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