Month: March 2013

Record review: Dick Diver – Calendar Days (2013, LP)

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There’s something so charmingly unassuming about Melbourne quartet Dick Diver that makes you think that catching them indulging in clichéd rock star behaviour is about as likely as One Direction turning punk. Their 2011 debut New Start Again was an appealing collection of lo-fi indie slacker fuzz, and while second effort Calendar Days is a more polished affair, it retains all the salt-of-the-earth appeal of its predecessor.

Single ‘Alice’ is the perfect example of everything the band are about; it’s the sound of four people making perfectly sunny indie Australiana, without seeming to be really trying. “I get out of bed and get my toast to the perfect shade of gold,” sets the scene perfectly as the first line, and the breezy slices of guitar pop roll by in a haze from there.

Alistair McKay and Rupert Edwards provide the bulk of the vocals, but when drummer Steph Hughes – who also beats the skins in Boomgates – takes to the mic, the charm of the album is cranked up several notches, as on the title track.

It’s not all catchy sweetness; the brooding crawl of ‘Boys’ provides a stark contrast to what comes before, as a tale of broken friendship is sung over a creeping bass line and mournful guitar.

Later highlights include the beautifully lilting ‘Gap Life’ and up-tempo ‘Bondi 98’, which sees Hughes getting heavy behind the kit and providing tasteful harmonies throughout, before closer ‘Languages of Love’ proves that the band can sometimes find themselves on the wrong side of the fine line between charming and awkward.

Dick Diver aren’t the type of band to be embarking on an arena tour any time soon; their music is best listened to in a gloomy bedroom as you put on your favourite winter jumper and make another cup of tea – and that’s the way we’d like to keep it, thank you very much. (Chapter Music)

Record review: Wild Belle – Isles (2013, LP)

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Siblings Natalie and Elliot Bergman may have been born and bred in Chicago, but their debut album carries an altogether more Caribbean flavour. Trying to pin down their sound is a challenge in itself, as the eclectic duo bounce between reggae, ska, psych-rock, pop, and funk with apparent ease, but the overall feel of this album is one of palm trees, coconuts, sun, and smooth summer-y grooves. Elliot’s sleek baritone sax on ‘Keep You’ goes a long way towards making the instrument cool again, and his sister’s sultry approach to lyrics like “Tell me what the matter is little man, I got a pretty face and I wear a nice dress, why can’t I keep you?” makes for one hell of a mellow break-up track, which ultimately proved enough to generate a frenzy of industry interest in the band and prompt the inking of a deal with Sony Music. Natalie is an engaging singer and has an impressive range; most notably on second track, the funky ‘It’s Too Late’, as her brother tinkles with toy keyboards and synths. The self-produced Isles will keep you guessing as one curve ball after another is flung at your ears; from the funk-pop of ‘Shine’, reggae-tinged ‘Twisted’, and the excellent ‘When It’s Over’, on which brother Bergman proves he’s an equally as competent vocalist as his front-woman sister. Wild Belle’s music is tailor-made for a midsummer festival, so hopefully it won’t be long until they visit these shores. In the mean time, enjoy the sublime Isles. (Sony Music)

Record review: Dumbsaint – Something That You Feel Will Find Its Own Form (2012, LP)

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Dumbsaint Cover Scan
All the best albums should take the listener on a journey, and this debut release from Sydney’s Dumbsaint has the rocket ship fuelled and ready to take you to a planet inhabited by all the parts of David Lynch’s mind that haven’t yet made it onto film. Four years in the making, this hour-long instrumental album from the post-rock three-piece has enough cinematic grandeur to soundtrack an entire catalogue of Lynchian dream imagery. Layers of intertwining guitar, bass, and drums wash over you within seconds of the start of nine-minute opener ‘Rivers Will Be Crossed’, and don’t let up over eight tracks. Guitarist Ron Prince is the star of the show; his thunderous riffs set the pace and he even finds time to throw in a little violin halfway through. Silly band name aside, this an epic and impressive piece of work. (Bird’s Robe Records)

Record review: Army of Champions – Animal Versus Man (2012, LP)

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This debut release from Brisbane five-piece Army Of Champions has all the ingredients of a first-rate punk record: high energy, angry guitar, and venomous vocals. But there’s so much more to like on show here. With a world-weary vocal style somewhere between Paul Westerberg and Shane MacGowan, singer Matt Hoara’s delivery is full of melody and soul, and his band’s songs are a varied mix, underwritten with a solid punk-rock backbone. They’re not averse to a guitar solo on single ‘Shake Out The Moan’, or a spot of balladry on ‘Just A Little Time’, and there’s even a touch of sax on opener ‘Before We’re Bones’. Punk albums often cross the fine line between brilliant and boneheaded, but Army Of Champions have filled theirs with nothing but intelligent and catchy rock songs. (Arrest Records Australia)

Record review: Dirt Farmer – Dirt Farmer (2012, EP)

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dirt farmer
If you’re sick of cold weather you should probably get hold of this debut EP from Melbourne five-piece Dirt Farmer and let it inject some summery warmth into your frigid bones. Previously banjo-toting country boys (hence the name), Dirt Farmer moved to the big smoke and are now masters of shiny surf pop; all jangly guitars and breezy vocal harmonies. Opener ‘Kick It’ is impossibly catchy; showcasing singer Stuart Barlow’s smooth and laid back vocals, and some seriously stylish guitar twangs. ‘Johnny Marble’ continues in a similar vein, with a falsetto chorus and an outro that you don’t want to end, before ‘Real Young’ throws a curveball with some harmonica that at no time sounds out of place. Closer ‘Honey’ couldn’t be more Kinks-esque if it tried; bringing me to the conclusion that there ought to be more bands like Dirt Farmer around. (Independent)

Record review: The Sound Platform – The Sun & Silver Anthology Vol. 5 (2012, LP)

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sun and silver
This volume of ten songs by defunct experimental rockers The Sound Platform forms part of a sixty-eight track, career-spanning anthology of Melbourne rock journeyman Darren Smallman, who also had stints in rock bands Warped! and Toad in the early ‘90s. Now running his own label, Smallman has thrown together the best parts of his final band in this ‘90s-tinged collection. There are hints of what could have been in Sonic Youth-esque third track It’s Cold In The City, while elsewhere there are lyrics that could have come from the mouth of Evan Dando, Doors-y keyboards, and jangly guitars à la The Byrds, adding up to make quite a mish-mash of an album. Despite the age of some the material, the sound quality is excellent, and well worth checking out. (BATTLE/Low Transit Industries)

Record review: The Dillion James Band – One Chance To Say It (2012, EP)

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dillion james
With this debut EP of bluesy reggae, Brisbane-via-North-Queensland groove collective The Dillion James Band might just have made one of the smoothest sounding local recordings this year. Formed in West End with an ever-evolving line-up centred around the man himself, they have put together a funky, yet socially-conscious set of songs that seamlessly fuse the best elements of reggae and blues. Despite his relatively tender years, James’s lyrics deal with social and cultural issues in the manner you would expect from some old bluesman or Indigenous band, but his husky voice has the character to pull it off, and the overall sound is finished off with top-notch musicianship from his band. This music is perfect for an open-air summer festival, and I for one am looking forward to hearing it in that setting. (Beanstalk Records)

Record review: Howler – America Give Up (2012, LP)

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Unfortunately for Howler the Strokes’ last album wasn’t a stinker; otherwise this spirited bunch of young Minnesotans would probably take their place as the rightful heirs to the throne of fuzzy, floppy-haired, lo-fi strum ’n’ roll. While Casablancas and Co. can still bear each other’s company long enough to show the young pretenders how it’s done, bands like Howler will continue being the young wannabes stuck in the kitchen at the cool kids’ house party.

That’s not to say Howler don’t have the tunes or the indie cred to have the Strokes looking over their shoulders, and in front-man and Johnny Borrell-lookalike Jordan Gatesmith they have the song-writing-and-cool-haircut combo that makes hipsters and label bosses alike cream their jeans. Upon hearing their unsolicited demo, Rough Trade boss Geoff Travis couldn’t get across the Atlantic fast enough to make Howler his new charges. Gatesmith, a self-confessed Stiff Little Fingers fan, jumped at the chance to sign.

America Give Up showcases Howler’s ability to blast out catchy rock-pop hooks blended with vintage sounds. They avoid the risk of being labelled a rip-off or bandwagon-jumping band by plundering the archives of dirty rock ‘n’ roll to create an energetic, fun, and frantic debut. Single ‘Told You Once’ epitomises this best; its simple, jaunty riff defying you not to tap your feet or crack a smile. ‘Back of Your Neck’ encapsulates 50s Elvis riffs, spritely ooh-ooh-oohing, and weapons-grade swearing. Elsewhere, ‘Beach Sluts’, ‘This One’s Different’, and ‘Free Drunk’ provide plenty of riffs with just the right mixture of poise and slop.

America Give Up is a fantastically-promising debut album full of charm and potential. So, until the Strokes release their next masterpiece or pack it in altogether, enjoy this bunch of upbeat, tousle-haired tunes. While America Give Up doesn’t quite make Howler the new international world beaters some sections of the music press have labelled them, it’s a cracking debut. And that’s something we can all appreciate. (Rough Trade)

Record review: Bearhug – Bill, Dance, Shiner (2012, LP)

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The words bill, dance and shiner could probably describe a pretty action-packed night out if you‘re that way inclined; just as the words bear and hug could describe a good way to spend a night in. Luckily this Sydney five-piece don’t seem the aggressive sort; their music is less of a rip-your-ears-off-and-shit-all-over-your-corpse-just-for-the-fun-of-it grizzly bear hug; but something closer to a friendly panda type hug. With influences coming from a mixture of fuzzy, Dinosaur Jr-style guitar licks and the best of dreamy ‘90s indie pop, Bearhug have made one of the best Australian debuts of 2012 so far.

While you may think the likes of J. Mascis’s wall of superfuzz and guitar pop in the style of say, The Lemonheads, have no worldly right being on the same record, Bearhug manage to take the two sounds and fuse them seamlessly, with the tripped-out psychedelic jams of one and the shimmering pop melodies of the other both having a part to play in making this album what it is.

Opener ‘Over The Hill’ is the most straight-up guitar track on the album, as well as being one of the best. Nicholas Mabbit’s drums drive the track along, with guitarist Jesse Bayley letting loose on some noisy solos mid-song, before the tempo is slowed as it fades out. Singer Ryan Phelan’s vocals immediately come off sounding like J Mascis with more range and clarity; which is no bad thing.

Third track ‘Angeline’ is another highlight; it’s three minutes of west-coast pop riffs both charming and instantly-catchy, with a spot of fuzzy guitar crunching thrown in for good measure. While it feels like summer is ending rather than just getting started, the upbeat and ‘fuck-it-all’ attitude is infectious.

The Wurlitzer-heavy ‘Cinema West’ couldn’t be more laid-back if it tried, despite the “I just wanna shoot my gun” lyric. The same could be said for the first half of ‘When I Shake’, before it builds up into a swirling maelstrom of guitar noise, before coming back down in a series of beautifully-floating guitar chimes.

Penultimate track ‘Home’ is ninety seconds of catchy, punky, fuzzy guitar blasts which sound as if the bastard child of Dinosaur Jr and Pavement was raised by Sonic Youth. Closer ‘Cold Stream’ starts off sounding epically ballad-y before kicking up a gear to a triumphant and almighty close.

Bill, Dance, Shiner is one of those albums that sounds like it was rattled off in the studio in a short time, when it probably wasn’t at all; and I mean that in the best way possible. There’s a real art to sounding a little loose yet completely tight at the same time, and Bearhug have it down pat. While the influences are obvious, the quality of the songs on the album make Bearhug sound like nothing but Bearhug, much like Yuck have taken their influences and put their own stamp on them. There’s restraint here too; they sound like they could go off on some ridiculously-long wig-out jams, but hold back for the sake of the songs.

If you like any of the bands mentioned here, get your grubby mitts on some Bearhug. You won’t be disappointed.

Record review: The Delta Riggs – Rah Rah Radio (2013, Single)

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Sydney DJ/producer Flume was recently quoted as saying “I feel like the sound palate with a rock band is just so done, it’s so boring to me. It never sounds fresh, I just hardly give it a chance, because guitars and acoustic drums can only go so far.” How timely it is then, to hear a new single that loudly and proudly extends a righteous middle finger in the general direction of the ridiculous notion that rock music is ‘done’.

It’s with tedious regularity that that particular idea is expressed, but haters need to accept that rock music ain’t ever going away, no sir; it ain’t gonna die, as Brian Johnson put it so succinctly. That’s not to say electronic music can’t flourish and be enjoyed by all too, and Flume’s debut album is a fine piece of work; but the punters who were present at his mind-numbingly boring set at Laneway Festival in Brisbane could vastly improve their lives by taking in a performance by Melbourne’s The Delta Riggs; five guys who are aware of the importance of putting on a SHOW, given the record-buying public is now a fraction of what it once was. Anyway, back to this single business…

‘Rah Rah Radio’ is the first single from the ‘Riggs upcoming – as yet untitled – debut album. Having been knocking around the traps for almost five years, and with three EPs already under their belts, it is a bit of a landmark for the band, and is perfectly filthy rock ‘n’ roll in true Delta Riggs style. Featuring all the most appropriate elements of any quality rock song, ‘Rah Rah Radio’ barrels along a frantic pace from the off, has an appropriately grammatically-incorrect sing-a-long chorus of “You shoulda go back to where you came from”, and is generally two-and-a-half minutes of kick-arse rock ‘n’ roll, as it should be.

Rock ‘n’ roll is far from ‘done’; it’s more alive than it ever was, and this single goes a long way in backing up that statement. Bring on the album, Delta Riggs.

Puppeteer Stephane Georis: “I use these objects to laugh about love”

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stephane georis

STEPHANE GEORIS is a master at animating everyday objects for laughs and learning.

Using cauliflowers, cucumbers, and coffee pots in a family-friendly show, Belgian puppeteer Georis – as Professor Adam – explores the origins of the universe with hilarious results, albeit with an important underlying message.

“Adam is a teacher of science,” he says. “He’s a very bad scientist, and he invites other scientists from all over the world along. I play ten characters from different countries, who play with science objects to make an experience that proves the future doesn’t exist yet, the past is already over, and only the present exists; so we have to enjoy life here and now.”

An experienced street performer, Georis’ started out with the simple idea of using everyday objects to bring science to life. “I’ve been a clown and juggler in the past, and with clown art I discovered how to play with objects and give them life,” he says. “I want to bring objects alive, and give them a voice so they can tell a story. I try to be as simple as possible, as the best performance for me is a simple one. My shows are all visual; the most important things in the show are pictures, and I travel with only one suitcase as I like to make shows easy to travel with.”

As well as examining the universe, Professor Adam uses food items to take a closer look at the human body.

“The first experiment involves a cauliflower, which I use as a brain on which I do an operation to find out what’s inside,” he says.

“There’s another experiment in which I play with bread, and it gets a great reaction. Everywhere I go, I have a list of foods to buy at the supermarket: one cake, three loaves of bread, one carrot and so on.”

While there is a strong educational message, the main focus of the show is on humour, positivity, and hilarity.

“It’s not at all serious.” he says.

“There is a bottom line – a message – but we do it in a funny way. I use these objects to laugh about love, how time passes us by, and how we’re all getting old. The important thing is for us to laugh at these things and enjoy them.”

PROFESSOR ADAM APPEARS AT THE BRISBANE COMEDY FESTIVAL, BRISBANE POWERHOUSE, ON MARCH 16th. WWW.BRISBANEPOWERHOUSE.ORG

Jon Ouin of Stornoway: “We’ve played Stornoway twice”

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OXFORD indie folk band Stornoway are set to release their coastal-influenced second album, and keyboardist Jon Ouin is excited by the prospect.

“We’re very happy to have it finished,” he says. “It’s been a while since the first one, so we’re happy it’s finally done. We produced the record ourselves, and production is part and parcel of our writing process in a way. It’s quite a seamless thing.”

While some bands find being in the studio a difficult process, Stornoway had a different experience.

“It’s something we enjoy,” he says. “We never find it boring; it quite excites us. The songs are usually written beforehand, but the process of arranging and producing them blend into each other. We feel like we’ve got enough ideas between us to carry us through the process.”

The album features plenty of references to the sea, the countryside and escaping the city.

“It’s something that Brian (Briggs, lyricist) has always been very interested in,” he says. “In a previous life he was an ecologist, which makes its way into the music a fair bit. He uses it is a backdrop to reflect what’s going on inside I suppose.”

The band’s four members are multi-instrumentalists, but the song always dictates what instruments are needed.

“We try to think about each song individually,” Ouin explains. “We don’t gratuitously add instruments for the sake of it. It’s always about following the original sketch of the demo and trying to maintain the feeling we get from the original song. Although we do enjoy playing around with different sounds, as I suppose we can get bored quite easily.”

In a surreal turn of events, the band recently found themselves playing on the remote island after which they are named.

“We’ve played Stornoway twice,” he says. “The first time, we felt a desire to bribe the residents with whisky, and in the end we won that room of people over. We went back the following year for a festival. It might be quite weird living in a place and a band turns up bearing your name, but we loved it.”

Australian fans of the band might not have too long to wait to see them in the flesh.

“We’re talking about touring Australia,” he says. “Last time we played Laneway Festival which was one the best tours we’ve done. We’d love to do it again soon.”

TALES FROM TERRA FIRMA IS RELEASED MARCH 11TH ON CD AND DOWNLOAD.

Dan Hawkins of The Darkness: “The only giant tits on stage this time will be the band”

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REFORMED, refreshed, and rehabilitated, English glam-rockers The Darkness are heading to these shores for a run of shows with legendary rocker Joan Jett.

Coming off the back of album number three and an extensive tour supporting Lady Gaga, guitarist Dan Hawkins is looking ahead to the shows Down Under.

“Expect really loud sounds played through Marshall amplifiers, running about on stage, guitar solos, and great songs; a rock ‘n’ roll party basically,” he says. “If you’re up for having a couple of beers and taking your mind off work, then come along.”

Having left their rock ‘n’ roll excesses behind, the band have found a new lease of life which has seen their shows take on another dimension.

“I think we’re a lot more energetic than we were before,” he says. “We used to hide behind a massive light show and giant inflatable breasts and stuff like that. We never used to move from our spots as we were just getting over our hangovers. That’s all been well documented over the last couple of years, but we pretty much hit the ground running at a show these days. We’re in the zone now where we don’t give a flying fuck, so anything can happen at a Darkness show.”

Sharing a bill with the ‘Queen of Rock ‘n’ Roll’ is something Hawkins is looking forward to.

“Touring with Joan Jett is going to be amazing,” he says. “We’ve not met her before, and she just adds so much glamour to the show; it’s going to be quite the event. It just reads like a great gig.”

The band’s new and improved lifestyle has had plenty of other creative benefits.

“We’ve been writing on the road, which has never happened before, mainly due to massive hangovers all the time,” he says. “It’s not going to be a long wait before the next album comes out. We can’t keep our fans waiting, and obviously we lost a lot of fans when we split up. We’ve written quite a few songs already and we’re really excited about it.”

The new lifestyle also means many aspects of the band’s earlier shows have been left behind, including the infamous giant breasts.

“I thought about turning them into a really inappropriate water feature,” he says. “But the only giant tits on stage this time will be the band.”

THE DARKNESS PLAY BRISBANE RIVERSTAGE ON THURSDAY APRIL 4TH.

Record review: The Laurels – Plains (2012, LP)

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laurels
Having taken almost five years to arrive, this debut album from Sydney four-piece The Laurels invites a level of scrutiny that only such a heightened sense of anticipation can bring, but thankfully it emerges triumphant, showcasing a band who now have a killer long-player to go with their well-established live reputation. Packed with their trademark mix of scuzzy shoegaze and dark psychedelia, Plains sees The Laurels continue the form of 2011’s Mesozoic EP release, but with greater intricacy and a broader sonic palette. The band decamped to the New South Wales countryside to complete recording with Belles Will Ring’s Liam Judson on production duties, and all that fresh air and open space must have worked wonders. Opener and lead single ‘Tidal Wave’ is a six-minute atmospheric wall of sound that washes over you as the name might suggest, before ‘Changing the Timeline’ brings the creepiness and ‘Traversing the Universe’ ups the psych. ‘Manic Saturday’ is a superbly-spluttering stream of lo-fi scuzz coupled with cheerful guitar riffs, while ‘Mesozoic’ is loose and dreamy. Closer ‘A Rival’ sounds like it could be a reprise of the opening track, making sure Plains finishes on a momentous and well-rounded high. Support slots in July with Band of Skulls and a headlining national tour in August will be the perfect place to hear the new songs from this excellent debut album. Just don’t leave it so long until the next one please guys. (Rice is Nice)