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

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

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

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.

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

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.

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

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

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

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

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

Ohh that deliciously sick feeling of guilt distraction gives...

I gave this album a third listen today, while doing some work. Until I stopped doing work and just sat and listened for an hour. I'm so glad I'm getting into them right before Splendour (and no, I'm not just jumping on the bandwagon because they're touring, I started listening to them before I heard the line-up), sooooooo looking forward to seeing them live. I just can't get enough of the angsty vocals... together with the lush melodic riffs... coming over dissonant distortion... above a once again melodic bass... accompanied by an impelling drum beat... ahhh I love it. I can't say whether I prefer it to Sonic Nurse or not though, or any of their older stuff, because I've only recently become acquainted with their sound altogether.

Anyway it's late so I won't go getting too analytical here, but you can listen to the ENTIRE album for yourself, streaming online on their official site. For free, fools, for FREE. Go! Go on! Do it now! Do it! Do it! Or you can go buy it from a shop, like I did, even though you can't afford it, like I can't, just because you love it, like I do.