Record review: Lanie Lane – Night Shade (2014, LP)

lanie lane night shade

Ahh, how good it is to have a new album from Lanie Lane. It’s been a long three years since the Sydneysider’s debut To The Horses, in which time she’s supported Jack White and Hall & Oates before falling a little off the radar. Such a break brings with it the chance of new sonic territories being explored, and the first thing that hints at a change in musical direction is the distinct lack of anything rockabilly-related on the cover. ‘I See You’ is the first of several more measured and tender tracks from the 27 year-old, as it quickly becomes clear that this album will go a long way to shaking off the ’50s rockabilly pin-up crown that Lane had previously made for herself. However, while the uptempo bops are seemingly a thing of the past, the restrained nature of Lane’s vocals on a series of ballads and country-pop numbers only serves to make them even more entrancing, as on the soaring ‘La Loba’ and later number ‘Made For It’. Single ‘Celeste’ begins with some wonderfully jangly guitar lines before Lane’s smooth and soulful vocals will make you not give a damn that rockabilly ever existed. ‘No Sound’ is the track closest to the Tarantino-flavoured work of Lanie Lane of old and is most likely to get a bar gig kicking into gear, and while the ten-and-a-half-minute ‘Mother’ perhaps takes the mick, it’s still the slower tracks that sound best. It’ll be interesting to see how Lane pulls these songs off live, and what lies ahead for her in terms of how any future record sounds, but a move this ballsy deserves admiration and support. While Night Shade is a big change in style and might not please everyone, the value of what’s been added is worth many times that of what’s been lost. (Ivy League Records)

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Record review: Foxygen – …And Star Power (2014, LP)

foxygen ...and star power

Before having even heard of note of Foxygen’s third album you’d be forgiven for thinking they’d lost the plot. Twenty-four songs spread over a double LP seems like the sort of rock music folly that ’70s punk killed off for good, but the Californian duo of Jonathan Rado and Sam France are seemingly undeterred. They even go as far as labelling their opening track ‘Star Power Airlines’ in a nod to a time when rock stars flew in planes with their band logo painted on the fuselage.

Thankfully, the expected musical flatulence doesn’t appear, although it’s barely kept at bay in parts. Second track and lead single ‘How Can You Really’ goes a long way towards bursting that particular bubble; it’s Big Star-esque aesthetic soothes and radiates warmth, before the piano balladry of ‘Coulda Been My Love’ shows that the duo have lost none of their song-writing talents during the crazy times they’ve experienced since the release of 2012’s We Are The 21st Century Ambassadors of Peace and Magic. Indeed, it could be suggested that the alleged infighting, shambolic live performances and so-called exhaustion have made …And Star Power what it is. Much like their heroes The Rolling Stones’ 1978 classic ‘Beast of Burden’, Foxygen have their own bruised-and-battered anthem with ‘You And I’, on which France is found asking “Why doesn’t anybody help me? Why doesn’t anybody care?” amid tales of broken bodies and divided relationships.

The next four tracks, labelled the ‘Star Power Suite’ are a fairly ridiculous few minutes that start off sounding like a medley of ’70s theme tunes in the vein of The Fall Guy or Smokey and the Bandit, before ‘Mattress Warehouse’ picks things up again; its organ-driven base allowing France to mumble and stumble through his vocals in the elegantly wasted manner he has made his own. The driving whimsy of ‘Cannibal Holocaust’ provides an album highlight shortly after, ‘Cold Winter Freedom’ throws some heavily-distorted synths into the mix to make it the heaviest track here, and ‘Freedom II’ is about as Rolling Stones as any band is going to get without snorting their dead father’s ashes.

By the last quarter, the gloves are well and truly off and nothing is left in the tank. The flailing fury of ‘Talk’ gives way to the cheese-balladry of ‘Everyone Needs Love’ and its calls to “shine on”, before closer ‘Hang’ closes proceedings on a miserable and dragging note.

At 82 minutes, boundaries of length and self-indulgence aren’t quite reached and beached, but there’s a lingering feeling that at least four or five of these tracks could have been left out or set aside for the special edition and no loss of quality would have resulted. At times out of focus, at times incoherent, but always engaging …And Star Power is more like three or four albums disguised as one. However, for all their retro leanings and sometimes misguided ideas, Rado and France remain top-drawer songwriters, and it’s that fact that make this album worth a spin or two.

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Record review: Johnny Marr – Playland (2014, LP)

johnny marr playland

Beginning his career as the talented one in The Smiths provided Johnny Marr with a pretty solid foundation on which to build his musical world after shedding the Sultan of Sorrow that is Steven Patrick Morrissey. His second solo after album after last year’s The Messenger, Playland is a further opportunity for the 50 year-old Englishman to quietly impress, as he has been doing with a variety of projects for several years. If impressing was the intention, however, Marr has mostly fallen short here. Rather too much of this album sounds badly dated, perhaps most closely exemplified by lead single ‘Easy Money’, which comes off like a wince-inducing mix of Duran Duran and Dire Straits. There are still some fine moments though, as there will always be when a guitarist as good as Marr is involved. ‘Dynamo’ and ‘The Trap’ contain some of those wonderfully ringing and intricate guitar lines we come to expect from his fretboard; the ones he should stick to building all his songs around. The main problems are a lack of quality songcraft and consistently expressionless vocals; a losing combination if there ever was one, and one that leaves you feeling like an opportunity has been missed here. Marr is a vital talent – of that there is no doubt. He simply needs a writing partner to take these songs to a higher level, and then he shouldn’t ever consider himself a lead singer ever again. (New Voodoo Records)

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Record review: U2 – Songs of Innocence (2014, LP)

u2

What is this thing that has appeared in my iTunes account without my permission? I didn’t ask for it. I didn’t want it. The other tracks in there were doing just fine before these 11 barged their way in and caused a disturbance in the force. The manner in which the Irishmen’s lucky 13th album has basically been forced on millions of people won’t help curb the growing trend of U2-bashing, but the marketing side of things can of course be forgiven if the music is quality. But therein lies the problem; it’s mostly not. Supposedly one of the band’s most personal albums to date, the once-I-was-a-young-lad lyrical platitudes and general emotional emptiness add up to an album filled with the most bloated sides of U2’s music and scarcely few of the better elements of their earlier career. Only Bono could write a tribute to a punk legend and make it entirely about himself, as on ‘The Miracle (of Joey Ramone)’, while the Beach Boys-tinged ‘California (There Is No End To Love)’ and ‘Sleep Like A Baby Tonight’ suggest that the song pool for this album can’t have been a rich one. They’ve had a career most other bands can only dream of, but it’s hard to listen to this album and think that U2 were once trend-setters; it’s all too vague and formulaic to make any kind of impact other than disinterest. Right clicking and hitting the delete button seems like an attractive method of restoring iTunes harmony. (Island)

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Record review: Joe Bonamassa – Different Shades of Blue (2014, LP)

joe bonamassa different shades of blue

This being his 11th solo album of blues-rock in just 14 years, Joe Bonamassa could be forgiven for running out of new ways to express his prodigious guitar talents on record. Thankfully, Different Shades of Blue finds the 37 year-old American axe-slinger on top form and showing once again why he’s one of the hottest six-string shredders in the world today. This is the Grammy nominee’s first album to feature all original material; a significant step for a blues-rock purist. Not that the influences aren’t as glaringly obvious as usual; the hands of Clapton, Page and Rory Gallagher are all over this record, and that can only ever be a good thing. At the top of the pile for rock riffage is second track ‘Oh Beautiful!’, which rivals anything found on Led Zeppelin II, while ‘Heartache Follows Wherever I Go’ brings the melancholic blues and there’s even a Queen-esque ballad to keep things varied with ‘Never Give All Your Heart’. Bonamassa is often labelled as Eric Clapton’s natural successor, although Clapton himself probably wouldn’t take kindly to that, given he’s still putting out records himself. In saying that, it’s a fitting sentiment, and this record will only serve to reinforce it.

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Record review: The Ninjas – The Ninjas (2014, EP)

the ninjas ep

Swagger can take you a long way in music, and garage-rockers The Ninjas have it in spades. But when it comes to the crunch, you have to be able to back it up with great tunes, and luckily the Brisbane quartet have come up with the goods on this five-track debut EP. As with many first releases, it’s a record of two halves; first comes the angular lo-fi indie-rock, before the riff-heavy second half cranks the rock up to eleven. Opener ‘Can’t Go Back’ could have been lifted from The Strokes’ underrated Room On Fire album, while second track ‘Kill ‘Em All’ combines Josh Stewart’s towering Britpop vocals with Pat Ferris’s likely-lad guitar glory à la The Libertines circa 2002. What possessed Ford to use the sleazy bass-driven grooves of ‘Yeah Yeah’ in an advert for their latest gas-guzzler we may never know, but it’s a driving and danceable track that’s more suited to a Happy Mondays gig than a used car lot. Pleasingly, the closing double of ‘Boogie On It’ and ‘Never Had Much Time’ show that this is a gang whose hearts truly belong to the golden Gods of rock and roll and all their resplendent glory. While there’s probably not a jot of martial arts talent among them, it’s reassuring to know this particular band of ninjas are slinking around the shadows of Australian music making tunes that pack a punch as powerful as this. (Independent)

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Record review: Kingswood – Microscopic Wars (2014, LP)

kingswood microscopic wars

As recently as February, Arctic Monkeys frontman Alex Turner felt the need to include the words “that rock ‘n’ roll, it just won’t go away” in an award acceptance speech, as a gesture of defiance in support of a so-called waning form of music. If rock and roll is indeed fading away, thankfully nobody has told Kingswood, who seem intent on embarking on a one-band mission to put it back where it belongs. Anyone who has had their ears assaulted by the Melbourne quartet on one of their many jaunts up and down the east coast over the last couple of years knows that they are one of the hottest rock bands in Australia right now, but until now they’ve been a white hot rock band without a debut album. Now it’s here, and it’s a lot more varied than you might expect, with the scorching big-noise numbers ‘Ohio’ and ‘Sucker Punch’ being bookended by the desert blues of ‘So Long’ and jaunty ‘Piece By Piece’. Single ‘ICFTYDLM’ packs an altogether groovier punch than perhaps anything the band has done before; it’s as if a sleazy lounge band has been allowed to throw in some songwriting ideas for a few minutes, and it works beautifully. Inevitable Led Zeppelin comparisons will ensue, but whether you label this album good old fashioned rock and roll, straight-up guitar-rock or whatever, in the end Microscopic Wars is simply a ballsy and brilliant piece of work. The future of rock and roll, it seems, is in excellent hands. (Dew Process)

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Record review: Elodie Adams – inSUBORDINATE (2014, EP)

elodie adams

There was a time way back in 2003; a dark and confusing period for popular music when Evanescence ruled the airwaves. Nu metal was finally on its way out after long overstaying its welcome and hipster culture was barely a glint in a ’90s skateboarder’s eye, which left a gaping opportunity for Amy Lee and Co.’s dark gothic rock to plant its flag on the summit of contemporary culture. A few million record sales later, and the band slipped from public favour and disappeared. With every trend seemingly doomed to repeat itself, their influence is now being felt in the suburbs of Melbourne, via the violin-toting, neo-gothic, industrial-rock sounds of Elodie Adams. But wait, come back: this six-track debut EP is more than worth a listen, whether you fancy revisiting the fantasy-filled angst of your younger self or not. The action kicks off with dramatic opener ‘Born To Love You’, which has already been hand-picked to appear on Sony PlayStation’s Oddworld: New ‘N’ Tasty game; quite a score for a relatively unknown artist, and ‘Stockholm Syndrome’ gets into even heavier territory before being punctured by a calming violin. ‘Multiplayer’ (going all-out for the gamer market, Elodie?) wades knee-deep in sludge, before the title track sees Adams combining her classical violin skills with an obvious penchant for horror movies in another genre-bending effort. Is it time for gothic-rock to conquer the world again? If so, Elodie Adams will do Team Australia proud. (Independent)

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Record review: Jenny Lewis – The Voyager (2014, LP)

The Voyager

Most people who haven’t slept for five days would see a doctor. Instead, former Rilo Kiley singer Jenny Lewis began writing songs for her first solo album in six years. Plagued by insomnia following the break-up of her band and death of her estranged father, the 38 year-old American crafted the bulk of The Voyager from a very dark place. While it shows on introspective laments ‘Slippery Slopes’ and the title track, there’s just as much defiance to counter the gloom, and it’s the combination of the two that makes this ten-track effort better than the average alt-country release. Lyrics flit between breezy and burdensome on highlights including the bar room stomp of ‘You Can’t Outrun Em’ and JJ Cale-esque riff on ‘She’s Not Me’, while throughout the brutally honest tale of fading youth on ‘Love U Forever’, Lewis lays herself barer than before. Top-drawer production from Ryan Adams rounds off what is both the sound of an artist looking for closure and calm, and a welcome and overdue return to making solo albums.

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Record review: Twin Peaks – Wild Onion (2014, LP)

twin peaks wild onion

Despite having the same name as the brilliantly-disturbing cult TV series, Chicago quartet Twin Peaks are much easier to figure out, even if their second album finds them expanding their sound in an attempt to ‘grow up’ and edge away from their scratchy debut. While barely out of their teens, this is a gang whose sound has seemingly been spewed forth via the power-pop of Alex Chilton, sloppy party-rock of The Libertines and blue collar appeal of The Replacements, with a whole lot else stuffed down the middle and wrapped up in one big messy musical burrito. While there are some dirgy moments, as on the floundering ‘Ordinary People’, and they get caught belting out unnecessary hell-for-leather power chords at a couple of points, the overall vibe is of a fresh and energetic guitar album that’s generous and enticing at 16 songs. There are some great riffs spattered throughout, including on the shimmering, arching ‘Flavor’ and the excellent Faces-meets-Blondie ‘Telephone’, and when the the type of dual guitar interplay that Thin Lizzy would have exhibited pops up, new reasons to appreciate Wild Onion are found. ‘Sweet Thing’ shows the band know the power of a rhythm guitar in driving a song’s groove, while the instrumental ‘Stranger World’ catches them trying to bring sax back, before giving up a minute later. It’d be easy to write off Twin Peaks as just another bunch of rowdy indie upstarts, but this album is well worth getting your onion-loving tastebuds all over. (Grand Jury)

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Record review: Anberlin – lowborn (2014, LP)

Anberlin

Having already decided to disband after this album and one last tour, Florida alt-rock outfit Anberlin have nothing to lose in 2014. With six albums under their belts, the band – formed in 2002 – should be taking this chance to throw caution to the wind and go all-out in one last blast of statement-making rock fury. However, lowborn was pieced together by five musicians recording their parts separately with different producers, and while the sound quality hasn’t suffered as a result, it’s a formula that has produced a fairly robotic and over-polished piece of work that surely only hardcore fans of the band are going to appreciate. Every good album should start with a cracker then take it up a notch, but the plodding opening one-two of ‘We Are Destroyer’ and ‘Armageddon’ fall well short of the epic stadium pop-rock anthems they are meant to be. Elsewhere, the overwrought balladry of ‘Birds of Prey’ provides another forgettable moment among many forgettable moments. While ‘Dissenter’ reveals the first hint of potential perspiration by the band, as singer Stephen Christian lets rip with a vein-bursting, effect-ridden vocal, it’s nowhere near buoyant enough to stop the nine other tracks dragging it under the surface of mediocrity. Overall, there’s really nothing wrong with this album; there’s just nothing particularly right (or even memorable) about it either, so it’s with a whimper that Anberlin exit stage right. (Tooth & Nail)

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Record review: The Creases – Gradient (2014, EP)

creases gradient

How quickly things can happen when the right people hear your song. What started as a joke for Brisbane’s Joe Agius and Jarrod Mahon resulted in legendary UK label Rough Trade picking up their ‘I Won’t Wait’ single and the rest might just go down in history. Several abandoned uni courses and letters of resignation later, and The Creases are now a quartet and a serious concern, with a debut EP in the bag and an album in the works. But has all the hype and “buzz band” statuses on the blogosphere been worth it? The answer is an unwavering yes. Opener and single ‘Static Lines’ is pure pop bliss, as Agius throws out classic lines about sitting by the phone and seeing things “in the way you smile”. Despite having a title that recalls something that mopey old muppet Morrissey might write, second track ‘How Long ‘Til I Know’ is a pleasingly squalling shoegaze number that was probably nicked from Agius and bassist Aimon Clark’s side-project RINSE; a band which, like Mahon’s Emerson Snowe, looks to have become somewhat of a casualty of The Creases’ sudden success. Third track ‘Fall Guy’ is the unexpected highlight; its chiming guitars and wistful lyrics stand head and shoulders above the rest, while ‘Do You Know Why’ is more of a scratchy number and the closer and title track packs a late punch, courtesy of some powerhouse drumming by Gabe Webster. The Creases might have started out as a joke, but this debut release is as promising as they come. (Liberation Records)

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Record review: Mere Women – Your Town (2014, LP)

mere women your town

DIY post-punk trio Mere Women recorded their second album in a cold-storage warehouse, and if ever a record’s surroundings affected the final sound, it’s here.

All hauntingly-focussed vocals, stabbing guitars and dark disdain, Your Town is the type of brutally abrasive collection of songs that would never make sense played in daylight or with anything on your mind except thoughts of anger, helplessness and schadenfreude.

The Sydney trio of keyboardist/singer Amy Wilson, drummer Katrina Byrne and guitarist Flyn Mckinnirey have been knocking around since 2011, and their 2012 debut Old Life earned them acclaim as an underground act worth keeping an eye on. Since then they have honed in on a more cohesive sound that perfectly captures the crushing, claustrophobic feeling of small-town-anywhere in all its depressing glory.

If the title track were a person, it’d be one of those pent-up, vaguely unhinged people you meet on public transport who fill you with equal amounts of intrigue and dread. Single ‘Our Street’ is the musical manifestation of suburban solitude, as Wilson asks “will you still want me when I’m old and frail?” and “will you think of me when I’m cold and pale?” with a jagged pop melody, as Mckinnirey’s relentless riffs flail and stab.

Waiting for the gloom to ease off over ten songs is a long and exhausting process, but by the time closer ‘Moon Creeper’ tries to lull you into a false sense of security with a soft opening 30 seconds, you know it isn’t going to happen, and another Mckinnirey riff proves you right.

Overall, Your Town is a well-crafted and worthwhile album of post-punk, even if after listening to it you’ll want it to creep back into the shadows of the ill-lit warehouse it crawled out of. This is music for dank basements and crushed hopes.

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Record review: Lowtide – Lowtide (2014, LP)

lowtide album

Melbourne’s Lowtide are a band that takes their time, but boy has it been worth the wait. What started as a bedroom project for guitarist Gabriel Lewis in 2008 has blossomed into a four-piece band with a strong live reputation and now a debut album in the bag; and what a fine debut album it is. While shoegaze is the label that will be slapped all over these nine songs, there’s a lot more to sink your ’90s-cut teeth into. The band seem to know the perfect time to drift out of focus, as on ‘Still Time’ and ‘Yesterday’, before returning sharply into view with crisp pop single ‘Held’ and darkly primal ‘Autumn’. First single ‘Blue Movie’ could be ripped from a Lynchian dream sequence, whereas the chugging bass rhythms on ‘Wedding Ring’ provide a more forward-looking approach. Top marks have to go to singers Giles Simon and Lucy Buckeridge, whose poised vocals provide constant highlights on most tracks. Unfortunately, such fresh beauty often causes music reviewers to roll out plum old phrases like “melodic textures”, “aural layers” and the worst of all, “sonic soundscapes” in failed bids to capture the grandeur of this music in words, but crap like that doesn’t do it justice. Whether you want to call it shoegaze, roogaze, dream-pop, indie or whatever, this is simply a classy piece of work that should feature in everyone’s end of year best-of list. (Lost & Lonesome Records)

Record review: Doctopus – Wobbegong (2014, LP)

doctopus wobbegong

Shortly before his death in 1982, gonzo music journalist Lester Bangs played down the importance of using sophisticated recording techniques by claiming that the best records are made and played on garbage equipment. By that standard, lo-fi slacker-rockers Doctopus must have made one of the records of the year, because their second album is so heroically sloppy it should be served with a napkin and wet wipes. Not that the Perth trio would be the types to give a damn; it’s just good to be pre-warned when dealing with such a gloriously unfocussed piece of work. As their name suggests, the band have a minor preoccupation with marine life, as on the mostly nonsensical title track, which finds bassist/vocalist Stephen Bellair bawling “I wanna live underwater” repeatedly before switching to “I wanna live in a spaceship with you,” in move that’s more indecision than evolution. Naming a track ‘Stadium Rock’ and making it five minutes of squalling, rampaging feedback manically laughs in the face of everything that hair-metal stood for, and the eight-minute tuneless ballad that is closer ‘Chronic Reprise’ kills any chance of clarity and finishes off the record. If you’re looking for an overall idea or a general concept, you won’t find it here. Instead, it’s the utter lack of direction, whatever-goes attitude and general overall mess of sound that is most appealing about this seven-track effort. Musicians take note: this is how to stuff up an album good and proper. Lester would be proud. (Independent)

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