synthesizer samples that may sound familiar if you’re at all acquainted with Super Mario. Also noteworthy is album closer ‘She Just Likes To Fight’ which recalls Hebden’s previous work with post-punk group, Fridge.

While it may not be everyone’s proverbial cup of tea, There Is Love In You is an album that must be given repeated listens to truly appreciate its brilliant intricacy.

Stephanie Bourke

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SNOOP DOGG

Malice ‘n Wonderland (Priority/EMI)

Malice ‘n Wonderland is not only an example of the mischievous and witty play-on-words that epitomizes the Snoop prose; it also characterizes the bizarrely unique world of sounds that this album brings forth. While avoiding the transition to dance that many hip-hop albums have taken, this release, instead, uses electronica to fine-tune some identifiable hip hop sounds.

1800’s dominant beat, futuristic key scale and occasionally laser light samples unexpectedly blends with Snoop’s mellow flow and Lil Jon’s shout out’s to create a dynamic track you’ll wanna jerk to. ‘That’s The Homie’ sounds like a haunted carnival, crunk version of the Austin Power’s theme song while the one-versed, no-hooked ‘2 Minute Warning’ has a quiet beat and some cleverly placed gunshots, bells and stings samples which allows Snoop’s distinctive voice to take centre stage.

As if nephew Souljah Boy’s incoherent dribble isn’t annoying enough - this is featured in ‘Pronto’ with an auto-tuned chorus added in just for that extra staying power. And as if auto-tuning couldn’t be used enough, in ‘Different Languages’ Snoop ventures with this (now) essential element by placing it on the beat rather than on the voice making it sound like the music is talking.

We reach a level of normality towards the end of the album. ‘Secrets’ has that classic Snoop G-funk sound which brings all the way back to 1993’s ‘Aint No Fun’. ‘Luv Drunk’ is a smooth and sexy slow jam featuring other famed nephew The Dream. The flute sample on ‘Special’ perfectly complements the sweetly soft vocals of Brandy and Pharell Williams; and the Snoops laid back flow.

The experimentation of modern sounds on Malice ‘n Wonderland is seemingly the right step towards the future but it’s also these sorts of gimmicks that make us think of Snoop Dogg as the great exhibitionist of rap rather than as the truly and simply distinguished MC that he is.

(Jann Angara)

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PETER GABRIEL

Scratch My Back (Virgin/EMI)

Peter Gabriel returns with a unique album of cover versions. The premise is simple; Gabriel ‘will cover your song, if you’ll cover his’. Of course, he’s not covering just anybody. Trawling through hundreds of pieces, Gabriel finally settled on twelve tunes from the likes of David Bowie, Paul Simon, Lou Reed, Bon Iver, Arcade Fire and Regina Spektor.

Hardly a record to put on at a party, Scratch My Back is an intense, and profoundly moving, listen that reveals its’ power slowly. Avoiding guitars and drums, Gabriel relies on orchestral backings. The sonic backdrop allows Gabriel to build an almost cinematic intensity while pushing the lyrics to the fore. His experiment with Simon’s ‘The Boy In The Bubble’ will make you feel like you’re hearing the song for the first time. Reed’s ‘The Power Of The Heart’ is equally impressive. Other highlights include reworkings of Talking Heads’ ‘Listening Wind’, The Magnetic Fields’ ‘The Book of Love’ and Neil Young’s ‘Philadelphia’.

(Mitchell Peters)  







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LAURA VEIRS



July Flame (Bella Union/Raven Marching Band)

July Flame is the seventh studio album from American folk singer Laura Veirs, and has already been hailed as her best work to date. A largely acoustic album that showcases her blend of folk, country and indie pop, July Flame sounds natural, and relaxed and completely genuine. The album marks a return to her folk roots, which is a slight departure from her previous album, the indie rock laced, Saltbreakers. Veirs’ gently plucked guitar is backed by string arrangements and luscious vocal harmonies.

July Flame has the perfect mix of laid back ballads (‘Sun Is King’) and a more upbeat pop style (‘Wide Eyed, Legless’). It really is difficult to pick out highlights. From the driving title track through to the simple, heartfelt, homage to a musical hero ’Carol King’, July Flame impresses throughout.

(Bianca Martin)





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EDDY CURRENT SUPPRESSION RING

Rush to Relax (Aarght!/Shock)

Rush to Relax is the third album from Melbourne based rockers Eddy Current Suppression Ring. Following up their critically acclaimed sophomore release Primary Colours; Rush to Relax has a lot to live up to. The post punk garage style four piece doesn’t like to complicate matters  -  they like their guitars to rock, their bass to be rich, the drums driving and their vocals to be abrasive. Album opener ‘Anxiety’ is the perfect first single, a great track to dance, sing along with and to and pump your first in the air to. The frantic 50-second Melvins-esque ‘Walked Into A Corner’ shows that they’re still true to their punk roots. ‘Gentleman’ is the ballad of the album, lyrically showing a different to the side to the band. ‘Tuning Out’ is a highlight with an awesome instrumental jam and guitar solo in the middle. Despite their influences, there’s something distinctly Australian about the band and it helps create a terrific album.

(Bianca Martin)





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EELS

End Times (E Works/Vagrant Records)

End Times comes as a surprise release from Mark Oliver Everett’s band Eels, being released only about six months after 2009’s Hombre Lobo. The eighth studio album from Everett, better known simply as E, and his band, is full of soft piano ballads and acoustic tracks, with a few livelier songs mixed in. Eels’ style has been labelled by others as ‘sad bastard music’, and End Times does a great job reinforcing this. Lyrically, it is incredibly personal and honest, focusing on E’s divorce. He also touches on subjects like mortality and aging (‘In My Younger Days’) and the loss of his mother (‘I Need a Mother’). The album starts appropriately with ‘The Beginning’, documenting the start of a fantastic relationship, but at some point something goes wrong and we end up at ‘On My Feet’ which sees E singing ‘I pushed my bed against the window today, so there’d only be one side/well it’s a little less lonely that way but I’m still dying inside’. Ultimately it’s an album that anyone who’s been through a break up can relate to. Despite these less than cheerful themes, End Times is a gem.

(Bianca Martin)



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GIL SCOTT HERON

I’m New Here (XL/Remote Control)

Gil Scott-Heron may be a jazzman, but he’s burned the candle from both ends, in very rock n roll fashion, for a very long time. After recent release from prison, the 60-year-old has bounced back from a 16-year hiatus with I’m New Here. The simplistic, mournful, release pits the spoken-word meandering of a pondering inmate, with the soulful tones of an idealist stuck in a chain gang for far too long.

’I’m new here, can you show me round?’ Heron gruffly asks on the title track, as he mopes over a picked guitar, unveiling the despair of a waning man, yet to find peace. He tells us the story of a woman he met in a bar, to which he simply states,  ’I’m hard to get to know, but damn near impossible to forget’, and this is the case with this release. The sullen depths of the jazz poet’s mind are initially hard to grasp. After all, relating to an African American lyrical genius/political activist with serious a penchant for cocaine is always a difficult task. However, give this compelling half hour time, and the fragility of Heron’s words begin to burn through the minimalist beats and his frightful nightmare begins to haunt your thoughts. The tracks are stripped bare by the executive production of Richard Russell, which, in turn, bolster the power of Heron’s tar-clogged vocal chords. Blipping drum machines and hazy electronic samples shroud the tracks in a trip-hop like eeriness. This adds a contemporary rawness to the words of the man who told us, so long ago that, ’the revolution will not be televised’. ’Running’, demonstrates to the wordsmiths of today’s rap-game that a glitzy Timbaland production will never match up to the quality of beautiful lyricism. The personal account of the fear of both life and death is stirring.

Seedy, dark and haunting, I’m New Here, is a surprising return to form from Heron, who admits that ’he’s got a big bill coming.’ Hopefully, he can delay this cheque a little longer, as Heron offers an incendiary vision on depraved experiences that only a select, crazy few, will ever live through.

(Nolan Giles)



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LUCKY ELEPHANT

Star Sign Trampoline (Shock Recordings)

With our summer dissipating into saturated days and chilly nights, Lucky Elephant’s, Starsign Trampoline offers a glorious ray of sunshine that scatters the looming clouds. The lavish release, produced entirely by the French/British four-piece blends wonderful vocal melodies over ethereal compositions.

Utilising a Wurlitzer organ, harmoniums, melodica and a number of other obsolete instruments the album breezes through shoe-gaze, jazz, dub, indie and pop; generating a stirring ambience. Opening with a delicate instrumental track that can only be described as ’cute’, it is clear from the get-go that Lucky Elephant aren’t your typical indie-by-numbers band. French front man Emmanuel Labescat’s, voice resembles something of a trans-channel Thom Yorke. His infectious accent perfectly suited to the summer holiday feel of the record. ’Red Ties vs The Bees’, is a spellbinding number that swells over a delectable piano progression, garnished by Labescat’s subtle tones until a guitar-laden outro brings the whole thing crashing down. The mood of the album is balanced between chirpy and melancholy, ‘The Pier’s’ hollow/tidal chorusing adding an emotional depth to a tale of loss and sorrow. The genre-spanning vision of the album never gets lost even when drifting from the Gorillaz-esque dub-pop of ’Modern Life’, to the psychedelic bounce of, ’Reverend Tilsley & His Magic Lantern’. Lucky Elephant have a strong grasp of their own sound, allowing for the brash eclecticism of the album to never sound confused.

Star Sign Trampoline, is a charming and very likeable album, the hooks are instantly catchy, and instrumentally there is stunning depth. Yet to nose their way to the forefront of the indie-crowd, Lucky Elephant, a refreshingly unique and genuinely talented band, are certainly taking all the right steps.

(Nolan Giles)





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PAUL McCARTNEY



Good Evening New York (MPL/Universal)

The live Paul McCartney albums keep coming. This one was recorded last year as McCartney opened the Citi Field Stadium, which is on the site of what was once New York’s famed Shea Stadium [which he helped ‘close’ with Billy Joel the previous year]. The package is divided between two CDs and one live DVD. The audience using Flip cameras shot part of the concert. The bulk of the set looks and sounds pristine, with McCartney offering rousing versions of his biggest Beatle hits. Indeed, the spectre of The Beatles hangs over 90% of the performance whether it is via video tribute or McCartney’s set list. ‘Something’ is performed for George, while ‘Here Today’ is for John. The usual suspects include ‘Hey Jude’, ‘Band On The Run’, ‘Live And Let Die’ and ‘Hey Jude’. Does the world need another live reading of ‘Let Me Roll It’? No, we don’t. But it’s a joy to hear ‘My Love’, ‘Blackbird’, ‘Calico Skies’, ‘A Day in The Life’ and ‘Helter Skelter’. Also featured are two tunes from McCartney’s recent Fireman project [‘Highway’ and ‘Sing The Changes’] and the infectious ‘Dance Tonight’ from his last solo album, Memory Almost Full.

[Mitchell Peters]

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VAMPIRE WEEKEND



Contra (XL/Remote Control)

On this, their second album, Vampire Weekend fuse everything from the mood of Paul Simon’s Graceland to the ghost of The Thompson Twins and come up with something that still sounds fresh and immediate.

Contra is smart, confident and brimming with enough sonic ennui to keep your ears pricked up. The record, which is refreshingly brief, mixes hints of reggae with electro beats and subtle synth lines.

Highlights include ‘White Sky’, the auto-tuned ‘California English’, ‘Holiday’ and the out of the ball park ‘Giving Up The Gun’.

There’s a lot of good love gone bad and hopes unfulfilled in the lyrics. It’s almost the sound track to an uptight college drama set in the 80’s and directed by Wes Anderson. We mean that as high praise.

[Susan Gough]

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EVERY AVENUE

Picture Perfect (Fearless/Shock)

Picture Perfect is the second full-length album for US based pop-punk band Every Avenue. Following up from their 2008 release Shhh...Just Go With It, Picture Perfect is a stronger and more cohesive album, and not to mention, an ideal summer CD. Full of upbeat rockers, catchy hooks and sing-a-long choruses, most songs are ‘single-worthy’. With the current onslaught of power-pop and punk-pop band, Every Avenue could slip under the radar. Instrumentally the band is actually rather generic, with cliche riffs and standard power chords, but they allow their lyrical ability to set themselves apart from the rest of the genre. First single, ‘Tell Me I’m A Wreck’ is a prime example of this, giving a different spin on a break up song. ‘Girl Like That’ is infectiously catchy, and after a few spins you’ll find yourself singing along. There really are some great moments on this album, like the heartfelt ‘Saying Goodbye’ and the acoustic ‘The Story Left Untold’; the sophomore record is a superb release.

(Bianca Martin)





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NORAH JONES



The Fall (Blue Note)

Even if Norah Jones was asked to do a cover of ‘Whole Lotta Love’ one thing is certain, she wouldn’t shift her vocal style from the intimate, spectral whisper that is her outstanding trademark. Recognition of this goes some way to understanding The Fall and not dismissing it as a total yawn. Purportedly written and recorded on the heels of a broken, long-standing relationship, it’s a safe bet you’d guess this after one pass of the album. While the voice remains the same, the backing is more gritty than the mellifluous jazz bent renderings of previous albums. In fact the arrangements are strewn with muted electric guitars and is at times oddly dissonant, plodding and occasionally jarring. This is Jones in the rough even though the vapid pace of the album doesn’t really let this on.           

Until ‘It’s Gonna Be’ with its Gary Glitter drum pattern and uncomfortably filthy and distorted electric piano, the tracks drift like phantoms, neither really beginning nor ending but rather crawling in and slinking away as if trying to avoid attention. By this time the whole thing is more than half over. ‘Young Blood’ has something of Fleetwood Mac II about it and the ghostly lament ‘Back to Manhattan’ stands out as the primo ballad with its languid, bluesy hook. ‘December’ is a spooky channeling of the Big O. ‘Tell Your Mama’ rolls out nicely with a Johnny Cash bounce and the well promulgated live video of this song shows our diva picking away tastily on her red Fender Mustang.

Judging from the cover photography, a dog is also girl’s best friend, and the closing track ‘Man Of The Hour’ is a touching ode to her pooch (even though the keyboard sounds like it’s being manipulated by an unsteady cat).     

The Fall is probably good Christmas present fodder for current fans but it’s hard to imagine legions of new admirers coming on board. Whilst it delivers a bit more punch than her previous work it’s still essentially a deep, dark and dreamy hit of sonic valium albeit mature and intense. Don’t expect Norah to be slinging mike stands and stadium walking soon.  

(Bruce Hardy)                                  

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THEM CROOKED VULTURES

Them Crooked Vultures [Sony/RCA]

Well, there are supergroups, and then there are supergroups. Them Crooked Vultures, we can confirm, is the real deal. Dave Grohl [Foo Fighters/Nirvana] occupies the drum kit; Josh Homme [Queens of The Stone Age] is out front and the man who really affords the trio supergroup status, John Paul Jones, is on bass. Jones CV includes a host of session work in the 1960’s and, more importantly, he made up one quarter of Led Zeppelin. Indeed the ghost of Zeppelin seems to hang over this record and if there’s one band they appear to recreate at times it’s those pioneers of heavy rock. Just check out either ‘Elephants’ or ‘Reptiles’ and you’re treated to a near Zeppelin master class.

The riffs, as you’d expect, are bone crunching and Grohl does an admirable job behind the kit, at times recalling the late John Bonham.

The essence of the album lies in the grooves. A lot of the lyrics feel throwaway, but the riffs will have you coming back for more. If you have doubts, just check out ‘Dead End Friends’ where the whole appeal and immediacy of the record is tied up in one track.

The album hardly takes itself seriously, and Jones, despite his reputation for orchestration, keeps it all about the bottom end, though you’ll enjoy hints of ‘Kashmir’ on ’Bandoliers’. As the sticker on the front says it’s ‘thunderous’.  

[Mitchell Peters]







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BLAKROC

Blakroc  (Shock)

In music journalism 101, Blakroc, stands as a perfect example of a ’hit and miss’ album, fortunately, for blunt-puffing fans at the back of the class, the hits easily out-shadow its misses.

The unique project bears the unlikely visionary fruits of a collaboration between the Black Keys, Damon Dash and a variety of hip-hop heavyweights including, RZA, Mos Def and Ludacris. Basically the Keys and Dash got in the studio and laid down some blues-based hip-hop beats and made some calls, 11 days later they had created one of the most genre-bending albums of 2009. A stoners paradise the record drifts through moments of psychedelia to chilled out R&B infusions all dealt out with a large dollop of reverb drenched trippiness. The standout MC-ing on the record is dropped by RZA and Mos Def, both of whom master their brand of hip-hop by adapting their flow perfectly to the retro tracks. RZA breezes through his numbers with his cool-as-ice swagger, perfectly on-point with the Keys’ lo-fi beats. Mos Def is hypnotic on ’On The Vista’, his relentless delivery interweaving with jaunty acid-rock guitar lines, closing out on a hushed whisper. The weaker rappers however, are a major putt-off; newcomer NOE ruins the excellent Zep-hommage, ’done-did-it’ with his verbatim Jay Z act.

The finest moments of the album are found when the Keys dip way, way back into the past, ’What You Do To Me’ brushes off a dusty Hammond and dips and weaves through pure sixties soul. ’Dollaz and Sense’, stands testament to the album’s genre interbreeding, RZA and Pharoah Monche battling lyrical wits over a shoulder shrugging hard-rock flashback, a real gem of a track. Keys front man, Dash lends Page-inspired licks when required without dominating the soundscape his hooks also adding a real sense of nostalgia to the album.

The variety of artists and styles on the album leave it feeling disconnected, but as individual tracks there’s easily enough here to soothe a stoned mind...at least until a munchies run is called for.

[Nolan Giles]

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Seasick Steve



Man From Another Time (Warner Music Australia)

This latest release by Seasick Steve is more of what we have grown accustomed to on Dog House Music (2006) and I Started Out With Nothin’ And I Still Got Most Of It Left (2009). The trance like playing and field hollering never gets old. ‘Dark’ sounds like it could have been recorded and written much earlier in the 20th Century. That track is followed by ‘Wenatchee’ and you can hear the truth in his lyrics when he talks about pickin’ fruit and working his fingers to the core. The repetitive riff on his guitar and the thumping of Dan Magnusson on drums is perfect.

Seasick Steve, aptly named because, well, as he puts it, "I get sick on boats", pays homage to the John Deere tractor (‘Big Green and Yeller’) and his one string wonder the Diddley Bo, on the track of the same name.  The latter song is definitely a mixed nod of the head to his instrument and to the man with the same name. He definitely has the Diddley beat.

The title sums up where Steve is today and the packaging of the CD with the old Atlantic Record Logo reinforces the project. There is no fear that Steve is going to fulfill his greatest fear of turning into a boring old fart. The music that we are finally getting to hear from this 68 year old character is filled with soul, depth and most of all, some serious boogie. Don’t miss the not-so-hidden rendition of Hank Williams’ ‘So Lonesome I Could Cry’ which closes this fabulous Seasick release.

(Paul Busch)





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TOM WAITS



Glitter and Doom (Shock Records)

The roguish Tom Waits emerges from the dirt and grit of a thirty-year career to present us with one of the most intimate live representations of himself to date. Taken from his recent European tour, Glitter and Doom boasts typically genre-spanning laments, from the post-Swordfishtrombones era of Waits’ wily journey.

On this double-album, the beatnik songwriters’ subtle reworking of repugnant classics and forgotten moments take on a new life. Painstakingly recorded to crisp perfection, every cigarette-scarred lyric rips straight through the speaker, forming a frighteningly intimate portrayal. Waits’ razorblade, pirate drawl is certainly an acquired taste, but those who choose to stomach his almost comical cabaret are treated to a blistering set. ’Falling Down’ sees Waits pushing his drunken roar to capacity bringing the roof down with applause, the soulful tragedy demonstrating his immense versatility as an artist. Waits’ grotesque growl effortlessly drifts through beat-prose, blues, rock, jazz, and trademark sentimental balladry, all of which is held together by his gruesome, yet moving storytelling. The instrumentation throughout is spot-on, the tough-as-nails ballad ’The Part You Throw Away’, is tenderised by an incendiary Spanish guitar solo. The band commands a chilling tension behind the front man without stepping on his tailcoats. ’Dirt in The Grounds’, sparse percussive vibe and sleek guitar, haunt the choking croon of death to perfection.

For years, Waits has been a much-needed antithesis to the American Dream, backing his seedy vision with his bolstering skill as a songwriter/musician. Glitter and Doom amply demonstrates that the finesse behind his bourbon-branded showmanship hasn’t suffered with age. In fact things seems to be maturing very nicely in Waits’ smoky cellar.  

[Nolan Giles]

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JULIAN CASABLANCAS



Phrazes for the Young (Sony)

The Strokes are about as consistent as the English cricket team with their records and solo offshoots producing about one great moment every five years. Heeding his team’s shocking batting average, front man, Julian Casablancas steps to the crease with Phrazes for the Young, thankfully saving the day with an enigmatic six (note to self: never, ever, use a cricket analogy in a CD review again).

Straight up, Casablancas dives into the thunderous ’Out of the Blue’, pouring out some of his most poignant words over synthetic eighties pop blasts and solid edgy punk riffing. ’I know I’m going to hell, in a purple basket, at least I’ll be in another world, while you’re pissing on my casket,’ the 31-year-old jokes in his reserved NY drawl. The bouncy new-wave of, ’Left Right in the Dark’, builds punchy guitar chords with even punchier phrasing into a chorus worthy of a place on the Strokes’ immortal Is This It, if the band had decided to soak their tunes in eighties-glitter that is.

It is hard to put a finger on the sound that Casablancas’ has created on Phrazes for the Young, it feels like a crazy kind of NY-pop that jumps from the guitar-grind of classic Strokes, to moments of inexplicably weird, retro brilliance. The country-tinged ’Ludlow St’ is one of these odder moments where an electric banjo batters through a bitter tale of alcoholism and failure. Lyrically, Casablancas delves into the endless woes of the rich celebrity without coming across as a wanker, his disparaging wit matching the album’s polished sound. The silky grandeur that the album basks in is handled by Bright Eyes collaborator Mike Mogis and Jason Lader, who utilise Casablancas’ reedy eighties guitar over glitzy layering.

Phrazes for the Young’s bittersweet imagery portrays a detached version of Casablancas that is not so apparent in the rock-n-roll fury of the Strokes. Closing on a high, with a lonely minor-key march on ’The Tourist’; it is refreshing to see a pop star who has collaborated with Pharell and endorsed a sneaker being so God damn cynical.

[Nolan Giles]

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MARTHA WAINWRIGHT



Sans Fusils, Ni Souliers, A Paris... (V2 Records/Shock)

Sans Fusils, Ni Souliers, A Paris... is certainly a far cry from Canadian singer-songwriter Martha Wainwright’s notorious Bloody Mother Fucking Asshole. Roughly translated to Without Rifle, No Shoes, in Paris..., the album is a live recording of three shows Wainwright performed consisting entirely of Edith Piaf covers. Having grown up in Montreal, Wainwright’s French is fluent, complimenting her singing voice perfectly. The mourning cabaret style if perfectly suited to Wainwright’s voice, adding an edge to the songs. While Wainwright is no comparison to Piaf, at least she doesn’t try to mock the bitterness or the grittiness that Piaf’s music is known for, instead she brings her own sweetness and beauty to some of the songs. Skillful backing musicians comprising strings and an accordion player add to the atmosphere; while the focus always remains on the vocals. As far as live recordings go, these are impeccable. This album won’t be for the casual listener though; you’d either want to be a fan of Piaf or Wainwright.  

(Bianca Martin)





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JASON MRAZ

Beautiful Mess  -  Live On Earth (Atlantic)

This is the one Jason Mraz fans have been highly anticipating, a live recording of songs from his ‘Beautiful Mess Tour’ this year. The album is a two-disc set featuring a 16 track CD of Mraz live in Chicago and a DVD of the same concert. The DVD also includes an extra track, behind-the-scenes tour footage and a short documentary on the making of the videos clips for We Sing. We Dance. We Steal Things.

Mraz performs some of his best and most loved songs on the CD/DVD including the hits ‘Lucky’ featuring Colbie Caillat and a reggae version of ‘I’m Yours’ as well as ‘The Remedy’ and ‘Make It Mine.’ Mraz also performs a great cover version of Lionel Ritchie’s classic ‘All Night Long’ and cleverly incorporates the Charlie’s Angels theme in ‘Copchase.’

‘Coyotes’ is the stand out track on the DVD because of its beautiful lyrics, flamenco-style guitar and Mraz’s gorgeous voice. It’s also a song that has to be seen live to be believed. In one section Mraz pulls out his best falsetto voice and belts out some opera freakishly sounding like a woman. It was a truly amazing performance.

The DVD includes the very funky and catchy bonus track ‘Fall Through Glass’ featuring Mraz’s long-time friend and song-writer, Bushwalla. The concert ends with a beautiful solo performance of ‘The Boy’s Gone’ on stage after the audience has left.  

Like many good performers Mraz sounds even better live than on his studio recordings. There are moments on Beautiful Mess  -  Live On Earth where Mraz and his band sound so loose and relaxed it’s as though they were just jamming, yet so tight and in unison at the same time. Fans will certainly not be disappointed with this set.

(Nikki Whelan)



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THE CREEPSHOW

Run For Your Life (Shock)

Combining rockabilly and punk music with lyrics inspired by B-grade horror films, The Creepshow return with their signature brand of psycho-billy for their sophomore album, Run For Your Life. With a new lead singer under their wing, the female fronted Canadian four-piece bust out ten tracks of high-energy punk rock anthems and mournful, macabre ballads. The album kicks off strongly, with a Vincent Price style spoken word instruction, keeping in theme with the bands’ love of B-grade horror movies. The use of the upright bass instead of electric bass accentuates their style and provides for a warm sound amongst the distorted guitar, particularly on the title track. The 1950s rockabilly influence shines through in ‘Take My Hand’ and punk influences appear in the closing track ‘Long Way Down’. Songs such as ‘Rue Morgue Radio’ and ‘You’ll Come Crawling’ are upbeat and fun, and really showcase lead singer Sarah ‘Sin’ Blackwood’s vocals. The only downfall is the repetitive nature of the music, but to fans of the genre that’ll hardly matter.  

(Bianca Martin)







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THE POOR

Round 1 (Riot Entertainment)

15 years ago The Poor looked set for world domination AC/DC style. Spawned from the Darwin NT pub circuit they put a new face on classic Aussie rock and with the single ‘More Wine Waiter Please’ attracted broad radio and press coverage in the US. By 1998, after relentless international and local touring, the wheels came off. Round 1 sees them back in the saddle with an ‘in your face’ rock album evoking the excitement and exuberance of the halcyon days of Aussie pub rock and more.         

Round 1 operates on the senses as a continuum. Production and sound are for the most part delectable and what’s more these guys can really play. Opening track ‘Kill My Faith’ explodes Motorhead style. The Poor don’t mess with space between tracks and ‘Death Of Me’ quickly follows with its brutal swagger and Slade-like chorus. ‘Last Laugh’ is a brilliant lesson in hard rock song craft and the foreboding ‘House’ boasts production by the late great Billy Thorpe - onya Thorpie! ‘Don’t Know What You’re Missing’ brings the pace back and delivers a steady modern groove detonated by a set of fabulous press rolls under a Powderfinger style chorus. ‘Love Isn’t On Again’ strongly suggests the Choirboys with its tick-tock intro and then goes its own sweet way.     

The Poor are not your average rock band and it’s easy to see through Round 1 why they once portended to greatness. The songs in the body of the album stand by themselves and knit together well although maybe a little too well as after a while there’s a mild sense of sameness. Perhaps the only disappointment are the last three ‘demo’ songs that sound a bit threadbare and lackluster compared to the preceding tracks. Hopefully this return album is a stepping-stone back on that primrose path to greatness.                           

(Julian Endsleigh)                                                 

 

 



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PHOENIX

Wolfgang Amadeus Phoenix (V2/Shock)

France has been known to produce some pretty awesome electro pop over the past decade or so, and Versailles quartet Phoenix is another band to add to the list. Wolfgang Amadeus Phoenix is the fourth studio album and will no doubt be hailed as their best effort to date. Opening strongly with ‘Lisztomania’, you’re left instantly buzzing with excitement. Followed by the super catchy ‘1901’, the sleek disco style of ‘Fences’, and the playful ‘Lasso’, the band impresses with their rich musical textures and obvious confidence. ‘Love like a Sunset Pt 1’ is an electronic instrumental that provides for a nice break amongst the energetic pop and painstakingly catchy hooks. The only fault of the album is that it is so front heavy. The first half of the album is just so impressive, that the second half is easily neglected. If you do manage to work your way to the end, you certainly won’t be disappointed. The whole album really just exerts cool and will most definitely become a favourite amongst many.

(Bianca Martin)





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WOLFMOTHER

Cosmic Egg (Modular)

After some years and a considerable lineup change the Wolf returns. Dripping with vintage rock influences and monster riffs, this album boasts heaps of headroom and sparkles with harmony and force. Superb dynamics and a battery of potent songs put this sophomore reemergence well above the game. Andrew Stockdale’s voice soars to immense altitudes and the instruments are tightly blended and massive.

The pacy ’California Queen’ burns up the highway and provides a stunning opener. ’White Feather’ is one damned fine song and so reminiscent of Zepp pop down to the hooky guitar intro and the placement of the very Pagey solo. ’In The Morning’ is a powerful and beautifully textured rock ballad with a sophisticated structure again channeling a melange of 70’s English rock elements. ’Sundial’ has a riff so fat it magnifies gravity. ’Violence Of The Sun’ is a dark tour de force and grand closing statement. There’s not a dud on this one and a handful of snapshot descriptions don’t convey how well the album works as a whole.              

Cosmic Egg is everything an original Wolfmother fan could beg for with a sophistication and depth that should attract a broader and more discerning audience. Andrew’s new band has belted him into a higher league. This may prove to be a seminal work. It’ll be more than interesting to see how it progresses on the international stage and whether it’s as Grammy-worth as its predecessor.              

(Bruce Hardy)                                                











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MUMFORD & SONS

Sigh No More (Universal)

With a sound that’s a cross between R.E.M, Crosby, Stills, Nash and Young and Kings Of Leon, Sigh No More is the debut release for the banjo twangin’ lads from West London. With a little help from producer Markus Dravs (Arcade Fire, Bjork, the Maccabees) Mumford & Sons have come up with a toe-tappin’ country/bluegrass album, West London-style.

The opening and title track ‘Sigh No More’ is a powerful and haunting ballad with ghostly backing vocals and thought-provoking lyrics such as "Love it will not betray you, dismay or enslave you. It will set you free, be more like the man you were made to be." Putting aside the fact that the song has a very Christian sing-a-long feel to it, it’s probably the album’s best track.

‘The Cave’ tells a story of holding on to hope no matter what and is a fairly good song, so too is ‘Winter Winds’ with its soft melodic guitar and tune that invokes images of happy hippies sitting in a field playing guitars, although the song is actually about unreciprocated love. ‘Roll Away Your Stone’ and ‘Little Lion Man’ are also decent tracks.

There are some fairly ordinary songs on the CD but the rest are above par. Country and bluegrass fans should enjoy the album however because there’s plenty of banjo and guitar duelling and similar melodies to songs by some of the best bands in the genre.

(Nikki Whelan)



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THE MESS HALL

For the Birds (Ivy League)

My only criticism of The Mess Hall is that they take too fucking long between albums. On the other hand, with a five star masterpiece like For the Birds, there is obviously sound reasoning behind the lengthy intermissions. Tub thumper ‘My Villian’ is first from the gate. The sour mash and sweet rhythm bubble like a devilish Cajun gumbo. First single ‘Bell’ struts like a Harlem pimp in the 1970’s. The laconic vocals and distinctive guitar butchering of Jed Kurzel melds beautifully with drum octopussy Cec Condon and his many tentacles of pleasure. ‘Tijuana 500’, ‘Bare’ and ‘Marlene’ all showcase a beautifully understated extension of The Mess Hall’s musical palette including some female vocals in the shape of Anna Young, xylophones, piano, organ and glock. An appreciative nod also goes to Jed’s brother Justin Kurzel on some outstanding artwork and photography. Hopefully there is a vinyl version to do this outstanding display some justice. The Drones Havilah finally has a drinking partner.              

(Brett Stephens)



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LIVING COLOUR



The Chair In The Doorway’ (Megaforce)

Living Colour’s latest serves up fare based on a familiar recipe. Lashings of dark riffy guitar and rustic, frenetic soloing over a raw pounding rhythm section with Corey Glover’s signature throaty vocal soaring overhead. Let’s leave the genre typing to the marketers.

If sticking to your guns is a crime then AC/DC would have been jailed for life a long time ago. Likewise Living Colour remain tied to the mast. The overall sound of the album is not particularly alluring as it yields to a remote, monotonous reverb that sometimes makes you feel as though you’re in the back row at Boondall. The lighter ‘Behind The Sun’ provides some welcome relief as does the moody ‘Bless Those (Little Annie’s Prayer)’ but the tag on ‘Not Tomorrow’ must contend as one of the most flaccid in history. The numb album title and less than inspired graphic also add to the general sense of ho-hum.  

More positive reviews abound so this one might be the outlier. Ironically the bonus track ‘Asshole’ is one of the better and might well be applied by true LC believers to this reviewer.       

(Bruce Hardy)                                                 

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JOHN MAYER

Battle Studies (Columbia)

It has been a long time coming. This is Mayer’s first studio recording since Heavier Things was released in 2003. Armed with a bagful of new delights, Mayer is back with an album that just may dispel the critics who were focusing their attention on his ‘whirlwind relationship’ with actress Jennifer Anniston earlier this year.

Battle Studies starts off well with the opener ‘Heartbreak Warfare’ which has a great bass-line and catchy melody. The song’s so good it will probably end up being released as a single. ‘Half Of My Heart’ featuring Taylor Swift also has the potential of being a hit. The song has a Fleetwood Mac feel to it, most notably in the rhythm of the drums, guitar sounds and melody.

Other great tracks on the album include the catchy rock song ‘Perfectly Lonely’ the funky rendition of Robert Johnson’s ‘Crossroads’ and ‘Friends, Lovers or Nothing.’

Battle Studies is probably on par with the best of Mayer’s work. Unlike many other artists these days that change their musical direction just after you’ve gotten to like them, there are no surprises on Mayer’s new CD. Everything you have come to know and expect from Mayer is delivered on this album.

(Nikki Whelan)











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POWDERFINGER

Golden Rule (Universal)

Powderfinger return with what may be their most accessible album to date. Strikingly immediate, the set opens with the enigmatic instrumental ‘El Camino De La Muerte’ before launching into the terrific first single, ‘All Of The Dreamers’ [which carries a cool lyric nod to J. Lennon]. Next it’s the follow up single ‘Burn Your Name’, which is equally endearing. Producer Nick DiDia (Internationalist, Odyssey Number 5 and Vulture Street) is back on board and there’s electricity in the union and, more importantly, it’s been captured on tape.

The tunes are radio friendly, with nothing dramatically out of left field. ‘Sail The Wildest Stretch’ is a neat ballad augmented with strings and crashing guitars. ‘Iberian Dream’ is a stomper, while the band sound simply thunderous on ‘Jewel’. ‘Think it Over’ is a giant sing-a-long and ‘A Fight About Money’ moves into glam/Killers turf.

Accomplished and well executed, expect to hear a lot from this album over summer.

(Amelia Gough)  



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DAVID GRAY

Draw The Line (Polydor)

Draw The Line is David Gray’s eighth studio album and while it features no great deviation from his previous work, it will please fans familiar with Gray’s blend of introspective pop-folk.

Gray sticks to his trademark formula of beautifully measured acoustic guitar arpeggios and gentle piano lines. However, it’s still a rewarding listening experience replete with Gray’s distinctive raspy voice, thought-provoking lyrics and lively melodies.

There’s also a renewed sense of energy courtesy of a new band and a return to self-production. The production is rich and lavish but still manages to retain its subtlety.

Gray has eschewed the electronic hue of White Ladder and Life In Slow Motion in favour of his acoustic roots. First single ‘The Fugitive’ features syncopated piano and a marching drum beat. It’s reminiscent of ‘Babylon’ from the hugely successful White Ladder. The album includes brilliant guest vocals from Jolie Holland on ‘Kathleen’ and Annie Lennox on the album-closing ballad ‘Full Steam’.

Highlights also includes the rocking ‘Stella The Artist’ that commands the listener’s attention, the gentle guitar reverberation on the lullaby-like ‘Nemesis’, the world-weary title track, the stuttering rhythm of ‘First Chance’ and the exuberant string arrangements of ‘Jackdaw’.

There’s a few missteps on Draw The Line such as the more bland sounding ‘Harder’ and ‘Breathe’, but overall it is a welcome addition to Gray’s two decade back catalogue.

(Stephanie Bourke)



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VARIOUS ARTISTS

New Moon Original Motion Picture Soundtrack (Warner)

First things first. This album will sell like hotcakes, only better, if not just for the Twilight saga logo, and the fold-out poster found inside the cover. Oh Em Gee. You can have Robert Patterson on your wall. The rest of us who aren’t obsessed by this glittery vamp-mance of epic proportions will boycott it for the same reasons. I’ll admit that I only wanted to listen to this album because of the Death Cab for Cutie contribution, ‘Meet Me at the Equinox’  -  more on that later. But as a collection of original tracks exclusive to the soundtrack, how does it rate? Admittedly, ‘twihard’ or not, the whole collection is amazing.

Apart from a remix of Muse’s ‘I Belong to You’, all of the tracks are brand spanking new. With artists like The Killers, Thom Yorke, OK Go, Lykke Li, and Editors, you have to expect that there’s some decent material. They don’t disappoint. Death Cab for Cutie’s sweet little track is true to form, echoing the more upbeat sound of their latest offering, ‘Narrow Stairs’. The track is softly romantic, bouncing between the topics of love, and the possibility of its end. As an opening song, this is a little worrying  -  will the whole album be an ode to the melodramatic teenage love of a vampire and his human companion? Thankfully not. The next track, ‘Friends’ by Band of Skulls is an indie rock track with a sense of fun and killer hooks. From the hauntingly beautiful ‘Roslyn’ by Bon Iver and St. Vincent, to Sea Wolf’s reverberating, deep vocals on the lovable, lazily upeat, ‘Violet Hour’, there’s something for every indie/pop rock lover.

[Anna Angel]



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ROBBIE WILLIAMS

Reality Killed The Video Star (EMI)

Robbie Williams’ eighth studio album returns to the commercial ‘adult’ pop his career enjoyed pre-Rudebox. His first album in three years, the title is a tip of the hat to uber producer Trevor Horn. Here Horn draws on a myriad of past, and present, Robbie styles and gives them a polished immediacy. Sweeping strings and clever lyrics, both RW trademarks, are given plenty of time to shine. Williams co-wrote the material with a host of writers, including Guy Chambers. Judging by the credits, the material went through a few incarnations before Horn came on board. ‘Bodies’ impresses with its faux Gregorian-meets electro hooks. There’s a smidge of doo-wop on ‘You Know Me’ and a little Lou Reed style crunch on ‘Do You Mind’.

That’s largely how the album plays out. Devoid of any real clunkers, it’s Robbie being clever as the pop backdrop shifts. A highlight is the bubble and fizz of the 80’s sound-alike, ‘Last Days Of Disco’. Anne Dudley looks after the strings and they are nothing short of gorgeous. Given that her CV includes everything from Lloyd Cole to ABC it’s hardly a surprise.

By ‘Starstruck’ there’s a mild Pet Shop Boys mood at play followed by the Eurodisco that shadows ‘Something For Weirdos’. ‘Superblind’ is classic Robbie. For fans, there are enough Robbie motifs to tick all the boxes and a sense of adventure that, despite the variety, stays inside the lines. Welcome back.

[Amanda Cartwright]







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GUY SEBASTIAN

Like It Like That (Sony Music)

Debate must have been lively at Sony Music as to whether Guy Sebastian should follow up the very successful Memphis Album with another round of soul covers or get back on the original trail. The Memphis Album had exposed Sebastian to a new adult audience who for the most part couldn’t believe an Australian Idol contestant could nail soul classics with Steve Cropper’s band. Like It Like That is an album that sensibly allows Guy to strut his own stuff and consolidate his reputation as one of the best contemporary soul/R&B singers in the world.

The opening title track ‘Like It Like That’ sparkles it’s way straight onto radio play lists. ‘All To Myself’ is a touch of Philly soul with a stunning vocal performance channeling the great Sam Cooke. ‘Art Of Love’, a duet with Jordin Sparks, is by contrast totally mainstream and way more likely to appeal to Guy’s original fan base. ‘Magic’ is pure bubblegum and the following track ‘Bring Yourself’ is an achingly beautiful soul ballad. The more you listen to the album the more the contrasts work, although the Memphis audience might lose patience  -  but so what.

It’s a tall ask to find original material that can act as a limousine for a world class soul voice but Like It Like That goes a long way to achieving that end.      

(Bruce Hardy)                       

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WILLIE NELSON

American Classic (EMI)

Having Willie Nelson revisit the American songbook sounds like a fine idea, especially considering the heady success Nelson enjoyed with Stardust in 1978. This time around Nelson has brought two guests into the project, Norah Jones (‘Baby It’s Cold Outside’) and Diana Krall (‘If I Had You’). Produced by Tommy LiPuma, the record fails to trouble the heartstrings. While the calibre of material is first rate with Willie trying his hand at the likes of ‘Fly Me To The Moon’, ‘Because Of You’, ‘On The Street Where You Live’ and ‘The Nearness Of You’, in the end, despite Nelson’s well-worn way with a melody, American Classic doesn’t ignite. Much better that the Rod Stewart shambles, it’s still below par for Nelson. Even a revisit of ‘Always On My Mind’ fails to give the record a much-needed lift. The results, which are more jazz than country, are, at best, workmanlike.

(Amelia Gough)

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VARIOUS

101 More 80’s Hits (EMI)

Hats off to the crew at EMI for putting together this stellar collection of 80’s hits. Unlike a lot of these mix tape affairs, this one is littered with gold. All of the pop period heavyweights, bar Madonna and MJ, are here. Rather than rely on their own catalogue, tracks have been licensed from other labels. Some of the stars on board include Queen, Devo, Blondie, The Cars, Spandau Ballet, Adam Ant, XTC, and The Stranglers...and that’s only half of disc one. There’s a smattering of duds but they’re very few and far between. [Toto Coelo anyone?] Highlights, and there are at least ninety, include David Bowie ‘Let’s Dance’, World Party ‘Ship Of Fools’, The Powerstation ‘Some Like It Hot’ and The Psychedelic Furs ‘Love My Way’. Spanning five discs it’s the perfect way to get that retro party started.

(Mark Bright)

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I HEART HIROSHIMA



The Rip (Valve)

Despite the loss of its outsider status, Brisbane’s music scene continues to produce relevant and compelling independent bands that avoid the temptation to become too slick or conventional. Ready to cement their place in the city’s canon, I Heart Hiroshima’s second album bursts with the energy and verve of a live performance, as though the band booked a single studio session and cranked out thirteen tracks in a single afternoon.

The album’s lead single ‘Shakytown’ provides a good entry into the album and not a wild departure from the rest of what’s on offer. The performance is solid and the recording mixed by Andy Gill (Gang of Four, Red Hot Chili Peppers, etc) brings to the fore the band’s nervy and brittle arrangements.

The band makes the best use of their talents sharing lead vocals, especially on ‘Old Tree’ where the voices provide the point of contrast that might otherwise have been a bit too vanilla. The best performance is, however, saved for the final track. Amidst the potted dropped beats and arguments between jangling guitars and pleading vocals, ‘Listen’ charges through its allotted three minutes with such force, the song remains locked in memory long after the fade out.

(Simon Groth)







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PETE YORN & SCARLETT JOHANSSON



Break-Up (Warner)

The way New Jersey-based indie rocker Pete Yorn tells it, the idea for this album of duets came to him in a dream back in 2005. By 2006 he had convinced Hollywood chanteuse Scarlett Johansson to trade the big screen for a recording studio and play Brigette Bardot to his Serge Gainsbourg. Now, some two years later, Break-Up is finally seeing the light of day and it’s a unique, if occasionally confounding, listen.

An album of nine short songs documenting the rapidly fading embers of a once hot love affair, Break-Up kicks off with the jaunty ‘Relator,’ a song that sees the duo harmonising on the oft-repeated line, ‘You can leave whenever you want out.’ Johansson unfairly copped a lot of critical flak for last year’s Tom Waits covers record, Anywhere I Lay My Head, and it’s unlikely that her still raspy vocal stylings will convert many non-believers. Still, there is something oddly compelling about Johansson’s vocal delivery. Her range may be limited, but she uses what she’s got to great effect, lustily tackling everything from heartbreak to happiness.

Best known for four albums of alt-country flavoured Americana, Yorn penned eight of the nine tracks on Break-Up and, like the Nancy Sinatra and Lee Hazlewood tracks from which he draws inspiration, most of these tunes are largely acoustic. The honky-tonk piano of ‘I Don’t Know’ makes the song a standout, as does the curious joy Johansson’s delivery lends to otherwise sad and forlorn lyrics.

Every now and then drum machines (‘Blackie’s Dead’) and layered guitars (‘Wear And Tear’) make an appearance, but this is predominantly classic singer-songwriter fare where sparsely lush instrumentation emphasises vocals, melodies and lyrics.  Neither innovative or ground-breaking, and certainly nowhere near as charming as Zooey Deschanel and M. Ward’s 2008 She & Him collaboration, Break-Up is nonetheless intriguing and interesting. That alone makes it worth a listen.

(Heidi Maier)







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GIN WIGMORE

Holy Smoke (Island/ Universal)

There is something very likeable about Gin Wigmore’s pop debut, Holy Smoke, featuring shiny smooth production, husky contralto vocals and very catchy hooks. Even better is the fact she is backed by the Cardinals, who are note perfect in weaving the dusty, dirty, blues and soul drenched trail the album takes. Wigmore’s whiskey soaked breathiness hints at Duffy, Macy Gray and most noticeably Amy Winehouse, and although her sound is by no means original, she certainly stands tall among her contemporaries.

The up-tempo numbers on Holy Smoke are ridiculously danceable, basking in fuzzy blues guitar, tambourine shaking and thunderously staunching choruses. On ’Hey Ho’ Wigmore laments over the beatings that love can give, as red-hot guitars battle in the background over organ, drums and harmonica. ’New Revolution’ is a glitzy jewel straight from the swinging sixties, the classy pop number finds the perfect balance between Wigmore’s quick-witted lyrics and the classic appeal the album harks at. Wigmore’s ballads are equally strong, and although her vocals are a bit too butch to ever be sexy, she tugs at emotional strings on the doo-wop of ’Golden Ship’ and the piano-driven ’Dying Day’.

Holy Smoke, does exactly what it sets out to achieve, with well-written pop songs backed by a tight and on-point Cardinals, it excels in retro-pop grandeur. Unfortunately for Wigmore where Amy Winehouse’s sound harked back to the glorious yesteryears of Sarah Vaughan, Wigmore can only really draw comparisons to more recent reincarnations.

(Nolan Giles)



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IAN MOSS

Soul On West 53rd (Liberation)

A popular Australian singer goes to America, enlists a posse of legendary musicians, and releases an album of soul standards. Sound familiar?

This time it’s Mossy and the legends include Danny Kortchmar, Hugh McCracken and Steve Jordan (Google to check their pedigrees if you need to). After an initial bout of cynicism things fall into place after a few listens. Yes, there’s great singing, great playing, fine arrangements, super grooves and nothing is the least bit crass. The idea of Mossy doing this is also far from gratuitous; indeed a natural progression for the man at this stage of his music career. It’s no secret that his silken voice has always loaned itself to this genre. Some of us even thought he was a better singer than the singer in the band he made his name with all those years ago.

The opening track, Sam Cooke’s ‘Shake’, is pure filth in terms of groove. This is followed by the Isley’s ‘Work To Do’ which brings to mind the version by the Average White Band (remember them?). ‘ Any Day Now’ is sweet, sweet, sweet. ‘Good News’ would have Jake and Elwood twisting their arses off. The die is cast, the trajectory is set, and the album maintains its trim to the last drop. But wait, there’s that singer from his old band on the last track. Oh well, kind of anticipated that.

Mossy sings up a storm on this. It deserves to find a generous market. You can’t imagine ossified Chisel freaks parting with the bucks but maybe some of his old fan base has matured its tastes. One thing for certain is that it will have instant appeal to musicians and to many he is the musicians’ muso. It’s a long way from The Alice to West 53rd and it’s gratifying to see Mossy strutting his stuff in this elite company.          

(Bruce Hardy)                                                 



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JEFF LANG

Chimeradour (ABC Music)

Jeff Lang is a national treasure. He is a supreme roots guitar virtuoso with perhaps only John Butler as company. In just a few tracks his playing can transport you in time and place. From Mississippi to Appalachia to West Africa to India and all stops in between. With an armory of exotic instruments he evokes wondrous modalities, the most profound being those achieved on his Churchill lap steel.

Jeff is singing better than ever and he is supported by a lush chorus on several tracks. His instrumental work is chameleon like and astounding in its variety. The contrast between the opening track ‘Two Worlds’ and the second track ‘ Home To You’ typify this. The first an ethereal middle eastern meditation and the next a sleazy electric slide grunge. ‘I Want To Believe’ is one of his infamous breakdowns. ‘Edge Of Light’ starts to pump and what sounds like an Indian Shehnai solo is in fact a heavily modulated guitar.

Lang has a busy touring roster including dates in Queensland in late October. He’s at The Zoo this Saturday. If you’ve never experienced him live here’s your chance. Do yourself a favor and pick up Chimeradour at the door on the way out.                    

(Bruce Hardy)                                                 

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BACKSLIDERS



Throwbacks (Shock)

Covers albums can be treacherous affairs. Bluesmen the Backsliders have taken music made famous by largely English R&B enthusiasts in the 1960’s and dragged it back to the Delta. Recorded by Jim Moginie, the six track mini-album features new takes on ‘Gimme Shelter’, ‘You Got The Silver’ and ‘The Last Time’ (Rolling Stones), ‘Magic Bus’ (The Who), ‘All Day And All Of The Night’ (The Kinks) and, the odd one out, ‘Hollis Brown’ from the Bob Dylan songbook. Dom Turner plays guitar and sings, while Rob Hirst adds vocals and drums. Ian Collard plays harmonica and Broderick Smith lends a hand on ‘The Last Time’. Highlights include their take on ‘Magic Bus’ and the hypnotic opener ‘Gimme Shelter’. The album is available at gigs, iTunes or www.backsliders.com.au

(Amelia Gough)  







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DEAD MAN’S BONES



Dead Man’s Bones (Shock)

In following the latest trend of trendy actors to make a trendy indie record, Hollywood heart-throb Ryan Gosling gets a hold of some top notch producers and throws together a polished little gem.

The back-story for this album is almost as fascinating as the album itself. In 25-words-or-less:  Gosling meets a nobody, Zach Shields, both have ghostly obsessions, they decide to make a stage/musical production based around this, realise that a record is a more realistic option and wolahh, Dead Man’s Bones is born.

The self-titled release is indie-pop from beyond the grave, or at least from the graveyard, spooky reverb soaked pianos, distant whistling and eerie child choirs portray a particular haunting concept. Drawing from the doo-woop of Sam Cooke, throwing in a dash of Joy Division and sprinkling in plenty of Arcade Fire, Dead Man’s Bones oozes with class. Kicking off with  ’Dead Hearts’, the album revels in morbidity from the get-go, shattering glass and hazy atmospheric ambience perfectly embody the concept of spying into world beyond the grave. The tempo picks up with the straight surf-rock infused, organ-jam, ’In the Room Where You Sleep’, which reveals both bandleaders as fairly dismal singers. In his best Bobby Vinton croon Gosling mopes, ’I saw something sleeping in your bed, I saw something touching your leg,’ not quite the most poetic of lines from someone who generally depicts a complex character so well on screen.

Thankfully operatic singing or spectacular lyricism is not the driving force on this release, the album’s weird vibe allows it to glow out from the repetitious shit American indie labels churn out on a daily basis. Two inexperienced musicians creating an oddly orchestrated, concept album is a very brave step and it pays them dividends. Take the electric piano driven, ’Pa Pa Power’ for example, it steeps in Arcade Fire imitation but the zest of the clumsy kiddie choir and its general placement, breaking up the spook-a-thon album, give it a satiating depth. The choir, recruited from hipster kid academy the Silverlake Conservatory of Music are utilised in many of the tracks sounding more ghost than human. On ’Lose Your Soul’, they allow the baritone lead vocals not to sound too depressingly ’Ian Curtis’, answering Shields’ morbid call with a spooky coda somewhere within the haunted halls of Hogwarts. Things get totally bizarre on the title-track, which seems to be about burying a body, and features an ominous monk choir and a sample of a woman weeping. Totally fucked up, but totally cool!

The quirky take on death prevents Dead Man’s Bones from being a depressing Closer affair, and its all out oddness, prevents it from being a straight factory-line indie release. Gosling and Shields have managed to craft a beautifully clumsy, slow-burner, which is perfect for the black-clad indie kids who seem to be multiplying on Brunswick Street these chilly Spring evenings.

(Nolan Giles)





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LISA MITCHELL

Wonder (Warner)

With so many clones in pop music, especially when it comes to female singers, it’s nice to hear someone so original in lyrics, vocals and melodies such as Lisa Mitchell. Mitchell wrote most of the tracks on this debut album, with the exception of five co-writes and one cover song.

Produced by Anthony Whiting (Arctic Monkeys, Zero 7, Sia) and Ed Harcourt (MIA, Eugene McGuinness) Wonder is a quality recording. Full of sonic wonder, it’s never boring.

‘Neapolitan Dreams’ is a catchy number that has been receiving radio play both here and in the UK. The quirky ‘Coin Laundry’ isn’t a stranger to playlists, but the pick of the bunch is ‘Pirouette’. Other highlights include ‘Sidekick’ which features an awesome harmonica solo and horns, ‘Valium,’ ‘Animals’ and an Ed Harcourt co-write,  ‘Stevie’.

(Nikki Whelan)



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LOU BARLOW

Goodnight Unknown (Domino)

Goodnight Unknown is the second solo album from Lou Barlow, Sebadoh and Folk Implosion frontman and Dinosaur Jr bassist. It is more diverse than its predecessor, Emoh, combining low-fi pop crunch with the wry, introspective folk reminiscent of his previous work into a cohesive and well-paced whole.

The songs are bolstered by the production courtesy of Andrew Murdock (Godsmack, Avenged Sevenfold) and feature an impressive cast including Lisa Germano, ex-Soul Coughing bassist Sebastian Steinberg and Dale Crover of the Melvins.

Album opener ‘Sharing’ plays to its pop strengths while ‘The Right’ features an understated structure with simple chords recalling Barlow’s Folk Implosion work. ‘Too Much Freedom’, ‘Faith In Your Heartbeat’ and the gentle acoustic lilt of ‘The One I Call’ should satisfy those nostalgic for the sounds of Sebadoh’s earlier work. ‘I’m Thinking...’ is a bittersweet and pensive track adorned with string arrangements that highlight Barlow’s songwriting. Other highlights include the low-fi stomp of ‘Don’t Apologize’ and ‘One Machine, One Long Flight’, which features the most full-throated and assured vocals from Barlow to date.

Goodnight Unknown will please fans of Barlow’s existing work but still manages to sound fresh. Diverse and cohesive, it rewards with each careful listen and is a welcome development to Barlow’s trademark sounds.

(Stephanie Bourke)



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JOE PERRY

Have Guitar, Will Travel  (Stomp)

Aerosmith fans rejoice! This is Joes’ second solo recording and a mighty effort it is. The sound is fresh, youthful and invigorating. The Admiral has weathered the tempests of over thirty years of rock stardom well. Recorded in Joe’s home studio, Have Guitar, Will Travel fills a gap opened up while Aerosmith sits in the backyard on blocks.

Although the album features a young German singer by the name of Hagen, all vocals are dwarfed by the stinging wall of guitar that permeates almost every moment of this work. Fans of Guitar Hero and air guitar please note: this am de man. From the curly synth intro of ‘We’ve Still Got A Long Way To Go’ through the loping, bluesy gait of ‘Slingshot’ into the Aerosmith-like ‘Do You Wonder’ there’s plenty to recommend early. Joe even satirically reprises Dire Strait’s daggy ‘Twistin By The Pool’ with the wonderfully titled ‘Somebody’s Gonna Get (Their Head Kicked In Tonight)’.          

Pop this on at your next piss-up and you’re sure to have the house rockin’ early.    

(Bruce Hardy)                                                 





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JAY Z

The Blueprint 3 (Warner)

Jay Z returns with the third installment of The Blueprint series. Much has happened to the hip-hop star since The Blueprint first appeared in 2001. Beyonce wears his ‘ring’, he’s been at the top, retired, comeback, Obama is a pal and he’s a record company mogul.

Produced with Kanye West, Jay Z has dragged in some A-list guests including Luke Steele, Rihanna, Alicia Keys and Pharrell. The music runs the gamut from old school hip hop to, what we’d loosely call, electro-hop.

Still full of ego Jay Z let’s us know that he’s just behind The Beatles in sales figures and "part of the reason the President’s black".

A quarter of the record is top-drawer, while the rest ranges from par to meandering fluff. Highlights include the opener ‘What We Talkin’ About’ with Steele, ‘D.O.A (Death of Auto-Tune)’ and the collaboration with Keys, ‘Empire State Of Mind’.

There are still enough one-liners worth quoting to let you know that Jay Z still raps with style. Still, despite the weight of the collaborations, you’re dealing with a mixed back. The artist might not be past his prime, but The Blueprint 3 isn’t in the same league as its’ original namesake.

(Amelia Gough)



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