Tag Archives: Review

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’.
Continue reading CD Review: Angus and Julia Stone – Down The Way

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: 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

Live Review: The Kill Devil Hills, Mexico City and The Blackwater Fever @ The Zoo, Friday 5th February 2010

By: Lana Harris

The Kill Devil Hills   The hazy, swampy chamber that is The Zoo in summer is a perfect match for the mettle of the bands tonight – a mash of blues, rock, and country fermented in the practice rooms of Brisbane and Fremantle. It’s a largely desolate frontier that welcomes The Blackwater Fever to The Zoo tonight. The Brisbane duo move slowly at first, floating pared back and mellow bluesy tunes. The third track brings some rock to the room, and some bodies are now bravely leaving window seats to move into the space in front of the stage.

Blackwater Fever slide from sludgy depths to rock and roll heights with a fullness of sound that challenges your eye sight: is it really just the two of them up there, making all that noise? Andrew Walters is a laconic drummer, while vocalist and guitarist Shane Hicks sings, slides and on occasion growls his way across the set. They finish with ’Taking Its Toll’, which it seems like it does, the track finishing the set with slow, deep melodies.
Continue reading Live Review: The Kill Devil Hills, Mexico City and The Blackwater Fever @ The Zoo, Friday 5th February 2010

CD Review: Scott Spark – Kathleen EP

Review by: Lana Harris

scottspark-kathleen   Celestes are not only a group of divine girls but also the name given to a small set of orchestral bells played via a keyboard mechanism. Typically used in orchestras, the use of one in a pop song suggests a performer who knows his keys – and Scott Spark is a man who knows his keys. His second EP release, Kathleen, credits five different types of keyboard instruments, including the Celeste and a toy piano – imagine what this man’s music room must look like! The sounds generated by Spark are explored within the boundaries of indie pop, with unique touches added by his technical piano abilities and the gathering of a wide variety of instruments and performers to round out his music.

Continue reading CD Review: Scott Spark – Kathleen EP

CD Review: Ash Grunwald – Live at the Fly by Night

Review by: Lana Harris

Ash Gunwald   Ash Grunwald has a new live band. He’s recently ditched his kit playing drummers and instead adopted a man who plays a car door with a hammer and an African percussionist. The resulting harmonies of this new musical collaboration are compiled on Grunwald’s latest release Live at the Fly by Night – a full length recording of a show played by the trio at a Fremantle pub late last year. Unlike a lot of live albums which are a compilation of tracks played across many tour venues, this is just one show, and is the second release of this type that Grunwald has produced (Live at the Corner was released in 2008).

The album opens with a wash of pre show noise and slowly building hand drumming that arcs up to a crescendo when Grunwald’s pipes are unleashed, his part African heritage evident in the resonance of his voice. If you’ve not heard Grunwald before, he’s a blues styled man. His vocal style on Live at the Fly by Night conveys emotion and soul in the tradition of great men such as Tom Waits, although on this recording his soul is a hippy’s jubilant run through the forest, rather than a wallow in a darkened mind swamp. The soulful singing and up-tempo beats are best represented on ‘Fish out of Water’ which sounds like John Butler jamming with Waits on a whisky soaked hotel balcony late on a summer’s eve. The depth and range of Grunwald’s singing on ‘Rosie’, where his voice soars and growls without the distraction of accompanying melody and just a spatter of soft drumming behind, it is one of the album’s finest moments.

Throughout the journey a range of percussion instruments are called upon to support Grunwald’s voice, including woodskin cajon, djembes, and the eccentric car door and hammer. The focus is clearly on rhythm – alongside the percussion, the guitar melodies played are often a series of repeated phrases. The drumming, which is more loose and inspired, feels fresh amongst the tighter repetitive melodies.

Lyrics are often repeated as well, with changes in tempo driving the songs to climaxes. The style of pace change is repeated through many of the tracks, which lends a sameness to the tunes once you’ve listened to the whole album a few times through.

Live at the Fly by Night brings funk to the blues, and the resultant combination is a highly danceable recording with sustained vocal interest. The recording boasts a commitment to energetic music, which can’t be said of too many blues based recordings, and gives Grunwald a unique sound. An album to put on when you want to encourage people to get up and dance at a party.

Related:
Ash Grunwald site
Ash GrunwaldAsh Grunwald available at iTunes


Photo Gallery: The Mars Volta – The Tivoli – 18th January 2010

Photographer: Matt Palmer

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The Mars Volta

The Tivoli is filling with fans and the ambient strains of lounge jazz. Bodies crowd the railings upstairs first, spectators safe behind the iron and wood. As more people push through the doors the floor packs out, the main crowds are drawn towards the stage, towards the backdrop of snake and other eyes, wings and amorphous canine face shapes, lit by blasts of ketchup red from above. Excited chatter now drowns out the background melodies, until The Mars Volta hit the stage…. READ the FULL SHOW REVIEW HERE

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Live Review: The Mars Volta – The Tivoli – 18th January 2010

Review: Lana Harris

The Mars Volta   The Tivoli is filling with fans and the ambient strains of lounge jazz. Bodies crowd the railings upstairs first, spectators safe behind the iron and wood. As more people push through the doors the floor packs out, the main crowds are drawn towards the stage, towards the backdrop of snake and other eyes, wings and amorphous canine face shapes, lit by blasts of ketchup red from above. Excited chatter now drowns out the background melodies, until The Mars Volta hit the stage.

Continue reading Live Review: The Mars Volta – The Tivoli – 18th January 2010

CD Review: The Bloodpoets – Polarity

Review by: Lana Harris

The Bloodpoets   When playing poker, it’s not enough to be good at the game. To be the winner takes all, you need to maintain a certain level of unpredictability too. If The Bloodpoets music is anything to go by, these guys would make excellent poker players. The second single (and first track) from Polarity, ‘Just in Time’, bursts forwards with cinematic drama and a dark urgency led by Jake Parker’s bass. The brooding opening of this song then flows into a pop orientated chorus and harmonies, a completely unexpected development on first listen. But as the album thrusts forward, it becomes apparent that blending deep rock guitars with lighter sing along lyrics is what The Bloodpoets do.

Continue reading CD Review: The Bloodpoets – Polarity

Live Review: Sunset Sounds Day 2, January 7 2010

Review: Duncan McKimm

Yeah Yeah Yeahs @ Sunset Sounds
[Photo: Matt Palmer]
  With a dominant lineup from start to finish, the Riverstage was heavily populated from early on the second day of Sunset Sounds. Blessed with pleasingly mild weather again, the general affability of the crowd should be commended – as should the prevalence of shirts on male patrons (why is that so hard at other festivals?).

Having recently released what can only be described as a puzzling third album, Editors brought the air-strike riffs and towering vocals of their first two albums, interspersed with tracks from their strange Kulture Klub meets Ian Curtis new album to the Riverstage. Suffice to say their earlier material like ‘Munich’ and ‘Bullets’ moved the crowd and sounded fantastic through the big sound system. The less said about the few new tracks they brought the better.
Continue reading Live Review: Sunset Sounds Day 2, January 7 2010

Photo Journal: Falls Music and Arts Festival 2009

Photos and Review: Elize Strydom

Every year the population of the sleepy seaside town of Lorne, Victoria swells. Music lovers from all over Australia pack their bags and load their cars and make the pilgrimage to the Falls Music and Arts Festival.
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Falls Music and Arts Festival
Lorne is situated on the Great Ocean Road and while it is tempting for me to keep on traveling that road, I know that rolling green hills covered in lush green grass and stages set for some the world’s best acts await, just 10 kilometres inland.

Traffic crawls along the winding dusty road, but I’m sustained by the knowledge of what is about to be unveiled, around the next corner.
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Falls Music and Arts Festival
I put up my tent and it disappears amongst a sea of temporary canvas homes. What hope do I have of finding it late tonight? Ah well, it’s all part of the adventure!


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CD Review: John Butler Trio – One Way Road

Review by: Lana Harris

One Way Road   John Butler Trio have been injecting mainstream consciousness with a social conscience since 2001. Along the way, John Butler has added fans, lost the dreads, changed the line up, but kept the message the same. The unique voice, more likely to sing about the heartbreak caused by cruel, heartless companies rather than a cruel, heartless lover, has played both Woodford Folk Festival and the Big Day Out, a testament to the diversity of hearts strings twanged by his 12 string banjo.

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Live Review: The Fumes @ The Zoo, Brisbane 12 December 2009 w/ Marshall and the Fro

Author: Hannah Collins
It’s Saturday night at The Zoo, time to kick back, get your hat on, and knuckle down for the rockabilly blues ensemble that is The Fumes.

Venue not even at half capacity, making stage front space an easy grab, 3 piece Marshall and the Fro introduce us to a very fun filled evening. With influences like Dallas Frasca, Blue King Brown and Tool, the bluesy rock set saw everybody’s feet sliding backwards and forward’s in time with the drums. Bass player Tracy Stephens looked great in a little red and white pokerdot dress, her bass pumping blues down the spines of eager onlookers. Their unique light rock, beefy but slow with it’s rockabilly undertone seemed to really intrigue.
Continue reading Live Review: The Fumes @ The Zoo, Brisbane 12 December 2009 w/ Marshall and the Fro

Live Review | Lamb Of God @ Riverstage Brisbane 11 December 2009 w/ Devildriver, Shadows Fall and High on Fire

Author: Lana Harris
Lamb Of GodThe afternoon brought with it dark clouds that took away the light but not the heat, and those of us wrapped in black shuffled through the cyclone wire fence that surrounds Riverstage dripping with something a bit more corporeal than anticipation.

High on Fire began as soon as the gates opened, which meant they finished while I was still trying to fuel up on full strength beer before entering Riverstage’s mid-strength terrain. High on Fire are rumoured to have a huge sound, structurally destructive to smaller venues, and I had been keen to watch that sound explode in the open air of Riverstage. But with four bands scheduled, and only four hours to fit them in before Riverstage’s 10pm curfew, I should have known better.

Shadows Fall were second up, and put on a short, powerful set which showcased the blistering guitar solos the band are known for.

Continue reading Live Review | Lamb Of God @ Riverstage Brisbane 11 December 2009 w/ Devildriver, Shadows Fall and High on Fire

Live Review & Photo Gallery: Fergus Brown w/ Richard in Your Mind, Wim, Sherlock’s Daughter and Brian Campeau @ The Oxford Art Factory – 10 December 2009

Author: Vittorio E.
Photographer: Arfy Papadam

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Fergus Brown
[Photo: Arfy Papadam]
  The first trip to the bathroom reveals that we’re in for a longer night than we could have possibly expected. It’s a Thursday night – a school night, I stress – and the bill on the door leading to the toilet declares that there will be five bands on the night. The last Fergus Brown is to start at a quarter to midnight, and will be filmed for the forthcoming feature film, LBF.

Brian Campeau is up first, and he’s brought one quarter of his band, The Common Misconceptions, along for support. She, a certain Elana Stone, accompanies on accordion and vocals. Brian Campeau is a folk singer – or at least what he does is grounded in folk; the reality is that the music is a little spacier than all that. It’s partly the reverb and partly his inventive guitar playing style, in which the rhythm is supplemented by harmonics, trills, hammer-ons and surprisingly inventive tapping. He sings four songs, she sings two, and the crowd is entranced.

Continue reading Live Review & Photo Gallery: Fergus Brown w/ Richard in Your Mind, Wim, Sherlock’s Daughter and Brian Campeau @ The Oxford Art Factory – 10 December 2009