Plugs

Got told to check out Leadlight’s myspace by bassist/guitarist Andrew. Judging by the songs on their profile, I quite like their sound, which varies a bit in style. A Ben Folds-esque influence is prominent in the brilliant piano, and in some registers of the vocals. While I’m not so keen on “Leave Me Outside”, in which I think the vocals sound a little too strained and forced, “Saw You In The Fall” is rather cute and funky, “Love Drug Left” has a gorgeous guitar intro that uses very lush tones that I always love, and “Clean” incorporates lovely piano riffs contrasted with some dirtier guitar. (It may also be that I have a penchant for lo-fi – “Leave Me Outside” was recorded more professionally. It probably sounds the most radio-friendly.) While the lyrics and vocals are quite youthful in sentiment, each of the elements in the music is quite subtle and intricate, combining to produce a fairly rich, textured and layered sound, which will no doubt flourish as the band grow in maturity and experience. Go check them out at the Alley Bar on November 30.

On the crest of a wave

After years of drawing crowds on the festival circuit, Byron Bay roots-reggae group Blue King Brown have finally released an album and are touring in support of it. Singer and guitarist Natalie Pa’apa’a is relieved to have the debut, Stand Up, out.

"The album was a huge undertaking, but it was definitely something we had to do," says Natalie. "We can feel that we have a recording that we’re really happy with, that really represents the band and the vibe and the message. The most exciting bit is getting it out there and pushing it and trying to spread it as far and wide as we can, and that’s what we’re doing now."

Following their current tour, Blue King Brown are once again on the bill for the Woodford Folk Festival in December. "The festivals are awesome. We love festivals, and we’re quite a festival band. The thing about festivals is you only get a certain amount of time, whereas when you’re touring and you’re playing in bigger venues, you really can put in the extra care to put on the show because it’s your thing. We love both really. The festivals are always a buzz though because everyone’s there and you get all the wicked collaborations that happen with all the other bands."

The band was formed three years ago by Natalie and Carlo Santone, both of whom played festivals in the percussion group, Skin. "I’ve always written songs and played guitar, so it had always been my vision I guess, something I had always wanted to do," explains Natalie. "Percussion wise, it was funny because the whole percussion thing just happened out of nowhere. Guitar was totally my first love, and then drumming just took over for about five or six years. We had the opportunity to start Skin and do all the festivals and really get a foot in the door that way, with contacts and connections and meeting people. It was a turning point when I said, ‘Now I want to get serious about the band thing, after all these years of percussion’. So I went and studied guitar for the first time, which was cool, and started singing, and getting it together. So the time came and we moved to Melbourne and recruited some players and started the ball rolling, and haven’t looked back since."

Behind the music of Blue King Brown lies a message of politics and activism. "I guess one of the main things for me is that all people realise that they really do have the power to make change in the world, and to make positive change. The sooner people can start realising that, then the closer we are to having change."

Some moving stuff

‘9’
Damien Rice
(14th Floor/Warner)
Following up a debut album as brilliant as ‘O’ was always going to be a daunting challenge for this Irish singer/songwriter. Damien Rice responds to this challenge in his second album, ‘9’, by venturing beyond his acoustic folk-pop style with the addition of piano and electric guitar in some exquisitely orchestrated instrumentation. While this shows a fresh and innovative progression by the artist, it seems that he has grown stale in the lyrical department, which all seems a bit contrived and unnatural. Nevertheless, despite a forced sentiment, the album is an aurally pleasing experience overall, as the well-composed arrangements are augmented by beautifully and convincingly delivered vocals and harmonies. ‘9’ is somewhat of a letdown in comparison with O, but worthwhile yet, owing to its several elements of intrigue.

Damien Rice's Official Site
Damien Rice's myspace


‘FabricLive.30’
Stanton Warriors
(Fabric/Inertia)
This British duo, comprising Dominic B and Mark Yardley, has mixed and mashed an eclectic variety of tracks in a style of breaks uniquely their own, in the latest of the FabricLive series. Together with their own productions, Stanton Warriors incorporated Spank Rock, Booka Shade and Freeform Five, among others, into a compilation that’s highly energetic and guaranteed to get you bumpin’, grindin’, and shakin’ that booty. The variety of beats and samples ranges from exotic and fascinating to plain crude or cheesy, often lacking elegance or subtlety. Nevertheless, this is a compilation designed to make you groove rather than listen, and it does so with much energy and attitude.

Stanton Warriors' Official Site
Stanton Warriors' myspace

Into the heart of the beast

Metal: A Headbanger's Journey is a somewhat insightful and highly entertaining overview of metal culture throughout history. Metalhead and anthropologist Sam Dunn shows us what heavy metal music means to him, and examines the various aspects of the culture. A range of subgenres are covered, from black metal to nu-metal, leaving the movie open to criticism or dismissal by metal purists. However, despite not being much of a fan of metal myself, yet having a fair knowledge and understanding of it, I found most of the interviews with the fans, artists and intellectuals quite interesting. The movie is neither entirely in-depth nor comprehensive, but definitely worth watching. The highlights:

• Ronny James Dio, who paid out Gene Simmons, yet actually seemed rather sweet
• Gaahl from Gorgoroth, who was truly scary and Satanic
• Necrobutcher from Mayhem, who was drunk and psycho
• Dee Snider from Twisted Sister, who was surprisingly articulate

Blah

Postmodernism through the Use of Technology in Beck’s Odelay


Many changes have occurred since the end of the 1970s, resulting in the aesthetic, referred to as postmodernism, emerging within popular culture. One of the key changes is the advancement of technology, which has both contributed to, and developed because of, the rise of postmodern consciousness. “One of the most inventive and eclectic figures to emerge from the ‘90s alternative revolution, Beck was the epitome of postmodern chic”, according to Steve Huey on allmusic.com. In a review in Slant Magazine, Paul Schrodt emphasises the cultural implications of Beck’s second album, stating, “Odelay isn’t just the product of one artist, it’s a defining statement of an entire generation in the throes of finding its own voice”. I will attempt to argue that Odelay, released in 1996, exemplifies the postmodern aesthetic through use of technology.

In Capturing Sound: How Technology Has Changed Music, Mark Katz explains how technology has enabled a form of musical borrowing known as digital sampling, in which “sound is rendered into data, data that in turn comprise instructions for reconstructing that sound”. The pitch and tempo of this reconstructed sound can then be manipulated independently of each other, and “sounds can be reversed, cut, looped, and layered; reverberation can be added; certain frequencies within a sound can be boosted or deemphasised”. In justifying the practice as an art, Katz compares the practice of digital sampling to traditional acts of musical borrowing, in which works may incorporate or adapt “quotations” such as melodies or chord progressions from previous works. “It is sometimes said that while a quotation is simply a representation of another piece, a sampled passage of music is that music”. However, this statement can be challenged by the aspect that “quotations are notational” – it is the instructions for recreating the sounds that are reproduced, not the sound themselves, and the “quotations are only complete when performed”. Similarly, a digital sample is merely a set of instructions that represent a sound, to be recreated by a computer. “Therefore, if sampling represents a sound, we cannot say that a sampled passage of music is that music”. Katz describes digital sampling as a form of “performative quotation: quotation that recreates all the details of timbre and timing that evoke and identify a unique sound event… traditional musical quotations typically cite works; samples cite performances”.

In “Fix It in the Mix”, published in Popular Music and Society, Steve Lindeman also discusses borrowing and sampling of music. He describes a change in the way music is viewed – as an “original piece of music is not regarded as sacrosanct, but as a pliable, malleable source to be built upon”, likening samples to jazz standards “used as a point of departure and transformed”. From one perspective, music “only exists in time, as a performance; the score is merely the “instruction” of how to realise the music” (Hicks, cited in Lindeman). This perspective sees music as an expression – a particular embodiment of an idea, an idea being “a concept, principle, process or system that is independent of any form” (Katz). Conversely, “the music as represented in the score may be conceived as the “real” work of art: the performance doesn’t make the music, but is a realization of the art that already exists” (Hicks, cited in Lindeman) – that is, the music as the idea itself. Katz explains that sampling “blurs the traditional distinction between ideas and expressions”. While a sample captures and mimics a performance – that is, a concrete expression – it is used as an idea when manipulated and displaced, and becomes a new expression, bearing no resemblance to its original state. Hence, “sampling has transformed the very art of composition. When composers sample existing works, they begin with expressions, transform them into ideas, and then again into new expressions” (Katz). It can be now seen that “every musical work is a potentiality, not a finished work, or that a creative work is never “finished,” but “abandoned,” and perhaps resumed at a later point in time” (Lindeman).

Katz suggests that “sampling is most fundamentally an art of transformation”. As an art, it displays several aspects of postmodern consciousness. Most prominently, it shows that technology is considered “not only as a way to preserve and transmit music but also as deeply implicated in the production and essence of music”. By transforming the roles of scores and performances as ideas and expressions, the practice of sampling “locates meaning and even structure in listeners, more than in scores, performances, or composers” (Kramer). Sampling also facilitates conspicuous use of genre mixing. By juxtaposing samples from different genres, the “confluence of genres previously thought incompatible” is explored, blurring, crossing, or obliterating the boundaries between popular music and “art music” (Alper), while multiculturalism is embraced by “quotations of or references to music of many traditions and cultures” (Kramer). This use of collage causes the music to include “fragmentations and discontinuities” (Kramer), and can be seen as “a deliberate and repeated attempt to disrupt the narrative structure of a song” (Alper).

Sampling is used prolifically in Odelay, not only as additions to the songs, but embedded in the basic construction of the songs themselves. Describing the creative process, Beck says, “It was basically me writing chord changes and melodies and stuff, and then endless records being scratched and little sounds coming off the turntable” (Fink). Genre mixing is explicit, as samples of soul, funk, rock, jazz, blues, folk, electro, hip-hop, bossa nova, and rhythm and blues are fused together among other influences, “collecting the grooves of generations past and reshaping them into a postmodern tapestry, merging countless samples and styles into one cohesive whole” (Schrodt). In a review on allmusic.com, Stephen Erlewine describes the album as “genre-defying music that refuses to see boundaries. All of the songs on Odelay are rooted in simple forms… but they twist the conventions of the genre”.

The first song on the album, “Devils Haircut”, contains a horn sample from “Out of Sight” by James Brown and a drum sample from “Soul Drums” by Bernard Purdie (Beck), both associated with the genre of soul. While stylistic elements of soul can still be recognised through the looped drum sample, the blare of the horn has been electronically manipulated to sound alien and futuristic, displacing it completely from its original context. Many other electronic sounds are also used, while effects and distortion are occasionally added to the vocals and guitars. Throughout the song, tones and moods continually morph and break into completely different ones, while maintaining a constant bass riff and repeated drum beat. While the resulting composition of “Devils Haircut” bears little resemblance to soul, it invokes familiarity in the listener through soul rhythms. Also familiar to the listener is the use of vocals and guitar, elements authentic to rock, yet digital effects manipulate them to sound blatantly artificial and inorganic. Similar to Katz’s analysis of Paul Lansky’s Notjustmoreidlechatter, Beck negotiates the familiarity of the drums, vocals and guitar with the strangeness of the effects and the unnatural and unidentifiable noises and samples. Like in Notjustmoreidlechatter, this balance also allows for repeatability, as the listener may try to identify the noises and samples with each successive listen.

Using similar techniques to that in “Devils Haircut”, the rest of Odelay displaces samples of various genres. “Hotwax” starts with bluesy slide guitar, joined by a drum machine and a syncopated funk bass. Beck raps over this, accompanied by highly distorted electric guitar riffs alternating with blues slide guitar riffs. The song also includes samples of accordion and jazz piano, and ends with a rhythm and blues interlude that comprises samples of spoken word, saxophone, piano and African drums. While “The New Pollution” features a sample performed by jazz saxophonist Joe Thomas (Beck), the pop rhythms and melodies overshadow any evocations to the genre of jazz. Meanwhile, high-pitched, synthesised samples, reminiscent of an old computer game or cartoon, are repeated throughout to create a fantastical, dream-like, virtual aura. Similar synthetic samples are heard in “Novacane”, which draws from several genres. Prominently, hip-hop is represented in the scratching and vocal style, while the keyboard chord progressions are reminiscent of funk, and the heavy distorted bass a common element in electro. “Where It’s At” contains several spoken word samples, among which is the title, sampled from an obscure 1969 sex education record for teens (Mason). In the chorus, this sample is interjected with a sample from “Needle to the Groove” by Mantronix, a hip-hop group (Beck). The song is based around a jazz keyboard progression, over which hip-hop elements such as rapping and scratching can be heard. “High 5 (Rock the Catskills)” begins with a Latin-American piano riff, and contains an orchestral break, while essentially, it is stylistically hip-hop. Even songs of more conventional structure, such as “Lord Only Knows”, “Jack-ass” and “Ramshackle”, are introduced or interrupted by obtrusive samples.

Aside from genre mixing, the postmodern sensibility may also be identified through the tendencies of irony, humour, and self-parody; the return to tonality; and the exploration of “surface” (Alper). Along with the often nonsensical lyrics and juxtaposition of disparate styles in Odelay, the discordance and absurdity of the samples uncommon to any particular genre of music could be described as tacky or crude. This deliberate inclusion may be perceived as a reaction to the “extreme seriousness of purpose” of modernists’ self-importance and arrogance (Alper). Irony is also presented by the use of hip-hop elements of rapping, scratching and sampling, as the origins of hip-hop come from black African roots, while Beck is a white American artist. This shows that Beck “embraces contradictions” (Kramer) and challenges ideas of race. The songs on Odelay are based upon repetitive looped samples and simple chord progressions, exhibiting the postmodern tendency of tonality, which suggests a “desire to attract an audience” (Alper). However, these basic elements are often interrupted by atonal distortion and dissonance, showing Beck’s resistance to totalising forms (Kramer). Sampling and effects explore the surface features of music. Odelay demonstrates ways in which sound can be manipulated to change its context, aura, meaning or function, raising “new sonic possibilities” (Alper). Scratching also displays sonic possibilities, as the use of the turntable as an instrument relegates its role as simply a piece of hardware that transmits music.

Matt Fink, in a review in Paste Magazine, proposes that “Odelay made computers and turntables safe for dudes with guitars”. This raises the issue of rock musicianship and anonymity discussed in “From Craft to Corporate Interfacing: Rock Musicianship in the Age of Music Television and Computer-Programmed Music” in Popular Music and Society. Den Tandt argues that the transformation of “musical gestures into raw material that can be processed by graphics software, computerized instruments, and information networks” relegates “performance practices (real-time playing and singing) traditionally central to rock personas to a secondary status”. It has been said that “digitalization neutralizes the romantic culture of selfhood”, resulting in “a postmodernist aesthetic of endless reproduction, pastiche, and impersonality” (Wollen, cited in Den Tandt). This is seen in Odelay, in the way samples are manipulated to disguise or shadow their original source or context. However, while is it focused on technology and production, Beck compromises this with his use of vocals and guitars. Despite the electronic manipulation imposed on these elements, they nevertheless create a personalised image that is not only identifiable to listeners, but also expressible through live performance. Den Tandt suggests that this compromise between anonymity and personalisation may be perceived as a “comment on the cultural context that brings about the erasure of self in the first place – the corporate economy”.

The practice of digital sampling suffers much criticism and controversy. Aside from the issues of artistry previously addressed, sampling raises a debate about the law. In preventing duplication of recorded music without authorisation, copyright laws exist against audio piracy. While sampling is not mere duplication, but appropriation and transformation of existing recordings into new compositions, it is nevertheless subject to the same copyright laws. According to these laws, original composers of samples may be entitled to ownership and royalties of the new compositions that incorporate the samples. In a thesis that addresses “Music Sampling and Copyright Law”, John Lindenbaum states, “Laws and court decisions have not established what balance between the protection of an original artist and the protection of new appropriative artists would best foster overall musical creativity in the United States”. With legal issues escalating more recently, this presents restrictions and limitations to postmodern artists, as Beck compares the production of Odelay to his later album Guero, released in 2005.

"The only difference is that it’s pretty much impossible to clear samples now. We had to stay away from samples as much as possible. The ones that we did use were just absolutely integral to the feeling or rhythm of the song… Now it’s prohibitively difficult and expensive to justify your one weird little horn blare that happens for half of a second one time in a song and makes you give away 70 percent of the song and $50,000. That’s where sampling has gone, and that’s why hip-hop sounds the way it does now" (Fink).

Nevertheless, the controversy surrounding the practice of sampling shows that it “challenges our notions of originality, of borrowing, of craft, and even of composition itself” (Katz), both extending and reacting against the modern aesthetic. This is seen in Odelay, a collage that takes different samples from genres of cultural and temporal disparity, as well as non-musical sources, juxtaposing and displacing their meanings and contexts, and reconstructs them into new compositions, to create original and unexpected moods and auras throughout. Odelay is resplendent with contradictions, as Beck subtly balances familiarity with strangeness, the artificial with the organic, simplicity with complexity, seriousness with triviality, the real with the virtual, and anonymity with personalisation. The use of technology in Odelay shows the possibilities of the practice of sampling as an art, corresponding with the present zeitgeist of postmodernism.


Works Cited

Alper, G. “Making sense out of postmodern music?” Popular Music and Society 24.4 (2000): 1-14.

Fink, M., “Beck: Breaking The Narrative”, Paste Magazine 16. http://www.pastemagazine.com/action/article?article_id=1816 (30 Oct. 2006).

Den Tandt, C., “From Craft to Corporate Interfacing: Rock Musicianship in the Age of Music Television and Computer-Programmed Music.” Popular Music and Society 27.2 (2004): 139-160.

Erlewine, S. T., “Odelay: Review”, Allmusic. http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:0pdgyl4oxpmb~T1 (30 Oct. 2006).

Hicks, M., “Energeia and ‘The Work Itself.’” Journal of Aesthetic Education 21.3 (1987): 69-75.

Huey, S., “Beck: Biography”, Allmusic. http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:4g57gjtrj6ia~T1 (30 Oct. 2006).

Katz, Mark, “Music in 1s and 0s: the art and politics of digital sampling.” Capturing Sound: How Technology Has Changed Music. Berkeley: University of California Press, 2004. 137-157.

Kramer, J. D. “The Nature and Origins of Musical Postmodernism.” Current Musicology 66 (1999): 7-21.

Lindeman, S., “Fix It in the Mix.” Popular Music and Society 22.4 (1998): 91-100.

Lindenbaum, John. “Music Sampling and Copyright Law.” Princeton University, 1999.

Schrodt, P., “Beck: Odelay”, Slant Magazine 2004. http://www.slantmagazine.com/music/music_review.asp?ID=440 (30 Oct. 2006).

Wollen, P., “Ways of Thinking About Music Video (and Postmodernism).” Critical Quarterly 28 (1986): 167-170.


Discography

Beck. Odelay. Compact disc. Geffen Records, GEFD-24908, 1996.

Festival fun!

Parklife was a nice start to the summer festival season... now still to come:

Setting it off in my 'hood

Resin Dogs played at the Jacaranda Festival in Goodna last night. That was supercool - lots of kids and oldies who probably didn't dig hip hop, but there was a good little crowd bouncing in the front (except for the fat old chick in tight skimpy clothes grinding... ew). I'm not a huge fan of MCing, but I looooooooooove those infectious beats and samples. I really appreciated the live instrumentation of guitar, bass and drums, along with the scratching and effects. And the visuals were really cool, particularly when they did a Midnight Oil song and looped footage of Peter Garrett dancing. Very fun (and I think fat old chick in tight skimpy clothes may have started a fight at the end). Like everyone, Resin Dogs have a myspace.

Good Aussie stuff

‘Stand Up’
Blue King Brown
(Roots Level)
With a title like ‘Stand Up’, this is, unmistakably, music with a message of social change. While politics may not sit well with everyone, Blue King Brown does it with an aesthetically pleasing roots/reggae style, motivated by compelling offbeat guitar and syncopated bass. Having seen this band play live, the dynamics of the brilliant African drumming isn’t quite captured to full effect in the recording. However, you’ll still find the beats stuck in your head, while Natalie Pa’apa’a’s honey-like vocals do come through gorgeously defiant and strong, holding the entire album together. Having toured at festivals, amassing fans all across the country in the past couple of years, it’s about time that this unique five-piece from Byron Bay released their first LP, and it’s one that doesn’t disappoint.

Blue King Brown's Official Site
Blue King Brown's myspace


‘House Of Heads’ EP
Scul Hazzards
(Valve)
There really is quite a lot of quality indie rock in Brisbane, if you know where to look. One band to look towards is Scul Hazzards, a four-piece who cites their influences as Jesus And Mary Chain, Sonic Youth, The Melvins and The Birthday Party among others. These influences emerge prominently in their screechy vocals, use of distortion, pummelling drums and wicked wicked bass lines. Altogether, their sound is fast, noisy and dirty, in every positive sense of such a description. One could argue that this sort of sound has been done by many before, and doesn’t provide any new ideas, but it’s one that I can’t seem to get sick of.

Scul Hazzards' myspace

Wine, dance and song

Doch was an absolutely spectacular 2 hours spent at the Powerhouse last Thursday night. The guest singers were beautifully expressive, while the instruments were played with great technical ability as well as fun and passion. I can't believe how fast they could play! And with such a large orchestra, the layers of sound were coordinated amazingly. The slower songs had me transfixed, while the livelier pieces got me up and dancing by the end. My favourite aspect of Doch and Balkan gypsy music is the element of wit, humour, satire or irony expressed in musical style, which I just can't quite articulate into words.

L'avant-garde et l'après-garde

‘Through The Windowpane’
Guillemots
(Polydor/Universal)
You’ve probably already fallen in love with this band if you’ve heard the sweet and uplifting ‘Trains To Brazil’ on the radio. While the rest of the Mercury Music Prize-nominated album from the London four-piece isn’t necessarily as catchy, it disappoints not, as nothing warms the soul like a dose of heartfelt indie pop. Experimenting with sounds that range from curious and quirky to opulent and grand, emotions vary between optimistic and melancholic as singer Fyfe Dangerfield earnestly pours his heart out. The plethora of instruments used, together with the incorporation of different effects, enrich the dynamics of their sound greatly. Although the occasional omission of drums and bass is only effectively poignant at certain times, and causes the album to lose pace at others, ‘Through The Windowpane’, on the whole, is highly intriguing and enjoyable, invoking a myriad of moods as well as exploring interesting sonic ideas.

Guillemots' Official Site
Guillemots' myspace


‘Cream Ibiza: Eddie Halliwell’
Various
(Newstate Music)
As the market becomes saturated with commercial dance compilations, this has to be one of the slightly better ones. Disc 1 is nothing innovative, with house and electro tunes already ubiquitously featured on other compilations, played in clubs, and used in television advertisements. However, Disc 2 is a little edgier, with a selection of less overexposed techno and trance, sewn together rather nicely. Still, I wish producers of such compilations would try to introduce more ideas and styles in electronic dance music that are completely new and avant-garde.

Eddie Halliwell's Official Site
Cream's Official Site

Grate as ever

Friday night started out at the Jubilee Hotel, where Block Past Maple played six brilliant original songs. My favourite was the 1950s style love song with a lovely doo-wop chord progression. The band, and in particular the lead singer Stu, has improved phenomenally in style and confidence since their last gig. Kudos to the guys, and a shout out to the drummer Jeremy who is one top bloke :)

Faker were first up at the Tivoli, and like at Big Day Out, were jumping and climbing all over the stage. 'Hurricane' had the whole crowd dancing, while the songs that weren't off Addicted Romantic, and hence that I hadn't heard before, were interesting and somewhat promising.

The Grates, like always, were as fun as I had expected. I was jumping around and singing along most of the time, and I'm still in awe of Patience's energy on stage. I love their raw sound - just drums, guitar, vocals, and occasionally keyboards played by a panda, come across so well live. The white winter stage decor and faux snow were also rather cool.

To market, to market...

If you’re yet to hear of these birds, you ought to soon. On the line-up for 4ZzZfm’s Market Day next Saturday is Brisbane band Butcher Birds, who have been gigging around town. Bassist Joanna Jane Nilson (who also sings for The Mean Streaks) speaks to Scene.

“The band started when I met Stacey through her boyfriend Nate, who played in the Wulvs,” explains Jo. “The Mean Streaks did a couple of shows with them. I met her and thought that she was really strong and funny and cool. I wanted to start a gang with her, and the next best thing was starting a band. I didn’t have the time or the means to do anything, but I learnt to play bass anyway because I wanted to play with her so badly. We got our friend Steve who played in Wulvs to play drums. I met Jacinta at a Red Paintings show in the toilets when The Mean Streaks played with her band, Dictator Chic.”

Among various local bands, Jo says she is influenced by seminal bands such as Bikini Kill, PJ Harvey, Roy Orbison, AC/DC and Sonic Youth. “Sonic Youth influenced everyone who came out of the nineties and the early noughties, and some parts of the 80s, so it’s hard to escape them even if you don’t like them directly.”

Despite yet being played on 4ZzZfm, the band is well in support of Market Day, and is looking forward to playing. “There’s always all these great bands that play. It’s kind of like a big house party, getting horrendously drunk on tinnies with everyone you know, and everyone should come and support it, because they’ve done a lot of good for me in the past. Triple Z is a good showcase for us, because we just need to play to a wider audience. I just like being a girl playing and if other girls can see that, that’s really cool.”

Butcher Birds will also play Ladyfest in November with Erase Errata. “It sounds like an interesting day,” says Jo. “Obviously, there are not many women doing rock n roll stuff in Brisbane, so it’s really great that girls are doing stuff to bring other women to the forefront creatively, and that’s never a bad thing. I just wish there was a larger variety of bands on the bill perhaps.”

The band is also hoping to get a CD out soon. “We have actually recorded, but that’s not out yet. We’re kind of looking for someone to help us release that. It’s just a little five song EP. We recorded that with a friend of ours, Emerson. It’s going to be called Eat Their Young. We’re getting it mastered this week, and that has most of the tracks we play live on it. Hopefully we can get it out in the near future.”

It's all just a little bit of history repeating

‘(ONe)’
The Panic Channel
(Capitol)
‘(ONe)’ is a highly appropriate name for this album, because it’s the number of times too many that I’ve listened to it. You’d expect a new project involving former members of Jane’s Addiction to be an exciting, innovative and interesting venture. Think again. This album is simply mundane and clichéd. The Panic Channel seems to do nothing except borrow from the past, with sounds typical of Californian alternative rock bands of the 1980s and 1990s, such as Mötley Crüe, Rage Against The Machine and System Of A Down. While these bands, along with Jane’s Addiction, have played a role in creating that sound, The Panic Channel merely imitates it, and as a result, is incredibly obsolete. Perhaps I’ve missed something more subtle, intricate and sophisticated to this album, but I’m just not willing to find out if it means having to listen to it again.

The Panic Channel's Official Site
The Panic Channel's myspace


‘Revenge Of The Killer Slits’ EP
The Slits
(Exo)
I’m relieved to find that this is not a case of music greats being has-beens. Original UK 1970s punk chicks have recruited Paul Cook of The Sex Pistols and Marco Pittoni of Adam & The Ants to record some clever new tunes. While they haven’t abandoned their raw angry sound of old, there’s a savvy urban touch to this EP that shows that they’ve certainly evolved and aren’t stuck in the past. Old and new fans alike would appreciate that their attitude is as witty, sassy and in-your-face as ever, with the only disappointment perhaps being that the EP only comprises three tracks.

The Slits' Official Site
The Slits' myspace


‘The Best Of Fabienne Delsol & The Bristols’
Fabienne Delsol & The Bristols
(Damaged Goods/Shock)
This now split London garage punk band and their French leading lady are fantastic. The melodies and riffs are sweetly catchy, while Fabienne’s exquisite vocals are sexy, saucy and playful. It’s very retro and reminiscent of 1970s go-go, added with punk influence, and entirely clever and fun. This compilation includes songs from The Bristols’ only two albums as well as rare singles. It will be interesting to see future solo work from Fabienne Delsol.

Eargasmic

Unfortunately missed On/Oxx playing at the Zoo last night. Came halfway through Macromantics, who were these two crazy chicks mixing and MCing some fun bouncin' hip-hop with much energy and attitude. Check 'em, they have a myspace.

My Disco were really really really gooooood. Okay, they might have been playing the same song over and over, I wasn't entirely sure, but the live sound was spectacularly enveloping. They played a really tight set - all their timings and accentuations were perfect, and they were all working damn hard up there. Hell impressed. And I think I'm in love with the drummer!

Decisions, decisions

Ever the problem with multi-stage festivals... what to see? It's great that regardless, there's going to be something good on, but it sucks knowing that you're missing out on something that you'd potentially really enjoy. So the biggest dilemma here:

Mixmaster Mike

or

Peter Hook

???

Looks like there will have to be much frivolous running around between sets and stages. But by Jebus, there will be dancing!

This ain't no disco

‘Cancer’
My Disco
(Numerical Thief/Stomp)
This album is one that I’d call a “grower”. Lyrically sparse, and with spatially separate twangy bass, chunky guitar and rattling drums somewhat uniform throughout all the songs, it failed to grab my attention at first. Somehow, however, upon several listens, the sound of this Melbourne three-piece begins to develop a bit of a groove. Each track does sound very similar, but it’s actually quite addictive and you find yourself wanting more of those sombre bass riffs, anxious chords and irregular time signatures. ‘Cancer’ is highly impressive for My Disco’s first full-length album, one that effectively explores sonic ideas of minimalism, dissonance, abruptness and spatiality.

My Disco's Official Site
My Disco's myspace

The gypsy carnival is back in town

An orchestra of banjo, double bass, cimbalom, viola, cello, accordion, tuba, five violins, two clarinets, two saxophones, two trumpets, three trombones, four guitars, percussion and three vocalists playing Balkan gypsy music is not something you’d expect to come out of Brisbane. However, Brisbane band Doch and their Gypsy Orchestra have made it a style of their own, and are ever increasing in popularity, having played at festivals all around the country.

Banjo player, composer and arranger of Doch, Nick Lavers, explains the appeal in gypsy music for young and old. “It crosses through to everyone - it’s not the obvious people sticking with their age group. It’s just a bit of a mixture, the energy of it, and it has a lot of spirit. Seeing people play it is kind of impressive, because it’s sort challenging to play, and because it’s on acoustic instruments you can see what the musicians have to do to play it. It’s also got a lot of soul - it’s not just people showing off, and it’s obviously a little bit different.”

To play a style that has foreign roots may seem like an intimidating challenge, but the group seems to have found a way to be comfortable with it. “Basically, to actually play as if it was our music – the music that we grew up with – is just impossible, so we don’t really worry about that, because it’s not something you’d even pretend to do. Because we’re musicians and we really like it, we can bring that out.”

This month, Doch are once again returning to the Powerhouse, with an orchestra of 25 players. They will be playing Doch tunes, augmenting it with lots of brass, accordion and strings players. Fans who saw last year’s show should expect an even better performance this time around. “We’re doing a lot more songs this year, and we’re making everyone memorise everything. The people who weren’t in the main Doch band in previous years had music to read. We’ll definitely make more mistakes, but it’s a much better dynamic. If they know it well, we can look at each other and we can look at the audience. I’m hoping it’ll make a huge difference actually. When you get something right with that many people on stage, when it does work, it’s just a ridiculous buzz because you’ve got so many people beside you, and you know they all feel the same way. It’s one of my favourite things – we all work really hard together as a large group, and then when it works really well and we’re all thinking the same thing, it’s as intimate as a small band but you’re actually playing with a lot more people.”

Special guests performing with Doch include Russian vocalist Zulya Kamalova, Serbian-born vocalist Goran Maric and accordion player Dragan Milovanovic. “I think we met Zulya because she introduced herself after seeing one of our gigs, because she really liked our band. Goran and Dragan are actually from Brisbane, and played just within their community. They’re really nice and fun and it’s just really interesting.”

Vegas Kings at Ric's

Hmm well... I have to say, I was mildly disappointed by the gig on Saturday night. It was by no means bad, but just not that great. I like their music, definitely, but I think what they were trying to do just wasn't conveyed as well live as I had expected. Each of the individual elements within the music was well played, and I appreciated that, but it just didn't all come together clearly enough to move me in any great way, and perhaps they sped it up a bit too much for me to enjoy. That said, I'd probably still see them play again, and look forward to anything they offer in the future.

Been slack...

‘Two Thousand’
French Kicks
(Startime International/Vagrant)
There has been quite some expectation from indie fans for this third album by five piece French Kicks. While it doesn’t entirely disappoint, it is somewhat of a contradiction. The songs are all equally pleasant and poppy, with cheerful melodies and rhythms, sweet harmonic vocals, and that lush layered guitar style typical to New York bands such as Sonic Youth or The Strokes. Despite this, however, there is very little about the album that stands out or sticks in my memory. The intriguing element to the album lies perhaps in its production, with a washed out distant sound that invokes a wistful sentiment that adds irony to the cheerful melodies. While ‘Two Thousand’ falls short of brilliance, it is nevertheless highly enjoyable, and shows some of the French Kicks’ future potential.

French Kicks' Official Site
French Kicks' myspace


‘Welcome To the People Tree’
Various
(People Tree)
Apparently, there’s a new British folk movement, as I’m told by this album’s liner notes. Now I’ve not heard much about this alleged movement, but the title and cover art all seem a bit suspiciously hippie to me. From the sounds of it, it’s like old folk music fused with some jazz. If that sounds like the kind of music you’ve just been waiting to hear, then quick! Go buy the album! But honestly, to me, it all sounds a bit boring and daggy. No offence. Okay admittedly, perhaps it just takes a little worldliness and open-mindedness to appreciate. The instrumentation and vocals aren’t altogether bad. It’s just in the matter of style in which it lacks any entertainment value whatsoever, except perhaps the cover of Portishead’s ‘Glory Box’, which sounds like a strange progressive rock version of the song. Even so, it’s not worth enduring the rest of the compilation for.

Youngsters no more

Last night was spent at the Zoo, and what a night! First off was The Mean Streaks, who were young, full of energy and highly impressive! A feisty and fiery bunch, the lead singer chick sounds like an angrier version of Karen O from the Yeah Yeah Yeahs, and their new drummer was this nice girl I vaguely knew (of) through uni. Charismatic as the band and their music were, they were somewhat overshadowed by a ring-in tambourine chick who just went nutso all over the stage. It inspired me to reconsider my prospects of a career as a "musician" - I don't think it's beyond my capabilities to go on stage drunk and bash a tambourine on stuff while a band plays. Anyway yeah, The Mean Streaks were fun, see their myspace.

I really loved Happy Hate Me Nots, perhaps more than I expected. I'm really glad to have heard of them and to have heard their anthology before this gig. I particularly like how they represent punk ideology, but their melodies and lyrics also have great aesthetic value. They performed well, and I could really see that they'd had great experience in gigging, and delivered their songs with a sense of nostalgia. I'm curious to see if they'll write, record and perform new material following this recent reformation.

The Buzzcocks were insane! I'd not moshed in a really long time, and I've never really seen masculine aggressive moshing to this extent before. It was bizarre, I usually keep to myself and enjoy having my own space at gigs, but somehow I got a therapeutic sense of satisfacton from pushing and shoving around with strange people. It was also amusing to witness a mutual enjoyment between people acting violently against each other, like some sort of bonding ritual. The band also happened to be really good (I can't believe that they're so last generation - I swear I was the youngest person at the venue), and it was obviously by the performance that such passionate crowd activity was inspired, but it was foreign to me to enjoy a gig without cognitively focusing on the band. I didn't make it through the entire set, leaving a little worse for wear, but it surely was a freaking awesome experience!

More reviews

‘Release Yourself Volume 5’
Various
(Central Station)
This compilation, mixed by Roger Sanchez, is an ideal soundtrack for any cool, classy social gathering. Disc 1 is for pre-party, and consists of smooth, chillout tracks. Low-key and unobtrusive, the beats and melodies are stylishly constructed and intriguing to listen to, while creating an invitingly trendy mood. Once warmed up, Disc 2 will get you partying. Energetic and hypnotic, the house rhythms draw from various styles and cultures, from hard and heavy to exotic, craftily mixed. While none of the tracks stands out individually, the compilation as a whole has a fresh positive vibe that is impressive and confident.

Release Yourself Official Site


‘Overboard And Down’ EP
Okkervil River
(Low Transit Industries)
Released exclusively in Australia and New Zealand for their tour, this five-track EP from Okkervil River is highly exciting. Loyal fans could not possibly be disappointed by these gorgeous ballads unabashedly delivered. Indie pop is stuff that warms the heart, well and truly. Everything about this band is so organic, with strummed acoustic guitar, lively piano and horns, and vocals that are just slightly tenuous. Despite having released four albums and numerous EPs, this band from Austin, Texas still sounds like they will never run out of tales of love and heartache to sing about. The EP also includes a fantastic live recording of ‘Westfall’, and the exclusivity of this release definitely makes it worthwhile obtaining.

Okkervil River's Official Site
Okkervil River's myspace

I like how they operate

Pertaining to live music, Gomez at the Tivoli last night was the best $70 I've ever spent. Freaking amazing. Their catchy and straightforward, yet earnest and soulful songs were performed just brilliantly. So rich in sound, with their plethora of instruments and effects, they filled the entire room with music and atmosphere. And the vocals, OHMYGOD the vocals were powerful, that gravelly husky voice that comes through among the harmonies, as well as belted out loudly over everything else. The dynamics of the performance was impeccable - the timing, the pauses and the variations in intensity were all perfectly delivered. Gomez pleased the crowd with most of the songs from How We Operate as well as an even selection from the other albums, and worked hard in a beautiful one-and-a-half-hour set. And these guys just loved what they were doing and really meant it.

(Obviously, I'm far too blown away to write a coherent reveiw here. Just believe me, it was sensational.)

Warning!

‘A Lively Mind’
Oakenfold
(Virgin/EMI)
It’s hard to decide what to make of this album from one of the world’s most reputed DJs and producers. ‘A Lively Mind’ is really quite an eclecticism, drawing from electro and hip-hop, as well as Oakenfold’s original domain of trance, and includes collaborations with the likes of Pharrell Williams and Grandmaster Flash. Of course, technically, each song is undoubtedly a very polished construction. Artistically, however, the album has me wondering where Oakenfold is actually taking his music. Catchy as it is, some of it just sounds a bit “so five years ago”, and just not as innovative and exciting as one would expect. Nevertheless, highlights include the very grinding ‘Faster Kill Pussycat’ featuring actor Brittany Murphy, already popular in clubs, and the anthemic and trancey ‘Amsterdam’. Just WHATEVER YOU DO, SKIP TRACK 7. Its inclusion has me highly baffled and disgusted at the HORRIDLY HORRID BOY-BAND DRIVEL. Please, trust me on this one, for the sake of preserving the credibility of all of Oakenfold’s brilliant work over the years.

Paul Oakenfold's Official Site
Paul Oakenfold's myspace

My opinion on some pretentious and wanky music

‘Radio Swan Is Down’
Laura
(Alone Again/MGM)
I have skepticisms against something that fits so perfectly into a pre-defined genre. What purists may deem as authenticity could very much be perceived as unoriginality, conformity, homogeneity or imitation. Melbourne band Laura is so quintessentially post-rock. Experimenting with a myriad of instruments, effects and, well, noises, their second album, ‘Radio Swan Is Down’, is a serious work of soundscapes dense in textures and moods. And how much more contrivedly postmodern can you get than a song title as long as ‘It’s Kind Of Like The Innocent Smiles You Get At The Start Of A Relationship Before You Fuck Everything Up’? Basically, this band is “home-brand Mogwai”… although “home-brand” may be interpreted in a positive light as “local”. I must admit I actually dig this wankery – despite doing nothing to extend or transcend predecessors of the genre, Laura does post-rock well. Ignore the pretentiousness and you get an ambient, moving and intriguing album.

Laura's Official Site
Laura's myspace

Them Was Scientists

The Rocketsmiths (formerly known as The John Citizens) were the support act last night at the Zoo. A quirky pop band, they made a variety of loud fun sounds that I enjoyed.

I was pleasantly surprised by We Are Scientists, quite impressed. Having heard only a few songs of theirs on the radio, I wasn't entirely sure what to expect. Their delivery was tight, with the lead vocals really strong. There was a mix of catchy riffs and ambient jams on the guitar, while the bass and drums were brisk and pounding. Think The Killers/Bloc Party, with a bit of... I dunno, Youth Group? mixed in, but with dirtier American punk rock undertones. The (rather young) crowd went rather nutso and rowdy, which was cool, while the few slightly slower songs were intriguing. The stage banter was also quirky, nerdy and fun.

Not a band whose album I would invest into listening to with contemplation, but I was very much entertained.

The Rocketsmiths' Official Site
The Rocketsmiths' myspace

We Are Scientists' Official Site
We Are Scientists' myspace

Just one of the tales from the Australian underground

‘The Good That’s Been Done… (an anthology)’
Happy Hate Me Nots
(Feel Presents/Shock)
It’s nice to see great Australian bands receive well-deserved recognition. Director and Chief Tour Coordinator of Feel Presents, Tim Pittman, also responsible for the ‘Tales From The Australian Underground’ compilation, has enabled this Sydney underground power pop/punk outfit of the 1980s to release a compilation of their work onto CD. As well as singles and songs from albums and EPs, the inclusion of live recordings captures the style and essence of what Happy Hate Me Nots’ performances were all about, while previously unreleased material would certainly excite loyal fans. Perhaps the most charming element of this compilation, however, is the liner notes containing a comprehensive recount of the band’s history by lead singer Paul Berwick, written with modest, understated, earnest and fond memories of their work. Altogether, the compilation paints a genuine picture of the scene and era of Happy Hate Me Nots. It will be interesting to see the surviving members of the band, inspired by the release of this anthology, reformed and touring.

Happy Hate Me Nots Official Site
Feel Presents Official Site

This is cool

is an Audio Blog Aggregator, which searches blog posts containing MP3 links. Basically, a really easy (though not necessarily legal) way to find MP3s. Speaking of which, I wonder how I would post an MP3? I shall ask someone more technologically advanced than I.

Supporting an awesome radio station

Kid 606
Talkshow Boy
The Dreamkillers
The Meanies
The Bird
The Winnie Coopers
Six Ft Hick
Wiseacre
Dubdoubt
The Butcher Birds
Transport
Del Toro

Earlybird tickets $15 for subscribers, $30 + bf for general public, available from Skinny's, Rockinghorse, Butterbeats, Moshpit, Sunflower and Music Mania.

About time I finally saw them

These guys are pretty cool. Saw them on Saturday night rockin' out Ric's, where the gigs are free and nobody tries too hard to look trendy. (Elsewhere, people really do try far too hard, and still fail to look trendy. The moral of the story: never try.) The Corbett brothers were full of raw primal energy on stage, and I even got drenched in Gentle (sexy) Ben's sweat at one stage. Not entirely sure I appreciated that. Anyway, jumping around was fun, even at the expense of my toes. The guys are off to tour Europe now, but in the meantime check out their myspace.

Houspunky

‘Housexy Spring 06’
Various
(EMI/Ministry of Sound)
How sexy indeed. As the weather heats up, and we whet our appetites with a taste of a summer party season approaching, this compilation of lust-driven dance music is very much the flavour of the moment. A varied selection of fun and cheesy beats and rhythms smoothly mixed together by Alan Thompson, some tracks are slightly on the “easy listening” side, leaving to be desired something more pounding, driving, dirty or grinding. Then again, it’s an ideal mix for either just warming up for the evening or winding down. Either way, it’s all about an attitude of cool and sexy.

Housexy.com


‘Short. Fast. Loud.’
Various
(Warner/Triple J)
If you think Good Charlotte is punk, Triple J’s Stu Harvey will show you where to stick your safety pins and teach you that punk is not just about how black your eyeliner is, or about how much you can whinge about your poor unfortunate pathetic life. Disc One of this compilation is a selection of classics and favourites, from bands such as The Saints, Fugazi, and At The Drive In. While hardcore fans may own all their albums, surely a “Punk, Best of” could be appreciated. Disc Two proves that indeed, punk’s not dead, with a snapshot of all that’s going on in the Australian scene today. Bands regularly featured on the Short. Fast. Loud. radio program such as The Disables, The Hot Lies and Parkway Drive keep the ideology alive and give us youth something real to get angsty about.

Short. Fast. Loud. on Triple J

Not my best work, but hey, I had deadlines to meet

Massive Attack's Unfinished Sympathy in context of Postmodernism



Since the late 1970s, certain changes and developments have occurred, which have affected popular music and culture. Digital technology, industrial transformation, historical events and the introduction of MTV have all played roles in the evolution of the creation and consumption of music. The aesthetic that has emerged in this era, shaped by such changes, referred to as postmodernism, comes as a reaction of disillusionment and cynicism to the idealistic arrogance and self-importance of modernism. The postmodern sensibility, as Garth Alper describes, is exemplified in music through “the conspicuous use of genre mixing, irony, humor, and self-parody, and the exploration of the surface characteristics of an artwork”. Alper explains that technology has enabled genre mixing, the juxtaposition between ideas and elements of improbable connections and comparisons, in order to blur, cross or obliterate the boundaries between popular music and “art music”.

In 1992, UK group Massive Attack, “the pioneering force behind the rise of trip-hop” (Ankeny), released their debut album Blue Lines, which featured the song “Unfinished Sympathy”. This song is today considered “one of the most elegant, sophisticated works in the history of electronic dance” (Bush), and its video is well known, pastiches of which have been created in other music videos. I will attempt to argue that this song and its video is an example of the postmodern sensibility in music as applied by Alper, and in reference to characteristics of postmodern music defined by Jonathan D. Kramer in Current Musicology.

Most prominently, the song draws from several genres. Trip-hop is itself derivative of hip-hop, a genre that evolved as a response to postmodernity. Elements of hip-hop are evident in the construction of the song, with a drum machine providing an essentially hip-hop rhythm throughout. Distant sounds of scratching are heard throughout the background. Scratching is an exploration of sonic possibilities, as the concept transforms a turntable from its original purpose as a piece of hardware into an instrument. This element shows postmodern consciousness in that it “does not respect boundaries between sonorities and procedures of the past and of the present”, and “considers technology not only as a way to preserve and transmit music but also as deeply implicated in the production and essence of music” (Kramer). Above this, there is a repeated sample of an African percussion instrument. This inclusion could be perceived as a deliberate recognition of the African origins of hip-hop, placing its cultural and historical signification into the context of technology with the use of sampling.

The song uses a sample taken from John McLaughlin (Prasad), extending the concept of genre mixing, as the source could be categorized as the postmodern genre of jazz fusion, which combines jazz with other genres. The song also draws from jazz in the piano riffs heard throughout, while the vocals, sung by Shara Nelson, are reminiscent of a soul or Motown sentiment.

Such influences from African American styles are coalesced with the European orchestral sounds of strings. It is relevant to note that the artists are from Britain, where culture is closely linked with European traditions. The title of the song, “Unfinished Sympathy”, also suggests a reference to classical works of unfinished symphonies. The fusion of African origins with European shows “the boundaries between popular music and what is commonly considered “art music”” have blurred (Alper), challenging “barriers between “high” and “low” styles”, while it “encompasses pluralism and eclecticism” (Kramer). The contrast between the distant, sombre mood created by the strings and the warm tones in the vocals “embraces contradictions” and “presents multiple meanings” (Kramer).

The chord structure of the song comprises simple repetitive progressions, illustrating postmodern “return to tonality” (Alper). The structure of the song, which “includes fragmentations and discontinuities” created by the collage of samples, “shows disdain for the often unquestioned value of structural unity” (Kramer) and disrupts “the narrative structure of the song” (Alper). The production of the track creates layering of sound, and allows for a feeling of distance between the elements, transforming each of the units and linear patterns into a spatial sense. The multiplicity of layers and textures shows the work as an “exploration of the “surface””, with the appeal and intrigue attributed to internal aspects within the song rather than its overall construction.

While the heartache expressed in the song’s lyrics is by no means unique to the postmodern era, it could be argued that the lyrics display a cynicism and mistrust of modern ideals of love. Cynicism is also displayed in the video to this song. It is set in ghetto streets, and Shara Nelson walks along singing without acknowledging her surroundings of violence and poverty. Not only is this an attempt to illustrate reality, but perhaps also a comment on the apathy of society or the resignation that one is insignificant and cannot make a difference.

The composition and cohesion of all these elements show Massive Attack’s consciousness of the postmodern sensibility. The incorporation of various genres, with reference to their cultural and historical origins, contributes to multiculturalism and “loosens the hegemony” of European music (Alper), while also presenting “multiple temporalities” (Kramer). The use of collage, through technology of sampling, shows “a deliberate attempt to disrupt the narrative structure of a song” (Alper), resisting the formal song structures which were of importance to modernists. Instead, the repetition, disjointedness, juxtapositions and layered constructions emphasise the sonic possibilities. These characteristics, combined with deliberate and artful production, together with the sense of scepticism and disillusionment towards idealism, are a reaction to, as well as an extension of, the modern aesthetic, revealing the present zeitgeist of postmodernism.


Works Consulted

Alper, G. “Making sense out of postmodern music?” Popular Music and Society 24.4 (2000): 1-14.

Ankeny, J., “Massive Attack: Biography”, Allmusic. http://www.allmusic.com/cg/amg.dll?p=amg&searchlink=MASSIVEATTACK&sql=11:4z5tk60x9krf~T1 (24 Aug. 2006).

Bush, J., “Unfinished Sympathy: Song Review”, Allmusic. http://www.allmusic.com/cg/amg.dll?p=amg&sql=33:erf4z6g4eh3k (24 Aug. 2006).

Kramer, J. D. “The Nature and Origins of Musical Postmodernism.” Current Musicology 66 (1999): 7-21.

Prasad, A., “Massive Attack: Massive Aggressive”, Innerviews 26 Sep. 1998. http://www.innerviews.org/inner/massive.html (24 Aug. 2006).


Discography

Massive Attack. “Unfinished Sympathy.” Blue Lines. Compact disc. Virgin Records, CD86228, 1992.

Artists I recommend/want to see at...

Darren Hanlon
Dave McCormack
Flipside Circus
I Heart Hiroshima
Mary Trembles
Nick Earls
Regurgitator
Starky
T n T - Tex Perkins & Tim Rogers
Texas Tea
TZU

My new favourite Brisvegans

‘Dead Money’
Vegas Kings
(MereNoise/MGM)
For a devoted music lover, nothing is more exciting than an excellent local band. Around since 2003, Brisvegan band Vegas Kings has produced a hell of a rocking album of punk/garage blues. With deliciously dirty bluesy guitar riffs, impetuous hard-hitting drums and a heavy punching bass, every element of this second album from the three-piece comes together brilliantly to create a strong, powerful and textured sound. Above all this, the band is led by vocals full of grunt, expressing lyrics of anger, melancholy and chaos. Retaining authenticity, the album refrains from being over-produced, maintaining the raw and organic affections in the band’s delivery. The energetic, highly intense, rambunctious feeling of the album is well varied, with contrasting songs such as ‘The Ballad of Broke Jim’ and ‘Daddy’s Gone’, belted out slow and full of angst. The Vegas Kings’ original songwriting is also juxtaposed with covers of Digger and the Pussycats and The Stooges, made to sound uniquely their own. Fun yet soulful, ‘Dead Money’ is an album that does everything rock music should do.

Vegas Kings' Official Site
Vegas Kings' myspace

Reviews!

‘Merchant Songs’ EP
Custom Kings
(Liberation Music)
Yet another one of those reggae/roots/hip-hop melanges emerging in Australian music, Custom Kings has a sound reminiscent of something between The Cat Empire and The Beautiful Girls. This second EP from the Melbourne group has somewhat progressed from their debut ‘Where Do They Go?’, with smoother production and greater complexity in songwriting. There may be an appeal created by the range of instruments and effects and the relaxed outdoorsy afternoon feel, suggesting that Custom Kings could produce a great live set. However, the songs on this EP lack any sort of catchiness, innovation or ideology to set them apart from artists of similar genre, or to reach any strong rapport with the listener. Nevertheless, Custom Kings show some potential as they grow to find a greater sense of identity in their music.

Custom Kings' Official Site
Custom Kings' myspace


‘Baby’s Eyes’ EP
Halogen
(Karmic Hit)
Perth band Halogen has always had a great sound, and this EP shows how it continues to evolve and improve. Perhaps less “heavy” than their previous work, they retain the same sweet vocal styling of Jasmine Yee over an essentially pop instrumentation. However, their lyrical expression is more subtle and unique, and their guitar riffs more artistic, producing a textured and intriguing soundscape. Halogen has become a band whose music progresses naturally without contrivance, being original yet accessible. Look forward to future work from the five-piece.

Halogen's Official Site
Halogen's myspace

Splendiferous

So I could talk about how overcrowded it was, or how muddy it was, or how much of a bitch it was to get to the GW McLennan Theatre... well whatever, this is all about the music, man. A recap of the sets I saw:


Saturday

Brittle Fex - Emo kids with bad hair, obviously pretty psyched to be there. Fairly crap music and sentiment, but the drumming was kinda cool.

Dungen - They made a point of telling us, and even making us repeat, that it's pronounced Doong-yen. Or something like that, they're Swedish anyway. A bit erratic in styles that left me lost at times, with some tunes slightly poppy while others having an ambient mystical feel, but interesting enough to have the potential to develop into something great.

Youth Group - Consistently producing tight performances and quality songs, but pretty much the same as how they played at Big Day Out. Perhaps need some stage personality, but I enjoyed it so I shouldn't complain.

The Grates - A very fun band to jump around to, and their simplistic sound combination of energetic drum, guitar and vocals propelled by Patience's playful charisma was very effective in a festival crowd. Balloons are also fun.

Lior - Too crowded when I got there, so didn't get in far enough to really get a great sense of the atmosphere. I'm sure those close enough to see would have been highly impressed with his guitar skills. We all enjoyed a group hug-and-sway-along to "This Old Love" nevertheless.

Mogwai - Self-indulgent as one would expect, but produced very lovely powerful sounds and ambience that had me mesmerised. Hey, I dig that wanky shit.

Sonic Youth - I was ready to die happy after experiencing that performance. Best live set I have ever seen, I can't get over it. A sound I already love soooo much sounded just that much better live, with the lush riffs taking me deliriously high and the kickdrum pounding into my chest making me want to explode. And feedback... to capture feedback in a recording just doesn't do it justice. Not to mention the artists themselves - at 50-something, Kim Gordon somehow manages to grow spunkier and rock harder with age.

DJ Shadow - Disappointing according to many, I saw the last half hour and was fairly impressed. "Mashing On The Motorway" was interestingly challenging to dance to, with regularly surprising changes in rhythm.


Sunday

The Zutons - A brit-pop/rock sort of sound that included saxomophone made for a fun happy crowd-pleasing set. Very accessible and hence much potential for popularity.

The Vines - The much-anticipated mystery act. I was excited to learn who it was to be for a few seconds, before I remembered that hey, they kinda suck these days. With not much substance to their songs, they tried to rock in a riotous rambunctious we're-supercool Oasis-esque manner that didn't really work for me. Okay so I admit I didn't mind them once upon a time, but I conclude that their sound got old rather than got worse. Even their first few break-through singles didn't evoke any sort of nostalgia of a past time and place. Good on them for trashing the stage though, it was the most entertaining thing they did.

Snow Patrol - A lovely band with sweet lyrics, a delightful sound and an optimistic sentiment. Quintessentially Indie. Pleased loyal fans with favourites.

Presets - Dance-rock rarely disappoints, particularly at an event where people would expect to have a dance or to rock out.

José González - Only made it for Teardrop, which was beautifully delivered. I expect the rest of the set would have been of similar calibre.

Yeah Yeah Yeahs - Stupid name, impressive sound. I dig that chick's voice, it's something like a phenomena.

Gerling - Better than they were at Big Day Out, but I would have liked to hear more of their electro, especially being in the Mix Up Tent.

Scissor Sisters - Glam rock never ceases to entertain. Lost interest during slower songs, but that Ana Matronic has some sassy attitude that gets the crowd moving to that pumpin' groovin' sound.