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 Reviews
Record review: Howler – America Give Up (2012, LP)
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)
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: Various Artists – Son of Rogue’s Gallery (The Big Issue, 2013, LP)
Record review: The Delta Riggs – Rah Rah Radio (2013, Single)
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.
Record review: The Laurels – Plains (2012, LP)
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)
Record review: SURES – Stars (2012, EP)
SURES have risen so rapidly that their online bio simply reads ‘We started a band’ – it’s almost like their upward trajectory has been so lightning-fast that they haven’t had a chance to update it. Having been signed to Ivy League for only a matter of weeks, the Sydney quartet’s five-track debut EP stakes their claim to be Australia’s best new proponents of dreamy, perfectly-polished guitar pop, and after filling support slots for the likes of Real Estate and Best Coast, Stars gives SURES the chance to be themselves. At only fifteen minutes it is a short but solid mix of breezy harmonies, surf licks, and catchy melodies. Opener ‘Stars’ is a guitar-driven flash of catchiness coupled with a biting lyric of “you think you’re the shit, when you’re fucking the stars”. Second track ‘Poseidon’ mixes Jesus and Mary Chain haziness, ’60s pop-tinged vocal harmonies, and daydream-y mythology, before winding up with a soaring guitar solo. The beautifully-executed harmonies continue in ‘The Sun’, along with a simple lo-fi guitar riff and synth beat. ‘Romeo’ is a simple doe-eyed love song that manages to include singer Jonas Nicholls’ smartarse line “just a few drinks here and there, gets me that much cleverer” before confessing undying love to his Juliet. The influences here are wide-ranging and eclectic without being relied upon too heavily, as the foursome carve out their own unique sound on this excellent debut effort. Stars are what SURES deserve to be. (Ivy League Records)
Record review: Split Seconds – You’ll Turn Into Me (2012, LP)
Perth indie-rock quintet Split Seconds have been hovering on our musical radar for two years, and finally their debut album has landed, putting an end to what seemed like an excruciating wait. Their first eponymous EP came out last year, showcasing the band’s straightforward, catchy guitar pop and deliciously off-kilter lyrics, but have they managed to improve on that initial effort with this record? The answer is a definite yes, with bells on, as the ‘60s-flavoured pop melodies, manly harmonies, and storytelling talents of songwriter Sean Pollard combine to make an impressive debut. Opener ‘Security Light’ has Pollard announcing “Thursday is a bad day, because I go to war with anyone, for the smallest little thing,” before summing up the worker’s plight with “three days, two days, one day, till a holiday, it’s just a weekend.” The impossibly-catchy guitar lines and sing-along chorus of single ‘All You Gotta Do’ has garnered the band plenty of attention on national radio, while the prickly pop of ‘Top Floor’ sees Pollard berating two backpackers on the upper deck of a London bus who can’t keep their hands off each other. ‘She Makes Her Own Clothes’ and ‘Maiden Name’ show there is depth to the band’s sentiments, and they’re not averse to a love song with Amanda, although it could be about a girl or a subtle reference to a footy team; it’s hard to tell. There’s an intelligence behind these songs that’s rare in modern pop, and that alone makes this album worth a spin. (Inertia)
Record review: Love Like Hate – Rabbit Hole (2012, EP)
Vocalist/guitarist Heather Cheketri and pianist Sonja Ter Horst are Love Like Hate; a Brisbane band like no other. Describing themselves as ‘dark pop’, the duo have been making quite a name for themselves with their trademark blend of intense, theatrical post-punk. Rabbit Hole – the band’s debut EP – recalls the spirit of such femme fatales as Patti Smith and PJ Harvey in a stirring five-track hit; all tales of love and loss set to the sound of rock guitars and creepy keys. Opener ‘Porcelain Brothel’ broods and crawls before upping the volume with a plethora of cascading piano, as Cheketri’s melancholy yet powerful lyrics describe the emptiness of a failed relationship. ‘Bleed’ comes out of the traps with an undeniable hint of ‘90s alt-rock, as the girls discover the joys of snare drums and rocking out, and again it’s Ter Horst’s piano mastery that drives the song. The title track is next, providing an epic pop ballad moment that channels Sinead O’Connor and allows Cheketri to flaunt her vocal range, before ‘Not My Heart’ continues the drama with soaring guitars and plenty of ominous, ringing keys. Closer ’21’ continues in a similar vein with some ghostly synth thrown in for good measure, bringing an emotional and compelling EP to a close. Sure, it might be the type of music you’ll only ever listen to with nothing but a bottle of wine and your cat for company, but what the hell – it sounds pretty damn good. (Independent)
Record review: Loon Lake – Thirty Three (2012, EP)
Melbourne indie five-piece Loon Lake are one of those bands who make you feel like you could – or perhaps should – be in a band yourself; they make playing upbeat pop songs look and sound so easy. After convincing yourself you can write the next chart-topper, digging out that dusty old acoustic guitar from your closet, then quickly realising that you can’t play a single note, you’ll return to their EP with even more respect for its catchy simplicity. It might have taken a year to put together, but Thirty Three – the band’s second EP – has a fresh and laidback feel; like it was knocked together in the time it took for the barbecue to warm up. Opener ‘The Week’ is a great start, building from a delicate combination of bass drum and softly-spoken vocals, to a near-shouted chorus and stylish guitar solo. ‘Bad To Me’ is catchy and danceable, despite acerbic lines like “all you do is lie to me, make my life a misery.” Proving they’re no one-trick pony, closer ‘Heart Stomper’ is an epic rock ballad that could only be improved if Slash was in the video playing the solo in a desert. Single ‘Cherry Lips’ has had plenty of national airplay and is probably the best track on the EP, and one which singer Sam Nolan recently claimed was written in two minutes flat. Maybe I’ll give that old guitar another chance. (Shock Entertainment)
Record review: Laneway – Turn Your Love Up (2012, LP)
Gold Coast folk-country duo Louise O’Reilly and Paul Hannan are on a bit of a roll, to say the least. To bag the prestigious Grant McLennan Fellowship award for songwriting – and the $25,000 bounty that goes with it – in the same week their second album is released must be quite a shot in the arm for a band still working day jobs to support their musical ambitions. A first listen of Turn Your Love Up proves the plaudits are deserved; Hannan’s impressive gothic guitar twang, O’Reilly’s understated vocals, and a slew of sorrowful tales of lost love combine to make an appealing sound that sticks in your head. Single ‘Love Is A Devil’ sees O‘Reilly announcing “Getting to know you was quite a battle, trying to lose you is another matter,” before Hannan threatens to unleash a devastating solo. ‘Bleeding Heart’ is gently mournful and showcases the duo’s well-worked harmonies, while the more upbeat ‘Waiting For An Avalanche’ shows they can do snappy pop when they set their minds to it. Elsewhere the bittersweet ‘The Past Is Furious’ rattles and stomps with surprising force, before ‘I Saw’ sees them finish with another slice of brooding folk melancholia. With the added exposure of being award winners, an upcoming national tour, and now a new album that showcases a significant step forward in songwriting for the Gold Coast band, leaving the day jobs behind surely can’t be too far away. (Crawler Records)
Record review: Joey Ramone – …ya know? (2012, LP)
How a near-mute, beanpole outcast with a crippling case of OCD became one of the most influential front men in the history of popular music is a fascinating story. The fact that this album – the second posthumous release of Joey Ramone songs since his death from lymphoma in 2001 – ever saw the light of day is equally remarkable. Despite being pieced together over a number of years from various demos and old cassette tapes before being finished off with help from Joan Jett and Steven Van Zandt, …ya know? sounds remarkably cohesive and brims with frantic punk anthems and hints of Joey’s obvious influences; Elvis, the Beach Boys, and the Stooges. The buzz-saw guitar on opener ‘Rock ‘N’ Roll Is The Answer’ sounds as good as anything on any of the classic Ramones albums, before the album reveals itself to be a much more eclectic mix than anything Joey did previously. ‘Waiting For That Railroad’ is an acoustic ballad, ‘What Did I Do To Deserve You’ drips with pop harmonies, while old Ramones number ‘Merry Christmas (I Don’t Wanna Fight Tonight)’ is reworked as a heart-wrenching, sentimental song that wouldn’t sound out of place on a Paul McCartney album. There is a feeling that – freed from the stylistic constraints of being a Ramone – Joey was able to immerse himself in the sounds of the bands he loved growing up, without straying too far from the crunching punk sound he helped make famous. This album is as unflinching and committed as ever; making sure Joey Ramone remains the king of punk.
Record review: Hey Geronimo – Hey Geronimo (2012, EP)
Supergroups tend to be put together by the types of musicians who hail from the harder side of the rock spectrum – the likes of Dave Grohl, Slash, or Lemmy – but now Australian indie-pop is cutting in on their action in the form of Brisbane five-piece Hey Geronimo. Comprised of various members of local acts The Boat People, Blame Ringo!, and Montpelier, Hey Geronimo play addictively-catchy, hook-laden pop-rock, and bring the summery good times and positive vibes by the truck load on this debut EP. Its all-too-brief fifteen minutes pack plenty in; there are hints of Beach Boys melodies, Vampire Weekend guitars, and Ball Park Music quirkiness sprinkled liberally throughout. Any song that starts with a chorus in the form of a question is ok by me, as opener ‘Why Don’t We Do Something?’ shows itself to be instantly infectious. Stuffed full of sing-along lyrics, deft harmonies, and honky-tonk piano, it explodes into life and makes you want to pogo like an idiot and knock over someone’s drink. If you think that’s enough of a risk to your street cred, then ‘Carbon Affair’ will have you reconsidering, as it’s even catchier again; except this time you’ll be pogoing, spilling drinks, and busting out your goofiest air guitar moves. ‘Dreamboat Jack’ channels Weezer, ‘I Got No Money’ combines fuzzy guitar with snappy handclaps, and closer ‘Co-Op Bookshop’ could be an early Lennon/McCartney B-side. As Brisbane continues to churn out top drawer indie bands, this EP puts Hey Geronimo up there with the best.
Record review: The Future of the Left – The Plot Against Common Sense (2012, LP)
This third album from alt-rockers Future of the Left sees the Welsh band branching out in exciting new ways and expanding their sound; so much so that it could almost be called a breakthrough. Despite being comprehensively trashed by Pitchfork – a review that earned a fierce rebuttal from singer-guitarist Andy ‘Falco’ Falkous on the band’s website – this synth-infused album full of ominous post-hardcore riffs and dark subject matter seems set to earn them a heap of new fans. The addition of a fourth member in Melbourne’s Julia Ruzicka on bass sees the band fattening their sound and exploring new sonic avenues, while Falco’s lyrics are as sarcastic as ever; “I have looked into the future, everyone is slightly older” on ‘Cosmo’s Ladder’ being the best example. He can be found having a pop at Johnny Depp, Billy Corgan, Russell Brand and Chumbawamba at various points, and clearly really means it. On a side note, there are also some of the best song titles around today: ‘Sheena Is A T-shirt Salesman’, ‘Sorry Dad, I Was Late For The Riots’ and ‘Robocop 4 – Fuck Off Robocop’ being the most interesting. Closer ‘Notes On Achieving Orbit’ is the perfect way to finish, its hugely abrasive riffs and Falco’s throaty screaming making sure the album finishes on a high. At fifty minutes it’s probably a touch on the long side, and the less said about the production the better, but overall this is undoubtedly Future of the Left’s best album to date. (Remote Control Records)
Record review: Friends – Manifest! (2012, LP)
“I wanna be your friend” sings Samantha Urbani on opener ‘Friend Crush’, but after one look at the album sleeve you know that’s something that would never happen. New York’s Friends are one of the latest ‘it’ bands who look like they belong in a Coke advert, frolicking on the beach and looking more impossibly perfect than most of us could ever realistically hope to be. But do they have the tunes to back up the style? The answer their debut albums throws up is probably more no than yes. Singles ‘I’m His Girl’ and ‘Friend Crush’ are so annoyingly catchy that you’ll have to slap yourself across the face after six hours of singing them to yourself, but they are two high points that the rest of the album doesn’t come close to matching. There are elements of disco, funk, pop, and electro thrown into the mix, giving Manifest! a somewhat disjointed feeling, and many of the songs are underdone to the point of laziness; ‘Ruins’ being the worst example. The one recurring theme is simplicity, with much of the album consisting of nothing more than a Talking Heads-esque bass line, some basic keyboard tingling or sparse percussive taps, and Urbani’s appealing voice, but the overall feeling from this album is one of style over substance. There are flashes of summer-y good-time sounds for sure, but they’re much too few and far between. (Lucky Number Music)
Paul McBride 