Category Archives: Review

CD Review: The Dillinger Escape Plan – ‘Option Paralysis’

Review: Ben Hosking
Dillinger
The last few years have been pretty turbulent for The Dillinger Escape Plan. While their records and their live performances have always been violent musical explosions of fury, the latter usually quite unpredictable in nature, it did seem at one point that the band ran the risk of becoming victims of their own chaos. As front man Greg Puciato recently put it, the band was engulfed in “a vicious tornado of animosity” that led to the departure of drummer and co-founder Chris Pennie.

As history sits, their last album Ire Works was completed and toured with the help of Gil Sharone of avant garde group Stolen Babies. However, this proved only a temporary solution, with Sharone leaving the group at the end of 2008.

Certainly, Dillinger is not a band known for their stable line-up, with guitarist Ben Weinman the lone original member. Regardless, the group searched for permanent replacement through 2009 – no easy task considering the relentlessly brutal barrage of erratic blast beats that permeate most of their music. What they found was 25-year-old Billy Rymer.
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Live Review: Devin Townsend @ The Tivoli, Brisbane 12 March 2010

Review by: Hannah Collins
Devin TownsendWhat do you say about a person that seemingly has everything, can do anything, and pleases mostly everyone with his never-ending display of musical prowess? >Devin Townsend is such a man. At almost 40 years of age, his list of achievements both in and outside of the music industry, have never ceased to amaze us. His list of albums and sprouting projects is as long and lustrous as his hair once was, with their both differentiating and intriguing sounds as diverse as Devin’s facial expressions. He was once dubbed the “boy genius” by Steve Vai at only 19 years of age and 20 odd years later, he’s definitely lived up to the hype that precedes him.

In his early days, Devin debuted his original works as the founder, songwriter, guitarist and vocalist for hard hitting, extreme metal act “Strapping young lad” (whose debut album “City” was declared to be; “possibly one of the best metal albums of all time”).
Continue reading Live Review: Devin Townsend @ The Tivoli, Brisbane 12 March 2010

Live Review: Emilie Autumn @ The Metro, Sydney – 18 March 2010

By: Bek Grealy
Emilie Autumn

Last night, we encountered Emilie Autumn and her Bloody Crumpets at The Metro theatre, Sydney.

Emilie Autumn’s performance was a two-hour theatrical extravaganza, a conceptual wing-ding that has only a tangential relationship to the normal procedures of rock ‘n’ roll. I recall Emilie’s My Space page a couple of years ago, which included portions of a predictable rock line of attack, and depicting evidence of this in the future events, with the maintenance of two support bands. It was, basically dubbed, a gig.

But now, it’s a show, and the difference is distinct. Emilie Autumn has taken a decisive step towards theatre. No support bands tonight – just an elaborately dressed stage, some equally elaborately dressed Bloody Crumpets, and Emilie Autumn the queen of the performance.
Continue reading Live Review: Emilie Autumn @ The Metro, Sydney – 18 March 2010

CD Review: Bec Plath “Unrequited”

Review by: Lauren Sherritt
Bec PlathBec Plath’s debut solo EP Unrequited is the kind that sells live gig tickets. To put it plainly, this young woman has guts, a trait she showcases most beautifully on the record. With an honesty so often lacking in modern day song writing, Plath bravely explores to a remarkable extent the story of her life and herself throughout Unrequited, and compels the listener to come along for the journey.
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CD Review: The Kill Devil Hills – ‘Man, You Should Explode’ LP

Review: Lana Harris

The Kill Devil Hills   When writing about The Kill Devil Hills, it’s pretty much de rigueur to use a variety of swampy, country folk and blues inspired words. Press releases and journalists alike reference cowboys, hard drinking, and the southern USA when writing about this West Australian band. So it’s not enough for me to say that Man, You Should Explode (their 3rd full length release) is a mature recording.

To maintain the desert inspired linguistic sentiments …The Kill Devil Hills have ripened into the sun wizened, rifle cradling old man on the front porch, dispensing wisdom as freely as he spews forth obscenities to those who dare trespass on his land…

The album opens with two sing along tracks, ‘It’s Easy When You Don’t Know How’ and ‘Cockfighter’ which, with it’s one word chorus and short punkish riffs, was a favourite at their recent Brisbane show. These two tracks are fun and tight, ballsy, and set up an expectation of more of the same for the rest of the album. But with track 3, ‘I Don’t Think This Shit Can Last Much Longer’, the Kill Devil Hills turn inward. This is a gentle, emotive and introspective track. ‘Rosalie’ is similarly paced – moving, dark and beautiful, reminiscent of Nick Cave and The Bad Seeds’ ballads. ‘The White Lady’ continues along the same tracks, drawing on the minor scales and bringing melancholic aspects.
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CD Review: Buick Six – Common Arms EP

buick six   Review: Lana Harris

Despite the never-ending death and birth cycle of live venues, amid licensing restrictions and noise curfews, bedrooms and garages on both sides of the Brisbane river continue to deliver quality acts to the Australian music scene. Buick Six owe their beginnings to the soggy grounds of 2007’s Splendour in the Grass festival. By 2008, a debut EP had appeared which captured the force of Buick Six’s Brisbane based gigging through live recording.

Their new EP, Common Arms, is garage rock at its dirty, window shaking best. It is only their second release, but the songs on the record sound like the outpourings of a band well used to working and recording together. Guitar work throughout is excellent. The overall feel of the record is urgent, potent, bursting – an achievement to capture on a recording, and suggesting that when viewed live, Buick Six would be a sonic explosion of grinding, grungy rock. The simple bass-guitar-drums line up works in their favour, a pure outlet for their untamed energy left uncomplicated by extra musicians or fussy elements.
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Festival Review: Playground Weekender 2010

Review: Brahbrah Oscar

Click the image to view the photo gallery
Playground Weekender
[Photo: Arfy Papadam]
  Within only a matter of moments after disembarking the ferry, it becomes immediately apparent why Playground Weekender (PW) has been the recipient of the “Best Crowd & Atmosphere” award for the last two years running.

PW organisers pride themselves on compiling a line-up that will attract a friendly and laid back crowd, and they know their craft well. The result is, quite bluntly and refreshingly, a music festival without all the jerks.

Over the four long and hot days festival goers remained pumped, happy and, as far as intoxicated crowds go, fairly mature. Even during the headliners when the main stage crowd was in full force, there was little pushing and shoving, people seemed pretty considerate of each other.

With little requirement for much control, the friendly crowd seemed slightly at odds with the size of the police force throughout the weekend. Officers walking sniffer dogs through festival grounds among the punters simply enjoying their lunch was an unusual sight. Though despite their numbers and high visibility, police were friendly and relaxed. Security were equally laid back in general.
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Live Review: Orbital @ Family, Brisbane, 24 February 2010

By Denis Semchenko

Family can be a strange place. Despite this being a school night, a somewhat uneasy and restless vibe is easily palpable as dilated-pupil clientele wander about, while one clearly “under the influence” punter tries to strike up a conversation with me about how it’s going to be “a good night” and later passes by and wonders whether I’m “trying to be cool” as I check my phone for messages. Peaking too early is never fun, dude.
Continue reading Live Review: Orbital @ Family, Brisbane, 24 February 2010

CD Review: The Break – ‘Cylinders’ Single

Review: Lana Harris
The Break was formed from three of the previously in-your-face-political pub rockers Midnight Oil (Rob Hirst, Jim Moginie and Martin Rotsey) plus the bassist (Brian Ritchie) from the grungy, always a bit teen-angst Violent Femmes. The love child spawned is nothing like its parents. Instead, it is a fun loving, apolitical coast dweller called The Break.

Cylinders’ is the pre release, first impression of the new creation. What is presented is a three and a half minute instrumental surf rock track. Surf rock? If you have ever seen a movie with teens at a beach shack party, circa 1960’s, you’ve heard surf rock. Remember ‘Wwwwwwwwipeout!’ Surf rock. It was repopularised for a while in the 1990’s – the opening credits to Pulp Fiction are overlaid with a revamped version of surf rock in the form of song ‘Misirlou’ and put the genre back into the population’s consciousness.

The Break’s postmillennial take on the genre has a heavier, deeper feel. Darkness washes across the laid back and loose vibes from the sixties, as though a man with sinister intentions is hiding amongst the palms that surround the beach shack party. There is a strong energy to the track, which explodes in your face like salt spray from a crashing wave. The Break thump straight into up-tempo, driving, full band participating music that ebbs and swells as the song progresses. The beach theme and vibes will continue with debut album Church of the Open Sky (released by Bombora Records) promising to be a mostly instrumental surf rock record with tracks named after famous surf breaks.


The BreakThe Break available at iTunes

Midnight OilMidnight Oil available at iTunes
Violent FemmesViolent Femmes available at iTunes


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Live Review: Soundwave Festival 2010 – Brisbane

Review: Hannah Collins

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Jane's Addiction
[Photo: Stuart Blythe]
  For the many festival’s we’ve attentively followed in the last year or so, I hope I’m not going to cop to much backlash for saying that Soundwave is now, pretty much, the festival to be at, particularly if you indulge in music of the ah, heavier nature. They’ve marked their territory well, and will be hard to compete with in coming years after continually displaying such high levels of organization and forward planning, with larger than life line ups to match, last year

featuring headliners Nine in Nails, and Alice in Chains, this year the newly reunited outfits Jane’s Addiction and of course, Faith No More.

Ticket sales at the door had prices marked up by over 50 dollars from the original price, but it didn’t see people back away from the queue. With a line up like today’s, I wouldn’t have been backing away from those prices either, had I’d have been stupid enough, not to buy a ticket during one of the previous releases.

Walking the streets of Brisbane’s fortitude valley on the morning of the event is galvanizing. The streets are flooded with waves of charismatic show goers of all age’s shapes and sizes. The crowd’s equal to what you may see before the opening day of the Ekka; Brisbane’s annual Royal show.
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SLAM RALLY – Don’t Kill Live Music!

TEN THOUSAND PEOPLE STRONG!
A massive rally by the Melbourne music loving community got together in a show of strength to protest against the out of touch state government’s liquor licensing laws. On the 34th anniversary of the famous ACCA-DACCA, “It’s a Long Way to the Top (If You Wanna Rock ‘n’ Roll)”, the famous music clip was recreated again on the back of a truck with the Rockwiz Orchestra and the original bagpipe players of the classic video. – Location: Swanston & Bourke Streets, Melbourne, Australia
CARBIE was there to capture the event!

Photographer: CARBIEhttp://www.carbiewarbie.com

Click image to view the photo gallerySLAM RALLYSLAM RALLYSLAM RALLY
[Photos: CARBIE]

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CD Review: Angus and Julia Stone – Down The Way

Review: Elena Gomez
Down The Way, second album from beloved folksy duo Angus & Julia Stone, sees the siblings put on their Producer hats and travel the globe, touring and recording with the likes of Martha Wainwright and Brad Albetta. They’ve sacrificed their memorable melodies and the arc that seemed to form their debut album, A Book Like This. But what they lose in melodious offerings, they make up in having a much more polished sound. Where A Book Like This was a home movie filmed in sepia, filled with character-forming crackles and perfect imperfections, Down The Way has been steered more professionally. Its homey elements are still present but they have been muted.
Angus & Julia StoneAngus & Julia Stone available at iTunes

The album opens with “Hold On”, in Julia’s fragile voice, and it’s clear from this point that the energy has been amplified, possibly a result of having a three year gap to progress and grow in their sound. There are lulls and swells in Down The Way that make for less passive listening. A little less of ‘round the campfire with last pair of clean undies’ and a bit more of ‘coasty road trip in a car with air-con and an icy-pole’.
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CD Review: The Boat People – Soporific Single

Review: Lana harris

The_Boat_People_Soporific_Single   This second single release from The Boat People is just as surprising as the first single ‘Echo Stick Guitars’ was. ‘Echo Stick Guitars’ showed an electronic, hip-hop side of the Brisbane based quartet. Anticipation and assumptions regarding future singles led to thinking that more of the same would naturally follow. Thwarting expectations, ‘Soporific’ is nothing like its predecessor. ‘Soporific’ is an aptly named track, mellow, laid back indie pop

with words that had me reaching for the dictionary a couple of times. A break from the lyrics, where guitarist Charles Dugan is given the limelight and solos forth, allows his technical capabilities to shine and gives the track a more complex feel.

The single comes with two B-sides, ‘Flower Water’ and ‘Stereo Pair’. ‘Flower Water’ flows even gentler than ‘Soporific’. It’s a song about waiting for someone who has left, and the questioning and emptiness that comes with it. The music echoes the lyrical content. It is instrumentally sparse, delicate, imbibed with cascading electronic tinkling through the chorus.
Continue reading CD Review: The Boat People – Soporific Single

Live Review: Good Vibrations Festival 2010 – Gold Coast

Photo Gallery: Good Vibrations Festival 2010 – Gold Coast, QLD

Salt-n-Peppa
[Photo: Cody Alexander]
  Review by:
Cody Alexander

Gold coast Parklands once again played host to the Good Vibrations Festival and all its followers this February. The party had already begun before the gates opened; with crowds of revellers sipping away on their hip flasks and discussing their plans of attack for the day ahead.

With the gates open the party officially kicked off with a cruisy set from the aptly named Cool Calm Collective on the Roots stage. Continuing the relaxed start to the day were Tijuana Cartel on the main stage where a large crowd gathered, in all their costumed glory, to witness a set that evolved from an impressive acoustic flamenco demonstration to a full blown aussie hip-hop act. Such a diverse act couldn’t have been more appropriate for such a diverse and amped crowd; leaving everyone buzzing in anticipation for Bluejuice.
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Live Review: Porcupine Tree, Sleep Parade @ The Tivoli, 5 Feb 2010

By Denis Semchenko
Porcupine TreeAs Neil Young once sang, tonight’s the night – the big music has arrived in town. Along with fellow prog-rock fans, young and old, I walk to The Tivoli with a sense of excitement that only those who have a copy of Arriving Somewhere DVD can truly understand. Only two months ago, I was privy to witnessing Japan’s divine noise makers Mono, whose performance proved to be one of the most singularly powerful live experiences in my entire life, and just before that another crushing live unit –
Steven Wilson’s Swedish collaborators/protégés Opeth – yet this balmy evening also stores a whole array of spine-tingling moments for us.

The diverse crowd is still busy converging at the venue by the time newly-revamped Sleep Parade – who had earlier opened for tonight’s heroes during their inaugural Australian tour two ears ago – plug in and take all and sundry into a wide open sonic space. Oz-progsters to the core, the quartet unveil out one sprawling epic after another; Oxygen’s doomy arpeggio figure gives way to chunky riffing, while on the latest single Every Day and the propulsive drums-led Seconds Away the Melbournians very nearly better Karnivool at their own game. Frequently guitar-switching vocalist Leigh Davies is occasionally submerged in the dense instrumental mix, but nevertheless hits the requisite highs – in all, a strong performance in front of a healthy gathering that gives the band a warm Queensland welcome.
Continue reading Live Review: Porcupine Tree, Sleep Parade @ The Tivoli, 5 Feb 2010