Record review: Van Morrison – Moondance: Expanded Edition (2013, Reissue)

Van Morrison

How do you describe a stone cold classic album like George Ivan Morrison’s Moondance? The answer is you don’t; it describes you. Using words on a document to discuss the ins and outs of a collection of tracks that absolutely embody the very fabric of music itself is like trying to make the wind blow or sun shine. There are so few albums that can arguably be put into a category above and beyond the normal “masterpiece” slot into a level of a kind of transcendental majesty, and Moondance – Morrison’s 1970 second solo album – is certainly one of them.

Ranked at 65th spot on Rolling Stone’s ‘500 Greatest Albums of All Time’, if that means anything at all, Moondance was recorded only a few short months after the release of another classic, Morrison’s brilliant debut Astral Weeks, near Woodstock in upstate New York. Its blending of R&B, folk, soul, rock and jazz; all wired through its intensely controlling writer’s Celtic, stream of consciousness style, makes for some seriously special results.

Opener ‘And It Stoned Me’ is a beautifully narrated tale from Morrison’s childhood and the best song here. In 1985 he said “I suppose I was about twelve years old. We used to go to a place called Ballystockart to fish. We stopped in the village on the way up to this place and I went to this little stone house, and there was an old man there with dark weather-beaten skin, and we asked him if he had any water. He gave us some water which he said he’d got from the stream. We drank some and everything seemed to stop for me. Time stood still. For five minutes everything was really quiet and I was in this ‘other dimension’. That’s what the song is about.” The perfectly-paced track is perfectly constructed so as to allow the listener to float alongside the young Van as he makes his way through that countryside day in Northern Ireland. The addition of a lightly tinkling piano solo and subtly twining saxophones, and Morrison’s fixation on the glass of water “carried from the mountain stream” all add to the overall effect of a near-perfect childhood memory.

The title track is next, and despite the instant change of style to a song with an unmistakable jazz swing, Morrison’s voice makes it a smooth transition. There’s even a flute over-dub behind the vocals that gives the track a lighter air to go with the walking bass line. Fourth track ‘Caravan’ is another bona fide classic. The song – playing on Morrison’s fixation with gypsies – features yet more wonderfully descriptive lyrics. “And the caravan is painted red and white; that means everyone’s staying overnight, ” he sings, although it has to be said that the live version on The Last Waltz with The Band is probably even better (later track ‘Brand New Day’ is said to be inspired by The Band also). ‘Into The Mystic’ again explores the idea of the ‘gypsy soul’ in ethereal fashion, and ‘These Dreams Of You’ has the trademark Morrison groove that makes his live performances so special. Closer ‘Glad Tidings’ is his warning about the music industry and the trappings of celebrity lifestyle; ideas that Morrison has stayed true to over forty years later.

In terms of extras for this expanded edition, it’s what surrounds the songs that is most intriguing. From Morrison making false starts on ‘Nobody Knows You When You’re Down And Out’ and getting crabby with his band, to snapshots of multiple takes of each song, and alternate takes that are just as good as the album versions; there’s plenty here to keep Van fans intrigued.

Forty-three years later and every song on Moondance still sounds bloody amazing. That’s why it’s a classic album.

Interview: Jedward

JEDWARD

Irish pop twins Jedward are a seriously excitable pair of lads. They have so much energy that every one of these sentences should probably end with an exclamation mark, and their upbeat lust for life and desire to talk and talk and talk some more is simply infectious. I spoke to John (as Edward was “in the other room eating cereal”) about their upcoming Australian shows and the trick to fielding questions about their famous hairstyles. Warning: some of these answers have very little to do with the original questions.

You’ll be coming to Australia for three headline shows at the end of November. What can Australian fans expect from your shows?

It’s really exciting because these will be our very first shows ever in Australia. We’ve been to all the European countries doing concerts; I think we’ve done about four hundred concerts in total over the last three years or whatever, so we’re really excited. We’ll have over thirty songs; we’ll be doing pop songs, dance songs, pop-rock songs, we’ll play guitar on stage, we’ll do covers that people don’t even know, and some that people will know. Our songs are really really catchy anyway, so even by the end of the song people will be singing along and having a great time. We’re so excited about coming all the way from Ireland! It’s such a long trip; twenty-three hours to get Down Under to do concerts for our fans.

What covers will you be doing?

We haven’t decided yet. We’ve done ‘Little Things’ by Justin Timberlake, and some Ed Sheeran. We need to pick some slow songs, and then some kind of more ‘pop’. We only decide about a week before or whatever, so we haven’t really decided yet, but they’re going to be songs that everyone knows so we can get a proper vibe going. We kind of just bang through songs; we don’t drag the songs out for ages. You know when you go to a concert and they do, like, a six-minute version? We kind of just do it quickly, then it’s next song, next song, next song. We also have ten outfit changes, and that’s a lot of outfit changes. Most bands only have, like, three maximum, so it’s really really good. We just can’t wait to rock it when we come to Australia!

You’ll be playing some pretty big venues. Will your show be a big production with special effects and things like that?

Oh yeah, we’re going to have lots of stuff; lights, choreography, screens and crowd interaction. Nothing’s scripted or anything; I mean, we know our songs and what to do on-stage and everything, but talking to the crowd when everyone’s excited and we’re excited as well, is a really good vibe. We rock out to the max, so if anyone wants to have a good time, come to our show. Even in Ireland, when we’ve had thirty-seven shows over Christmas, doing two shows a day, we always have energy. We’re really fit, we’ve ran a marathon, and we’re ready to do the shows!

Did you actually run a marathon?

Yeah! We ran a marathon. We ran twenty-seven miles and we used to run five or six times a week, so we’re ready to go and do it. We ran it in three hours forty three minutes, but we were kind of just strolling it; we didn’t train for it. I play guitar on stage, and all our fans love when I play guitar on stage; they sing along with all their hands in the air. It’s a really really good vibe. I played guitar on the Internet, and I think it got a couple of million views on YouTube, so I decided to play guitar in all our shows. Our concerts aren’t all the same sound; we’ve got slow songs, dance, and pop stuff in there. It’s all different. We need to give people time to rest as we have loads of energy and we like to go crazy.

Where do you get all this energy? I feel like you could probably talk all day if I let you.

We’ve always been like that. We’ve always been runners and sports fans, and we always eat healthily. All this energy means we’re focussed and driven. You know sprinting when it’s like on your marks, set, BANG? We’re like that all the time; straight out there, but I think it’s the way we talk that makes people think that as well. We use a lot of actions words like ‘crazy’, ‘cool’ and ‘okay’; we use these words, like, a million times. That makes people think we have lots of energy, but we’re just like everyone else. For example, sometimes at airports, we’ll be talking to, like, a hundred girls all at once, when normally if you talk to girls it’ll be just you and the girl. Or if we do a C.D. signing and meet, like, a thousand people and have a thousand different conversations people might think we’re crazy.

Do you have any plans for new music?

We’ve done three albums. Our first album was just cover songs, our second album was more dance-y, and our last album was more of a live, pop-rock vibe. We wrote our next album all by ourselves, and we want it to have a more mainstream sound, not appealing to just one audience, and with a more solid, strong sound. We’re really excited about coming to Australia and doing TV shows and playing our new songs, and because we wrote them ourselves, we feel them one hundred percent. When we’re writing songs we really think outside the box; they’re all different and we never feel like “oh here we go again”. None of the songs have “I love you” or “love you” or anything like that in the titles; they’re really, like, solid and strong.

What else besides music would you like to get involved in?

I think the last four years have been such a learning experience, kind of like college. We want to do everything to a higher level and standard. We’re always going to have our hair and clothes and stay true to ourselves and stuff like that, but we just want to do everything on a bigger scale.

Don’t you ever get sick of people asking about your hair?

It’s okay; we don’t mind it. It’s like right in their face, it’s right there, so I think when people are lost for words ask “so how do you do your hair?” In twenty years time we still want to be performing concerts and doing ‘Under Pressure’ and ‘Lipstick’, so I think we have to accept and be appreciative of our fans and whatever they ask. It’s like Britney Spears; she still sings ‘…Baby One More Time’, like, fifteen years later because it’s for the fans.

If you could record a song with any singer alive today, who would you choose?

I’d like to do a song with John Williams. He’s a composer and did the soundtrack to Jurassic Park and loads of other great soundtracks. I’d like to write a song with him; he writes such ‘massive’ songs. He’s, like, eighty-four, so maybe before he dies we can do a song or something like that. I’d also like to do a song with Pharrell, Justin Timberlake or Timbaland; you know their sort of really cool, simple, uncomplicated melodies? I’d love that.

Do you ever have to tone down your accents or slow down when speaking to people around the world?

Yes! We were just in Singapore and everyone spoke English, but we really had to slow down a bit so they could understand what we were saying. I feel like in the future we’ll be going to a lot of different countries where they don’t even speak English, so we’ll have to talk really slowly and precisely. In Germany we had one of those translator things in our ears, and we had to talk really slowly.

What are you most looking forward to about coming to Australia?

I’m looking forward to actually being in Australia, and I want to go to New Zealand as well. We’d like to go to the reef; you have the barrier reef there, yeah? We’d like to do some scuba diving and meet a koala bear and a kangaroo and do everyday Australian things like surfing. We’re really excited.

JEDWARD PLAY THE REGAL THEATRE PERTH NOVEMBER 23, PALAIS THEATRE MELBOURNE NOVEMBER 30, AND ENMORE THEATRE SYDNEY DECEMBER 1.

Interview: Haydn Ing of Calling All Cars

Calling All Cars

Melbourne’s Calling All Cars have just released a new single in ‘Werewolves’ and are about to embark on a national tour to launch the track.

The first time I saw you play, you were supporting AC/DC with Wolfmother in a bloody big stadium. What are your memories of that tour?

I remember the first show of the tour, walking out onto the stage and thinking…. “Holy f*#cking shit!!!” After that show, we really started to have fun with it. After all… How often do you get to support AC/DC!? It was rad.

You just played BIGSOUND, and drew a heap of people into the Tempo Hotel for your set. How was your experience of the gig, and BIGSOUND as a whole?

BIGSOUND was an excellent experience overall. It’s growing bigger every year, and there seems to be a real vibe around the whole thing, which is great to see! To be honest, we weren’t sure what to expect with our gig at BIGSOUND, as we have been in a writing hibernation for a while. Luckily for us, the room was full with a nice warmth in the room. We had a great set and then got drunk… er. We saw a whole bunch of rad bands, and also played a DJ set. Keep an eye out for ‘Calling All Cars DJs’!

There has been a fair degree of secrecy surrounding the upcoming new album. How deliberate has that been?

I’m not sure I can say… Haha. No, it hasn’t really been intentional, but we also don’t want to give it all away. Sometimes it’s nice to keep a surprise a surprise.

What does the new record sound like? Are you throwing any surprises in there?

Definitely. We have really pushed ourselves this time round. We wanted to step right out of our comfort zone for this album. We wanted every beat to be hip shaking, and every melody to be creeping back into your head when you’re least expecting it. Again, you’ll just have to wait and see.

Does having two brothers in a band help you to resolve disagreements quicker than you perhaps normally would?

I’m not really sure, as I have never been in a band without my brother. Ha. But I can only assume that it has its pros and cons just like any other scenario. Sure, we can resolve ‘tiffs’ nice and quick, but the ‘tiffs’ are usually over the dumbest things. I guess the cool thing is we can read each other on stage without words. That nice. Brotherly nice.

You’ll shortly be embarking on a tour to support the single. What can fans expect from a Calling All Cars show in 2013?

Well, a whole bunch of new songs. Also, we have reworked some of the old ones too. Lots of energy, drinks and fun.

What are your plans for the rest of 2013 and beyond?

We’re always writing new songs, planning future tours and looking to travel. We’re just taking it a day at a time.

CALLING ALL CARS PLAY ALHAMBRA LOUNGE OCT 26

Interview: ill.Gates

ill gates

Canada-born, California-based EDM legend Ill.Gates will be at Island Vibe Festival later in the month for what promises to be one seriously bass-heavy party. From headlining festivals, to working with some of the best in the business and teaching up-and-comers, Gates has it covered.

What is the scene like for bass-heavy music in San Francisco right now?

San Francisco has an incredible scene for bass music. Period. Or maybe even exclamation mark. Yeah… I’ll go with exclamation mark! It’s awesome. People there are very forward-thinking and always want to hear whatever’s new and innovative. There are massive events and street festivals all the time and the people do not tolerate unoriginal music or poor sound systems. We are also lucky enough to have the American branch of PK Sound based in SF, so you can often find their sound systems bumping at special events.

The only thing you can complain about really is that the fetishism of new original music and high quality sound systems kind of ruins travel to much of the rest of the world. Trends move very fast, so whatever is new to the rest of the world is already old news in the Bay. Definitely a first world problem.

How do you keep up to speed on new technology and software as it emerges?

It has gotten to the point that many of the companies and innovators simply contact me directly as their gear is being developed and/ or send me demo units. I read a lot about new stuff online as well. Blogs like djtechtools.com are excellent sources of reviews and there’s always the ableton forum as well.

What’s your favourite piece of DJ equipment that you own?

I’d have to say my MIDI Fighters are the most fun. I love Ableton Push for melodic performances, but the MIDI Fighter just slays it. It’s like an MPC made of arcade buttons, and then suddenly all those hours logged on ‘Street Fighter II’ at the arcade are musically useful. Go order one now. Trust me.

Another string to your bow is the role of musical educator. What form does this take?

Lately it’s nearly all online. Since I signed on with Circle (agency) I have been gigging more than ever before so it is very difficult to financially justify the time it takes to do a workshop. When I have a workshop online it can eventually generate the residual income to justify it to my management but grinding it out doing physical workshops doesn’t really make sense any more.

I am, however, treating this Australian visit as more of a vacation than a business venture so I will take the time to teach for the love of it when I’m there.

What is the biggest misconception about DJing that you would like to see change?

I would like to see audiences appreciating actual live electronic music more. People like Mad Zach, Araab Musik, Sibot, Shake Beats, AmpLive etc. are absolutely epic when it comes to finger drumming live. It’s amazing. To make a whole song happen ACTUALLY LIVE with no quantise or looping or anything to fall back on is magic. Audiences don’t really understand that it actually takes years of practice to be able to truly do it live.

I’d like to see more appreciation for the art and craft of finger drumming, and I’d like to see more people doing it. DJing is great, but being able to actually play instruments live on a stage is pretty amazing too.

Do you have any plans for releasing new material any time soon?

I’m basically doing one track at a time these days because nobody has the attention span for a whole release any more. I’m planning to keep going like that, and then put out mixtapes of all the favourites every now and then. That seems to be the format people are responding to. You can get a new release every month or so at illgates.com or on my soundcloud. Bon appetit!

What drives you to continually find new sounds and styles?

Hack artists ruin every subgenre as soon as it gets popular, so if you like the feeling that music gives you then there is no other option but to constantly seek out new sounds and forms of expressing yourself. Music saved my life. Literally. I owe it to the world to return the favour. I’ve also got absolutely nothing else on my resume so I’d better give this thing my all if I want to support myself.

There really is something to be said for music as a full time profession. If you’ve got no safety net at all you really have to hustle to stay relevant. Artists and trends come and go so fast these days that it’s adapt or die.

You’ve played some huge festivals like Burning Man and Shambala, but what can fans expect from your show at Island Vibe?

I love Jamaican music. Love it. I have all kinds of remixes, dub versions, etc in my back pocket I’ve been dying to bust out for ages and I see Island Vibe as my best chance for it. In my previous trips to Australia I typically stayed away from playing tracks with vocals (Aussies tend to think it ‘commercial’, lol) so I’ll have a chance to explore some new territory this time around. I can’t wait!

And finally, what are your plans for dealing with the Queensland heat? Beer or water?

Coopers Pale Ale, obviously… cheers!

Ill.Gates plays Island Vibe October 25-27. He also plays the joint IV After Party/ Earth Frequency Launch Party at the Hi-Fi November 2.

Record review: Clowns – I’m Not Right (2013 LP)

Clowns

Finding myself at a loss for which band to check out next at the recent BIGSOUND festival in Brisbane, I sauntered into Ric’s Bar where several hairy young men were readying to play. Thirty minutes later, after an intense onslaught of hardcore riffs and throat-shredding vocals, my state of mind could best be described by one the band’s songs: ‘Oh F_ck, My Face’. That band was Melbourne hardcore/punk quartet Clowns, and my semi-melted mug and fragile eardrums haven’t quite been the same since. I’m Not Right is their debut album, and it packs a punch in a similar fashion to that of The Bronx or Black Flag; all sweaty, beer-soaked hardcore and barely-restrained punk aggression. Movie nerds will notice a sound-bite of “Rowdy” Roddy Piper’s voice from ’80s cult flick They Live in 55-second opener ‘Awake’, before ‘Grave Junkie’ explodes with a savagery that is maintained for the rest of the twelve tracks. The album title is probably more autobiographical than is initially apparent, as the lyrics detail subjects like horse tranquillisers, acid, and various powders, and being an outsider on a daily basis, or “every day I wake up late, surround by the same old sh_t,” as the lyrics go on ‘Sheep in Black’. With song titles like ‘Eat A Gun’, ‘Jesus on Acid’, and ‘Rat’, this isn’t going to be an album you’ll play at your granny’s birthday party, but it’s a kick-ass collection of international-quality hardcore and punk that should come with a warning: must be played LOUD. (Poison City Records)

Cody Chesnutt: “The second album was about redemption, without question”

cody chesnutt

WITH A STYLE and approach often likened to Prince, Cody Chesnutt’s music is anything but boring.

“Prince writes the music the way he feels it, and I subscribe to that as well,” he says. “Creatively, there are certain similarities – the diversity and uninhibited expression. The initial writing process is always the same – me and an acoustic instrument, be it a piano or guitar. My aim is to always get the song first; get a very clear vision of what the song is and what I think it should say, then open it up to other musicians and see how the colour in the painting, so to speak. I remember how Aretha Franklin was taken to Muscle Shoals and found all these great musicians, and I began to think I could do the same thing, so I went down there and found my band. There was so much talent. I met my drummer and he knew the keyboard player, the guitar player, and a huge pool of people in the scene, and it came together in a very organic way. I’m thankful for what they all brought to the record.”

Chesnutt speaks candidly about the ten year period between his 2002 debut Headphone Masterpiece and follow-up Landing On A Hundred, including adultery and becoming a father.

“The second album was about redemption, without question,” he says. “But not just for myself. I wanted other people to have their own experience of redemption and I wanted that album to aid people in their own redemptive process and for it to be a part of a healing process. I wanted to understand my role as a father and a family man, and a lot of different things. I took time to grow as a person, and I wanted that growth to be creative too. It was really about making sure I was ready to expose myself again, and making sure I had something to say; something that I could commit myself to.”

An upcoming Australian tour is the start of a busy few months for the Atlanta native.

“I’m beginning to wrap my head around some new songs,” he says. “I have material that I feel strongly about, so I’ll definitely have another album soon. A lot of people have just discovered my last record, so I’ll be touring it as much as possible for the next few months, then I might do some soundtrack work for movies or things like that. What I tell people is to come is to come to my shows with an open mind and an open heart. That’s really all I can ask for.”

CODY CHESNUTT PLAYS THE HI-FI OCTOBER 20.

Record review: Busby Marou – Farewell Fitzroy (2013 LP)

Busby Marou

With their 2011 self-titled debut album and lead single ‘Biding My Time’, Rockhampton duo Thomas Busby and Jeremy Marou announced their arrival onto the music scene with a uniquely Australian take on the folk and country genres. Now, after two years of playing shows up and down the country several times over, it’s time for their so-called difficult second album, and it’s a task they take in their stride with total ease. Singer-guitarist Busby is the primary songwriter of the pair, while Marou provides backup vocals and impressively quick-fingered guitar licks, despite apparently never having had a guitar lesson in his life. As you listen to their tales of leaving home (Fitzroy being the river on which Rockhampton lies), being on the road, and of broken relationships, you can’t help but think of classic Australian troubadours like Paul Kelly; such is the evocative power of Busby’s lyrics. Anthemic folk number ‘Luck’ is a major highlight, while ‘Heard It All Before’ shows they can rock hard when they want to. Second track ‘Get You Out Of Here’ is another peak while ‘Over My Dead Body’ begins as a slower and more melancholy affair, before Marou unleashes a devastatingly fast solo. This album’s generally bright and breezy vibes make it perfect for a summer’s day, and the down-to-earth appeal of Busby Marou’s songs mean they can be appreciated just as much in the local pub as they can on the country’s biggest stages. (Footstomp)

Live review: Foals + Alpine – The Tivoli, Brisbane – 2/10/13

It’s a school night and one of Brisbane’s biggest and best venues is sold out – this is something very few bands have been able to achieve in recent months. Such is the diverse appeal of English indie-rockers Foals that it’s obvious this is one of those gigs that attracts people who don’t often go to gigs. Hipsters too; lots and lots of hipsters.

Support for tonight is Melbourne indie-poppers Alpine. Having just jetted back into the country from North America after playing a number of shows there, they admit to being exhausted, but put in an energetic and typically tour-tight performance, heavy with songs from their excellent album A Is For Alpine. Singers Lou and Phoebe are charming and enchanting as ever, and they finish with ‘Gasoline’ to a huge show of appreciation from the audience. With more tour dates in Canada the States on the cards in the next few days, life is only going to get more busy for the six-piece, but they’re looking and sounding mean and lean.

Foals’ stage setup is pretty impressive. A small army of dudes spends quite an amount of time setting up a lighting and sound rig that could fry the retinas and burst the eardrums of an audience several times the size of this one, but it’s all part of their live appeal. By the time the quintet take to the stage amid a haze of pink and blue lights and kick into ‘Prelude’ and then ‘Total Life Forever’ to huge reverberating cheers, the Tivoli is as rammed as I’ve ever seen it, and the phrase “losing their shit” could be applied to the audience collectively.

Holy Fire hasn’t been around that long, so there are plenty of tunes from that album on show, including ‘My Number’, ‘Providence’, and ‘Late Night’. Frontman Yannis Philippakis’s crowd-surfing-from-the-balcony-thing may feel a bit contrived (come on, we all knew he wasn’t gonna not do it), but again, the audience responds by almost to a man losing their shit. You’d definitely feel a little hard done by if you had suffered an “immediate eviction”, as the sign says, if you’d been caught crowd-surfing at any point before this event, but I guess you can’t evict the main man.

With an encore including ‘Inhaler’, many people have gone home after this gig claiming that this has been the best live show they’ve ever been to; such is the effect of this band’s music.

Record review: Lenny Kravitz – Are You Gonna Go My Way: Deluxe Edition (2013, LP)

Lenny Kravitz

You know that feeling when you listen to an album that you used to love for the first time in years, and all those nostalgia-tinged memories of how good it is come flooding back in an instant? I just had one of those feelings, courtesy of New York multi-instrumentalist, multi-award winning, multi-bloody-everything, Lenny Kravitz.

First of all, it’s hard to believe that it’s been twenty years since the release of this bonafide classic album, Kravitz’s third after his 1989 debut Let Love Rule and 1991’s Mama Said. His recorded output up to that point had been a solid but not quite breakthrough series of soul and pop numbers; held back by their influences while their writer hadn’t yet found the boldness of his own voice. Are You Gonna Go My Way would change all that and establish Kravitz as the star he had been trying to be since 1988. It would be his first top-twenty album in the States, hit the top spot in Australia and the UK, and spawn five singles. As a result, there’s been no looking back for Kravitz ever since; he’s gone on to fill arenas the world over and even launch a film career.

Of course, the obvious focal point of this album is that guitar riff in the title track and opener. It’s a bombastic riff inspired by Hendrix and Prince and often pops up in those top ten riffs of all time lists that guitar magazines like to publish from time to time. In short, it rocks, but like Kravitz’s entire career, this is an eclectic album in terms of sounds and styles, unbound by genre or trend.

Second track ‘Believe’ is an orchestral ballad that is a nice cool-down after the frenetic pace of ‘Are You Gonna Go My Way’, while ‘Heaven Help’ heaps a spoonful of soul over things, and ‘Just Be A Woman’ is the tearful acoustic number that Kravitz tends to throw in on every release. ‘Black Girl’ couldn’t sound more ’70s if it tried, but while there are many fairly obvious influences at work here, it’s all top quality stuff.

Deluxe editions and reissues are often nothing more than an underhanded attempt to squeeze more dollars out of the record-buying public, but the extras included here are well worth getting your teeth into. They include twenty extra tracks, instrumentals, acoustic versions, and a fifteen-minute radio interview from the era, making 31 tracks in all. It’s been twenty years but this album still sounds amazing.

ARE YOU GONNA GO MY WAY: DELUXE EDITION IS OUT NOW.

Interview: Paul French of Mining Boom

mining boom 1

This Labour Day weekend is not only a three-day affair, but Goodgod Small Club is celebrating turning three with a birthday bash filled with more musical talent than you can shake a stick at. On the bill with the likes of The Murlocs and Bed Wettin’ Bad Boys is Perth indie-rock quartet Mining Boom. Frontman Paul French tells me what to expect from the gig.

Ok, so I was trying to look up stuff on Mining Boom, and your Tumblr basically consists of videos of people fighting and a picture of a man punching a giraffe. What’s the deal with that?

Rest assured, the Tumblr was made with the best of intentions. Early on we realised that we never had anything to update it with, so it just descended into all kinds of shit talking and pop cultural debris. None of us own a camera, or do anything other than playing music, so we never have any kind of band hi-jinks to document. In saying that, there is something about the concept of a physically imposing person, that we as a band fully endorse.

Your music has variously been described as “garage pop”, “stoner rock” and “suburban Australian misery”. How would you describe it?

Lately we’ve had a few people brand us with the ‘stoner’ tag. I would definitely say we are more of a meth-oriented band; in fact you might even say we are the Cypress Hill of meth. Nah, I’ve always had difficulty trying to put a banner term on what we do. The thing about genres is that they are generic. To me it’s just common sense kind of stuff, it sounds like the place it is from, it has synths because it is 2013 etc.

You’ve just played the BIGSOUND festival for the first time, and got pretty great reviews. How was the show for you? What other bands stood out for you?

We didn’t really get a chance to see many bands, between playing our set and trying to find a place to stash our equipment, we kind of had our hands full. Robert Forster was good and I heard Bad//Dreems played well. I saw Thelma Plum hanging around at the bar before we played and she looked good, I probably should have said something.

Shortly you’ll be playing the Goodgod’s third birthday party. What can Mining Boom fans expect from the show?

Pyrotechnics, choreography, classic band banter.

In ‘Craigie’, there’s the line “One day I will bash that c*nt,” and “One day I will go to the gym.” Is it written about one person in particular, and are you more of a weights or a cardio band?

People always misquote that line, it’s actually ‘one day I will go legit’. It must be my thick West Australian accent or something. I’d say we would be 75% cardio 25% weights, on account of our drummer, Brendan. He is quite the physical specimen. I’ve seen him rip up phone books and impregnate men.

Recorded music from Mining Boom: we want some. What is on the horizon in terms of your debut record?

Yeah we are still working on our album, it should be all done by the end of the year. It’s going to be called ‘TAFE’ and will be available on Spunk Records early next year.

What would be included in your ultimate tour rider?

Protein shakes for Brendan (jack3d, horny goat weed etc.) Camembert. Coon. Quince paste. Emu Export. Tony Abbott’s daughters.

What are your plans for the rest of 2013 and beyond?

Finish the album.

TICKETS FOR GOODGOD BIRTHDAY NIGHTS ARE AVAILABLE HERE: http://www.dashtickets.com.au/?/tour/26

Interview: Bed Wettin’ Bad Boys

Bed Wettin Bad Boys

This Labour Day weekend is not only a three-day affair, but Goodgod Small Club is celebrating turning three with a birthday bash filled with more musical talent than you can shake a stick at. On the bill are Sydney’s brilliantly shambolic punks Bed Wettin’ Bad Boys. We chat to Nic and Ben about their plans for the gig and life as a ‘Bad Boy.

I have to start by asking you about the band name. How did you settle on Bed Wettin’ Bad Boys?

Nic: The same way all good bands get their name, a ouiji board ceremony with celebrity magician David Bowie.

Shortly you’ll be playing the Goodgod’s third birthday party. What can BWBB fans expect from the show?

Nic: A pretty similar set to most BWBB sets: eight or so loud rock songs, with one or two mishaps and maybe a bit of jive-talk. As Adam Lewis and the Goodgod team have taken care of promotion and organisation very well we don’t have to worry about back line, parking, figuring out the door split etc., so we may even be a little more relaxed than usual. When your band is called Bed Wettin’ Bad Boys you’ve pretty much got to create most the shows you play. So thanks Adam for asking! I’m looking forward to plugging in and playing for once in my friggin’ life and having very few other responsibilities.

Ben: Today some people at work said they’re going to come to the show. I have a distinct professional, as opposed to social, way of dealing with things. Expect accountability, micromanagement, responsibility, outcome measures.

You’ve just played the BIGSOUND festival in Brisbane, and got pretty great reviews. How was the show for you? What other bands stood out for you?

B: BIGSOUND was the one time as a band we got a few perks. They put on a free barbecue during the day after we played. We got to watch cable TV. A guy let us borrow a drum key. It was a great few days. We played an all ages show at Tym’s Guitar Store with Songs, and it was good to see a bunch of young people at the show having fun, in a place like Fortitude Valley, which can be really draining in every way.

N: I don’t want to talk about it, ’twas a strange few days. Glad we did it though as it showed the industry you don’t have to be a caricature of a human to be in a band.

It’s practically impossible to find a written description of your music – including Pitchfork’s – that doesn’t mention The Replacements. How much of an influence were they on your musical development? What other bands have shaped how you write and play music?

B: Sometimes I feel as that The Replacements comparison is warranted, but other times it’s just lazy writing, an easy way out. ‘This band is gonna rock you like this band,’ rather than working at writing actually how a band makes you feel.

N: We all agree The Replacements are a great band but I actually don’t think they were that important on our development musically, as in I don’t think any of us use them as a template for our song writing or playing. I do think there’s an underlying philosophy or approach to playing rock ‘n’ roll that we share though, essentially being liberated by punk then drawing from the history of guitar music until it forms into something that feels familiar but isn’t some awful retro-rock revival. I think the huge scope of music I’ve listened to has indirectly shaped how I write and play music as opposed to any specific artist. From (Australian) X to Brian Eno, the behemoths of classic rock to your humble basement rockers.

Moving to Sydney from Cairns must have been an experience. How did you find the move at first, and in what ways did you discover music when you got there?

B: This is a really complex question to answer and I just wrote down a huge answer but didn’t cover anything significant. I’ve been in Sydney for six years now. A quarter of my life. I was back in Cairns a couple of months back and it was the first time since moving to Sydney that I realised what an unbelievably beautiful place it is, visually.

BWBB have a reputation for performing while less-than-sober. What would be included in your ultimate tour rider?

N: Collectively I don’t think we’re ever that drunk playing any more, I mean at least not most of the time. It’s nice to have a few drinks before, while and after playing cause we’re all busy people and it may well be the only time we get to let loose that week. I think people confuse less-than-sober with not being a bunch of timid, top-button-on-shirt-done-up, beige, flaccid indie band. Ya know; being a little bit primal, rock ‘n’ roll as a release, not a fashion show.

B: I feel there’s a real boredom during the three hours between loading in gear to a venue and playing. Don’t drink out of boredom, but sometimes there’s nothing else to do. Drink to celebrate. Hey, we’re a group of friends playing rock ‘n’ roll and at the end of the day there’s no pressure to do any more, any less. I’ll drink to that! (note I’m not a very good guitar player just to clear up reasons why I mess up at times)

N: Tour rider: I’d prefer some type of stout or dark ale opposed to the watery beer usually provided. If we’re talking big dumb music festival that breeds inflated egos: Gin and tonic water. DVD of Curb Your Enthusiasm. Some Lebanese bread and dips. Picture book of baby animals. Music device that plays rap music like Kool Keith, Big L, Tommy Wight III, UGK, Clipse to get me PUMPED UPPPP.

B: For the tour rider, I’m a sweet vermouth man.

What are your plans for the rest of 2013 and beyond?

N: Being a Bed Wettin’ Bad Boy feels real easy at the moment. For the first time since Doug joined which was 2 to 3 years ago we don’t really have any set goals or deadlines. We literally have no plans and will just continue to do what we do. Earlier this year we wrote a list of half-song, riffs, home demos and unreleased songs we’d like to re-work or re-visit. Hopefully through the summer we’ll have the time to “work” on them. I say “work” cause I don’t think it’ll feel like work. Playing together has started to feel like second nature and although we’ve been taking it easy post-album launch and tour I think we’ve unknowingly been pretty creatively productive. Once we have a big old list of songs ready to go we’ll think about working towards another record.

B: I was away for four months this year and I guess it’s a bit of catch up still after that. We’re all busy people outside of this band, so we just try do what we can when we can.

TICKETS FOR GOODGOD BIRTHDAY NIGHTS ARE AVAILABLE HERE: http://www.dashtickets.com.au/?/tour/26

Record review: Lorde – Pure Heroine (2013, LP)

Lorde

And we’ll never be royals… ROYYYY-ALLS!” Yes, we’ve all heard that song what seems like several thousand times in the past couple of months, and the singer responsible is sixteen year-old New Zealander Ella Yelich-O’Connor, a.k.a. Lorde. Much has been made of the fact an artist of such tender years has made big waves in the American and Australian charts, but this is a surprisingly mature album and deserves the attention it’s been getting. Filled with dark but generally upbeat subject matter and shadowy synth loops to match, Pure Heroine recalls the sounds of the likes of The xx and London Grammar, and as you listen to the album, the expected slump in quality or the dreaded mid-album filler just never comes. Single ‘Tennis Court’ is a good way to start and shows that there’s a pop sensibility to what she does, to go with lyrics like “We’re so happy, even when we’re smiling out of fear.” That single features in third spot, and while it possesses the catchiest chorus, it’s not overly representative of the album as a whole. Closer ‘A World Alone’ confirms the singer’s vocal prowess, and when coupled with a mesmerising guitar line, makes for possibly the best song here. The star of the show throughout is the singer’s voice; it switches from smouldering to soaring and back with apparent ease, and should be the element that ensures a long career. Having been signed to Universal since she was thirteen, Lorde isn’t the overnight sensation that she might appear to be, but this would be an impressive and accomplished album even if it were made by a seasoned pro, never mind someone still at school. (Universal)

Record review: Go Violets – Heart Slice (2013, EP)

Go Violets

There’s something pretty irresistible about Go Violets, even before you’ve heard a single note of their music. The Brisbane all-girl indie-pop quartet take the kind of infectiously rosy approach to making music and performing that makes you feel like you’re stuck in some perennially perfect version of your teenage self, with nothing but carefree good times and unadulterated high hopes for the future.

Then you hear their tunes, and before you can work out whether the sweet, summer-y harmonies and tales of innocent adolescent longing are cleverly and carefully reconstructed versions of pop masterpieces from times gone by or whether the reference points are entirely coincidental, you find yourself being absorbed into the simple upbeat beauty of it all and thinking that if there’s any justice in the world, this band will be bigger than Robin Thicke’s ego. That’s pretty damn big.

Heart Slice is their debut EP, and in a nutshell, is a six-track, eighteen-minute blast of power-pop and catchy choruses that will charm you into falling under its spell, even if it’s not exactly ground-breaking or particularly technical stuff. “We’ll stick and never will divide,” sings lead vocalist Phoebe Imhoff on opener and best track ‘Teenager’, starting a lyrical run of subjects that include being “mad about you” and “meeting in the park” – get the idea? Various members switch instruments and take turns at lead vocals, as they do when playing live, with drummer Ruby McGregor and guitarist Alice Rezende swapping spots with ease, while bassist Harriette Pilbeam underpins it all with a punchy pop groove.

There are some pretty goofy lyrics here and there, “Hey Josie, this is not the end, or as the Spanish would say ‘fin’,” on slacker-pop second track, ‘Josie’ for example, but they all add to the overriding senses of charm and fun throughout. Buy this EP, and you’ll listen to ‘Teenager’ about fourteen times in a row – I guarantee it.

HEART SLICE BY GO VIOLETS IS OUT OCTOBER 4

Record review: Lime Cordiale – Falling Up The Stairs (2013, EP)

Lime Cordiale

Hailing from the northern beaches of Sydney, indie-pop quintet Lime Cordiale make the kind of pop music that will make you think of summer sun, beach parties, beer, barbecues, and good times. The core of the band consists of brothers Oli and Louis Leimbach and one thing that makes this EP different from most similar indie releases is the frequent addition of brass to the songs, including trumpet and trombone at various points. There’s also a bit of clarinet in there, because why the hell not? It’s indie-pop, but with a touch of ska and world music influences in places.

As the band’s name name suggests, Falling Up The Stairs takes a fresh and sprightly approach to indie-pop, and there’s a definite Australian laid-back and upbeat vibe; this music couldn’t come from anywhere else, and much of the style isn’t too far off that of fellow Sydneysiders Sticky Fingers.

Opener and single ‘Bullshit Aside’ is the best song, and sounds fun and upbeat despite having some fairly heavy lyrics. The playful synths in ‘Famous’ are layered over what is a tight and groovy rhythm section, and the jaunty ‘Sleeping At Your Door’ sounds like it would be pretty amazing played live.

The only criticism that could be levelled at this EP is that there isn’t an obvious stand-out killer track, but with the band having just played a by-all-accounts killer set at BIGSOUND and with the might of Chugg Entertainment behind them, expect to hear a lot more from Lime Cordiale in the coming months.

FALLING UP THE STAIRS BY LIME CORDIALE IS OUT NOW

Live review: Peace + Millions + The Creases – The Zoo, Brisbane – 19/9/13

Peace

I recently interviewed Peace frontman Harrison Koisser and he told me how much the band was looking forward to coming to Australia for the first time. “I’ve heard the lifestyle is different but the ideas are the same. It sounds like something we can get along with. I want to feel it,” he said. Tonight, in Brisbane’s best venue, the young English quartet will get a taste of that feeling, which probably involves a lot of heavy sweating in their leather jackets while blasting out a series of more-than-decent indie-rock tunes.

As I make my way from the traffic lights outside The Royal George towards the welcoming stairwell at The Zoo’s entrance, gladly escaping the god-awful blare coming from the Kaliber Lounge, the four lads of Peace are ambling along just in front of me, all shabby Converse and stick-thin legs, looking nonplussed and generally pretty cool with life, and like me they grab a spot to watch the support acts. Local indie-shoegazers The Creases are first up tonight, and they play a set full of heavily-distorted guitars, plenty of fuzz all round, shared vocals between members, and a bit of jangly pop thrown in for good measure. With support slots coming up soon for some bigger bands, these guys are worth keeping an eye on.

Next up is Millions, who have a different but equally good vibe, and a higher level of musicianship. The audience responds well as the band work through some new and unfamiliar songs throughout the set, and despite there not being much crowd interaction – as with all the performances tonight – the band, and particularly guitarist Ted Tillbrook’s impressive riffs, keep the top quality tunes coming; a highlight being ‘Stone Roller’ from last year’s Cruel EP.

Peace have recently toured with Mystery Jets, The Vaccines, and Palma Violets, so it’s tempting to lump them all together by describing their existence as some sort of resurgence in English indie guitar bands, but in truth, they play a style of music that has been around the block several times. Their sound is almost like a Brit-pop revival with more than a hint of psychedelia, and probably quite apt for this place and time, given that a large percentage of the Australian music-loving community is pissing their pants about Blur making their way Down Under very shortly. In saying that, they are a talented bunch of guys who aren’t into rehashing riffs, sounds, or styles from any previous era, and can put on enough of a show to make you forget about all the blog buzz and hype surrounding their debut album. Such attention has probably done them a disservice, as they’re a kick-ass live band first, bunch of pretty indie-boy pin-ups second. The quartet launch straight into their up-tempo set, only pausing to say hello before fifth track ‘Float Forever’, which Koisser introduces as “a slow one”, and the big choruses of ‘Toxic’ have heads nodding venue-wide, after he begins the track with just his solo guitar and voice. ‘California Daze’ is still probably their best song and would sound amazing at an outdoor summer festival, as it does in a small venue, and despite the ‘next big thing’ tag a large section of the music media has tried to force on the band, tonight’s gig is definitely a triumph of substance over style.