Tag Archives: Review

Cantina @ The Spiegeltent (Brisbane Festival) 5th September 2010 – Live Review

Review: Lana Harris

[Image courtesy Brisbane Festival]

Have you heard the one about the Spiegeltent? A girl and a guy walk into this travelling bar – a pointy topped sphere shaped by mirrors, wood and glass. Golden poles, blood red velvet curtains swooping overhead, low lighting and dancing shadows. Smoky. Drinks service on the curve, booths hugging the circumference. A big-top boudoir with an audience.

The girl and the guy start out cautious in this ringmaster’s playground. They clamber carefully onto the high wire – wobble and steady, wobble and steady. She wears a pair of lasciviously red heels as she teeters. The shoes return sporadically throughout the acts, as do the scene setting ukulele and tinkling pianola. Music through out invokes alternately past, present and future – offered in no particular order. Subject to whims and acrobatics, time periods depart and return often.
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French Breakfast on The Goodwill Bridge (Brisbane Festival) – 5th September 2010 – Live Review

Review: Lana Harris

  Is knitting French? The first glimpses of the Goodwill a la Paris show a portaloo covered in crochet and various other styles of weaved wool, ministered to by a lady who appears to be wearing a full pants suit made of crochet squares. Disappointingly, up close this is just a pattern on ordinary

fabric. The knitting display continues onto the bridge, incorporating the French theme with some knitted croissants.
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Michael Paynter @ The Prince Bandroom, Melbourne – 2 September 2010 w/ Ryan Meeking & Stonefield – Photo Gallery & Review

Photographer: Naomi Rahim

Click the image to view the photo gallery
Michael Paynter

[Photo: Naomi Rahim]

Melbourne singer-songwriter Michael Paynter played The Prince Bandroom for the launch of his new-ish EP, Love The Fall. Paynter took to the stage with gusto and vibrancy, eager to please his audience. His performance style was positive and honest, banter humble yet friendly, whilst his vocals were as much at home on ballads “Crave” and “Novocaine”, as they were on pop-rock tracks such as “Love The Fall”. Notable mention should be made of his frantic rock cover of Michael Jackson’s “The Way You Make Me Feel”, which maintained the energetic momentum of the show.


[Photo: Naomi Rahim]
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The Drums “The Drums” – EP Review

Review: Natalie Salvo
The Drums are a young band from New York City who – like The Strokes before them – received a lot of hype very early on. But as their debut EP, Summertime! And now eponymous debut album have proved, this indie pop quartet are more about basking in the sunlit glow of a California beach than being inspired by yellow cabs or shopping on fifth avenue.

The guys ooze retro cool and like Peter Hook’s bass playing in Joy Division and New Order, their sound makes an immediate impact gaining your attention quickly with its old-yet-fresh style. But it seems this quality is also the group’s pitfall because when spread out over 12 songs, it becomes too repetitively simple and the buzz does tend to wear off a little. Like summer itself, you miss it when it’s gone but after enough humid 40+ degree days you can’t wait for winter or at the very least, autumn.
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Black Label Society “Order of the Black” – LP Review

  Review: Lana Harris

Zakk Wylde is known as one of the metal world’s best guitar players, particularly
when talking shredding abilities. He was Ozzy Osbourne’s guitarist for two decades, and didn’t let decadence overcome discipline – as well as working and touring with Ozzy, he completed an album a year from 1999-2006 with his side project, Black Label Society (BLS). BLS have their guitars firmly wedged in heavy metal/ hard rock – think Alice in Chains, a bit of Ozzy’s influence apparent in the vocals. But now Wylde’s no longer with Ozzy, and Order of the Black is the first album release by BLS in four years.

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Bec Plath “At The End of the Night” – Single Review

Review: Victoria Nugent

  This soft single is the latest release from Brisbane vocalist Bec Plath, best known for her vocals with local band The Bloodpoets. At The End of The Night follows Plath’s 2009 debut EP Unrequited, and gives a taste of what we can expect from her next EP.

The single starts with a smooth yet strong piano intro with guitar kicking in shortly before Plath’s melodious vocals. During the chorus, Plath’s vocals take on a slightly sharper edge, building in intensity before softening again for the verses. The piano remains a subtle but constant presence throughout the song, which flows effortlessly through key

changes which add to the track’s originality. Plath’s lyrics are introspective comments about living in a stressful world to which many people would be able to relate. Her vocals are imbued with both honesty and a sense of heart that makes listening seem like a deeply personal act. The music meanders for a while, almost seeming a bit lengthy, before coming to a powerful crescendo towards the end of the track, and then fading out softly. At The End of the Night is a slow-burner with a lot of emotion, and worthy addition to any compilation.

Bec Plath – At The End of the Night is available at iTunes:
Bec – Bec Plath

Related Posts:
CD Review: Bec Plath “Unrequited”

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Bastardfest @ The Globe Theatre, Brisbane – 28 August 2010 – Live Review

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Blood Duster
[Photo: Stuart blythe] 		  Review: Hannah Collins

Bringing together some of Australia’s most notable and long standing metal acts; Astriaal , Pod People and Blood Duster ; The Globe Theatre opened their doors on Bastardfest last Saturday to let the shred ignite the stage and appease those curious enough to have been lined in entry.

Punters of all shapes and sizes graced the venue and packed the bar, but although The Globe seemed full up, it was more of an illusion caused by the tinned sardines hovering in the foyer when in reality we were quite short of a sell out. Numbers may be have been lacking but it contributed only, to make the experience more personal.

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Brisbane, Concert, Music, Review

Midnight Juggernauts “The Crystal Axis” – CD Review

Review: Natalie Salvo

  Batten down the hatches, the Midnight Juggernauts ‘difficult’ second album, The Crystal Axis appears to be anything but that. Instead, it uses analogue harmony walls and experimentation aplenty to craft 12 striking tracks (well 11 plus an overture) with a destination of the sun’s core. Onboard we journey via new tangents and those crazy panoramic retro screens of old.

The trio employed a lot of live experimentation to get here. The jams err on the side of prog rock and spaced-out sonic landscapes. They billeted together in a remote and isolated house on the NSW

coast with only synthesisers, keys, guitars, drums, racks of pedals and other electronic gizmos for company. The jams even found their way into the recording process and at times this adds a unique character to the music, while at other moments feels as though a bit too much fat was left on the bone.
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Junip “Fields” – Album Review

Review: Natalie Salvo
If ever there was a group that embodied the spirit of quality over quantity, then Junip’s it.

The trio – made up of José González (vocals, guitars), Elias Araya (drums) and Tobias Winterkorn (keys) – have released a few singles and EPs; taken a 5-year break (where the former toured his solo work); and are now on the verge of releasing their debut album, Fields. It took a lot of effort to get here (although it was by no means the longest spell – Guns N’ Roses anyone?) but in this case people will declare it was a labour of love well worth the wait.

González and Araya have been making music together since they were 14, having started creative life as a hardcore group. In 2010 they’ve taken a different musical route, improvising together to find song sketches and in particular, looking for beats and guitar patterns that stood out for their overall groove and melody. The result is 11 nu-folk and pop songs borne out of patience, perfectionism, inspiration and sheer bloody mindedness.
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Goodnight Owl “Goodnight Owl” – EP Review

Review: Natalie Salvo
Goodnight Owl started life in a bedroom, graduated to various recording studios and a church in Melbourne, and the result is a folktronica quartet content on blurring the lines between musical genres. Peel away the layers and you have five songs on a self-titled debut EP that have too many ambient noises and electronic beats to be strictly pop, yet also boast too many tender, heartfelt moments to be strictly the former.

The group have been likened to The Postal Service, Sigur Ros, Bon Iver and Band of Horses and they admit their music can take you in one of two directions. Like being faced with a road less travelled, on the one hand there is the promise of the embrace of the dawn while the alternative is an adventure into the dark
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HELLYEAH! “Stampede” – CD Review

Review: Ben Hosking


Hellyeah – Hellyeah		   Many metal fans were surprised to see Pantera drummer Vinnie Paul Abbott take to the drum stool again after the murder of his brother, Dimebag Darrell Abbott in 2004. He’d famously declared he’d never play again and no one really blamed him either.

However, as early as 2000, a select few members of up and coming metal groups Mudvayne and Nothingface had started making plans to form a supergroup. The initiating members recorded a demo and approached Vinnie Paul about joining. After first declining the offer, he finally joined the band 18 months later; commenting that, “Everybody had their head in the right place and that let’s-tear-the-world-a-new-ass attitude“.

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Jesus Christ Superstar @ Playhouse Theatre, 20th August 2010 – Live Review

Review: Lana Harris

Rocking great guitar riffs fill the sold out venue, slow notes trembling across the grey walls of a ruined cathedral set, preparing the audience to receive the voice of Tod Strike. As Judas, he opens the narrative by launching into ‘Heaven on Their Minds’, a song which allows Strike to demonstrate a truly commanding voice and worthy of one of the lead roles in this production.

  This reimagining of the original production of Jesus Christ Superstar (first performed in 1971) has a pared back, post apocalyptic set that doesn’t change, and puts the focus on the singing, as does the score – which tells the whole narrative by using more than 20 songs to move the story forward. Not a single piece of dialogue is presented without a backing melody. The basic storyline is easy to follow – easier if you’re familiar with the story of Jesus, because even though this is a post apocalyptic version of a musical first performed in the seventies based on an interpretation of a book written centuries ago, the plot is still the basic biblical storyline of Jesus gets famous, Jesus is betrayed by jealous best friend, Jesus is crucified as a result of the backstabber.

The post apocalyptic setting of this tale makes it easy to draw parallels between this and the lives of modern day celebrities. The scenes where the supporting cast forms a mosh pit as Jesus sings boost the resemblance.

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Brisbane, fact, Music, Review, theatre

How to Destroy Angels [EP] – CD Review

Review: Ben Hosking

  It didn’t take Trent Reznor long to begin making music again after shutting the doors on Nine Inch Nails last year. In fact, news was already surfacing about his new project around the time of his marriage to Mariqueen Maandig in October of 2009. The newlyweds didn’t just join in holy matrimony – they joined in musical harmony as well, forming How to Destroy Angels (HTDA), together with programmer/producer Atticus Ross (Korn/NIN/Coheed and Cambria).

Trent is no stranger to forward-thinking when it comes to the release and promotion of his music. 2005’s ‘With Teeth’ was streamed on NIN’s

MySpace page before its release and 2007’s ‘Year Zero’ saw Reznor creating elaborate ‘alternate reality’ games that fell in line with the concept of the album and leaked several tracks into the world prior to the album’s release. ‘Ghosts I-IV’ and NIN’s final album ‘The Slip’ were both offered as free downloads on the band’s website as well as part of deluxe physical limited-edition packages with phenomenal success.
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The Boat People “Dear Darkly” – Album Review

Review: Victoria Nugent


Dear
– Dear Darkly – The Boat People		   It’s hard to decide where to start praising The Boat People’s new album, “Dear Darkly”. The well established Brisbane four-piece has produced an album fluent in the art of quirky pop, a nicely eclectic mix of songs.

The album kicks off with the extremely enjoyable “Under the Ocean” with plenty of “ooohs” and floaty-sounding vocals, coupled with some skilled guitar riffs. “Soporific” is one of the album’s most memorable songs with a great beat, tempo shifts and best of all, clever lyrics. I love the song’s use of intellectual sounding words to a catchy tune. “Boy you’re soporific, but is that your fault or mine? Things they used to be terrific, but now they’re barely anodyne.”

“Echo Stick Guitars” is an amazingly catchy track that starts out with synthesiser and almost robotic sounding high vocals which become loud and chanty for the chorus. The song switches tempo back and forth, showcasing a sound which can only be described as unique. Sure, the lyrics mightn’t always make sense (“Hey champions, hey violins, hey echo stick guitars”) but this shouty pop song had me singing along for the chorus.

“Antidote” is somewhat reminiscent of a Kisschasy love song with its subtle vocals and rolling drums. “Live in The Dark” has a somewhat bold psychedelic sound that’s as complex as it is likeable. “Too Much In My Mind” is an upbeat number with a catchy rhythm, some cutesy synth and fun lyrics about the downside of being too introspective. “Hidden Buses” takes a softer accoustic tone, complete with husky vocals.

Closing out the album, at six minutes long, “You Are Adored” is a musically diverse, romantic (albeit slightly long-winded) ditty that made my heart melt a little bit.

“Dear Darkly” is a fantastic showcase of The Boat People’s scope for diverse, unconventional pop. From the sounds of this album, this band isn’t afraid from playing around with sounds and genres, and that is definitely a good thing.

Dear – Dear Darkly – The Boat People

Related:
Photo Gallery: The Boat People, Ball Park Music, Disco Nap @ The Troubadour, Brisbane – March 2010
CD Review: The Boat People – Echo Stick Guitars
CD Review: The Boat People – Soporific Single

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Darren Hanlon “I Will Love You At All” – Album Review

Review: Natalie Salvo
Darren Hanlon, the musical raconteur from Gympie is back with his fourth studio album, “I Will Love You At All”. For this record, this citizen of the world wrote his songs in many exciting locations from Paris to Coonabarabran (it’s in NSW people, look it up!)

At it’s essence we’re taken on a journey with a wistful and heartfelt traveler via ten songs full of gentle longing, aching reminiscence and nostalgia. Produced by Adam Selzer (M Ward, She & Him, The Decemberists), it features musical assistance from Rachel Blumberg (Bright Eyes, M Ward, She & Him, The Decemberists); longtime collaborator, Cory Gray on keys; and the velvety, feminine vocals of Shelley Short and Alia Farah.

On Hanlon’s self-proclaimed “mature” record, we seem him again showcase his trademark, homely crafts with great skill and virtuosity. The talented wordsmith is at it again with his lyrical interplay and word games, but this time around things are a tad subtler. He still spins yarns, turning what could be the minutiae of one’s day into if not a revelation that at the very least an amusing aside you’ll want to save up for the next time you want to impress. But there’s no denying that he has toned down his cheeky side. Gone are the really strange pieces of subject matter for the more subdued folk, with perhaps even Hanlon himself realising that he’s getting a little old to be singing love songs about squash, people waving at trains and the like.
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