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.