Washington – I Believe You Liar

Over the past 2 years or so, Megan Washington has slowly carved out a reputation for producing quirky and enlightening pop songs. Tracks like Cement, Clementine and How to Tame Lions managed to gain regular radio airtime, and the Australian public slowly began to take notice of the talent that was at hand. With I Believe You Liar, Washington fulfils all expectations by producing an album that is full of twists and turns, highlighting the Melbourne chanteuse’s ability to be equal parts uplifting and inverted when the time is nigh.

There is so much variation on I Believe You Liar that it is hard to really single-out Washington’s style. However, at its core, the music is quintessential indie-pop, with subtle tangents that help to make each track unique. The combination of mostly high-end electric guitar and catchy piano hooks pushes the majority of the album. Another attractive side to Washington’s sound is the frequent use of either shakers or tambourine in the rockier, upbeat tracks on this CD, which help to further engage the listener. These elements are no more evident than at the beginning of the album, with Navy Blues and Cement encapsulating the real pop aspect that is scattered throughout I Believe You Liar.

Songs like The Hardest Part and the tango-inducing Spanish Temper carry on with the more playful components of the album, showcasing Washington’s impeccable turn-of-phrase in her songwriting. In contrast, the minimalism of tracks like Lover/Soldier and Underground highlight a more emotional and reflective characteristic of the artist’s music. In the case of Underground, Megan takes on the role of a balladeer, singing lyrics that evoke images of sunny days spent with family over a lightly finger-picked electric guitar. Bona fide singles Rich Kids and Sunday Best further strengthen the mid-section of this album, and it is these tracks that display the more chic elements of Washington’s sound.

The album also sees previously released tracks reappear, which is certainly implemented to good effect in the case of Clementine and How to Tame Lions. The former opens with a deep synth line that ultimately leads into a joyous, optimistic sounding tune, and shows off Washington’s ability to write lyrics that are simple in essence, but still seem to represent greater meanings. How to Tame Lions, in the same vein as Clementine, opens with a drone-like keyboard beat and slowly opens up to display a more introspective side of the singer that questions ideas of life and love with quite thoughtful analogies. It is interesting to see how these two tracks almost find the middle ground between the upbeat and down-tempo extremes on I Believe You Liar.

Washington manages to find the perfect balance in a lyrical sense between the harder, edgier songs and the more emotive and raw moments on the album. It is clear that the singer has given herself plenty of freedom in the songs that are written, and the unpredictability of time signatures and lyrical content helps to make the album a more enjoyable listening experience on the whole. The album culminates in the beautifully crafted title track, which floats along through a symphonic-sounding string section backing an elegant grand piano line, and sees Megan singing with more emotion than any other track on I Believe You Liar.

Put simply, this album is going to great things for Megan and her friends. In I Believe You Liar, we have witnessed an artist with raw talent and emotion not scared to write unashamedly pop songs that are unique, yet still manage to connect with a wide audience. It appears Australia has a new female songwriter to embrace, and it appears we will be embracing Washington for years to come yet. She has certainly established herself amongst her contemporaries with this album; it is hard to imagine what more she can come up with, but the prospect is indeed an exciting one.

The Bank Holidays - Sail Becomes A Kite

The Bank Holidays are a band you would listen to on a beach, sitting on the sand, dreaming the day away. Comprised of Nat Carson, Stuart Leach, and James and Bekk Crombie, the group’s second album Sail Becomes A Kite evokes images of getting lost in far away places, while also containing lighter, more contemplative moments which add a dreamy element to the album. Metaphors of the sea and floating away on the breeze help to carry themes of love and loss, and allow the listener to contemplate and dream simultaneously.

The follow-up to As A Film, the band’s debut LP, Sail Becomes A Kite was very much influenced by a sense of longing for “home” after an extensive stay in a Norwegian coastal house. It is easy to see both the Australian and European inflections on this album come together; the band’s acoustic-laden brand of pop is created in a rather spacious and almost atmospheric manner. Particles is a particularly good example of these elements in full force, as the song slowly sways and swaggers along care of a lightly strummed acoustic melody and a beautifully engaging pitter-patter drum-beat. Without It also implements these stylings, while incorporating female vocals in this instance to add a different perspective on the lyrical themes. Yes, I use female in a broader sense, as it is not clear on either the liner notes or the band’s website exactly who the central vocalists on this record are. But this ultimately becomes one of the album’s focal points in that the inclusion of group harmonies throughout the record help to enhance the main vocal output of each song, and make the sound become more of a collective effort.

The female-led tracks certainly provide the higher points on Sail Becomes A Kite, perhaps due to the fact that these vocal performances suit the band’s dreamy sound more accurately. It must be said however, that the predominately male-led songs add a different element to The Bank Holidays’ sound. Songs like Tripping Up To Fall In Love and Her Majesty’s Voice help to make the record that much more eclectic and diverse. Think Animal Collective doing the Beach Boys. It is hard not to draw a comparison to the seminal 70s surf-rockers, yet The Bank Holidays encapsulate this sound so well that they almost manage to make it their own.

Organic synth over-tones become more prevalent on the latter half of the album, as the album takes another turn and leans towards a more retrospective vision compared to the aforementioned rockier-type tracks. In The Desert is a slow-burner that displays a more thoughtful level of songwriting, while album closer Gravity’s Playthings is perhaps a more traditional folk song that could quite easily have come from one of your parents’ vintage record collections circa late 1960s. The sunny elements of the band’s sound genuinely return here, with a subtle vibraphone melody building into a massive chorus that sounds equal parts joyous and demanding, and makes it one of the standout tracks of the album.

Sail Becomes A Kite is no more spacious as it is engaging; no more retrospective as it is introspective; and overall, cleverly combines a variety of pop elements to create a sound that evokes images of running wild and being free. And although the band intended the record to sound more autumnal than their debut release, the summery influences are still here for all to see. A fantastic release from a band that is clearly moving forward with their sound and doing great things around the country. We will surely be hearing more from The Bank Holidays as the weather gets warmer, the nights get longer, and our worries disappear.

Otouto - Arty Folk

Melbourne 3-piece Otouto have managed to create a fresh-sounding release with their debut record entitled PIP. The trio, comprised of talented sisters Hazel and Martha Brown, and drummer extraordinaire Kishore Ryan (Kid Sam), make art-folk music that flows like a cool breeze in the summer. The combination of exquisitely plucked nylon strings, off-beat synths and Ryan's unique-sounding kitchenware drum set-up make for a compelling listen throughout. The lyrics on PIP are mostly drawn from small thoughts, phrases or observations that come together and somehow manage to hold meaning, thanks mostly to Hazel Brown's intricate vocal deivery. At times, the high notes that Brown inflects tend to reference artsts like Regina Spektor and Laura Marling, but with that little Australian insight to give the lyrics a more suburban feel. Standout tracks include Cartoon Shoes, Autumn, W. Hillier, and Sushi. The lyrical content on the latter has absolutely nothing to do with anything yet still sounds encapsulating ("I mistook a man eating sushi / For a man putting on a fake moustache").

Otouto have recently been booked for a long run of dates in the U.S. which is a sign of their blossoming success to date. The band could also be a goer for St Jeromes Laneway Festival next year on their homecoming. Get out and see this band when they do return; they are a delight.

HEALTH :: Disco2

HEALTH - USA Boys

Californian noise-rock act HEALTH are known for their experimental take on the electronic genre. Yet Disco2, a remix album of 2009 release Get Color, the music is far more refined and almost given a new element. The original workings of many of the band’s songs are more edgy and move from one thing to another very quickly. The group have proven in the past that they are willing to go out on a limb and produce tracks that lack any real formula, often employing minimalistic lyrical content and juxtaposing sounds that somehow manage to work well together. With Disco2, it appears that each individual remix has allowed the best elements of HEALTH’s music to come to the fore and create a collection of tracks that stand up in their own right.

The one noticeable theme evident in this collection of songs is the down-tempo nature of many of the tracks, in comparison to the more intense original versions provided on Get Color. Each remix seems to flow effortlessly and it is evident that each reworking has been considered with the aim of stripping back the HEALTH sound and showing it in a different light. UK act Crystal Castles, who have previously reworked Crimewave on the band’s last remix album, return to provide a new take on Eat Flesh. Unlike Crimewave, it is hard to find any sounds reminiscent of the Crystal Castles sound on this track, other than perhaps the droning, high-pitched vocal that remains constant throughout the song. This remix leaves in-tact the raw elements of HEALTH’s percussive backdrop, and is one of the only tracks on Disco2 to do so.

Other highlights on the album include Cfcf’s remix of Before Tigers, which implements electronic beats to slowly build the song along with a lounge-like glitch effect that carries the track gently along. The Small Black reworking of Severin is another song that manages to make the most of lead singer Jacob Duzsik’s subtle and encapsulating vocal, and implements many of the same aspects that feature on the most part of Disco2. Pictureplane’s remix of Die Slow would be a favourite for many indie DJ’s around Australia if they were aware of it, displaying the simple electro beat that many acts have recently produced, yet uses a symphonic-like synth melody to draw the listener in.

HEALTH have also produced one new track on Disco2 to keep fans pleased, with USA Boys introducing the album well. The electronic melody of this track is incredibly catchy, and the juxtaposition of heavy industrial-sounding position and sweet, drawn-out vocals make this a very satisfying injection of new material from the group. If this direction is to be taken into future recordings, then the band should continue receiving critical acclaim for their off-kilter works. Disco2 is certainly a fantastic initiation for new fans and a satisfying collection of tracks for the old followers in turn.

Note.

Below is previous work, so from now there will be a more steady stream of stuff coming up. Look forward to it. Exciting.

Princess One Point Five - What Doesn't Kill You

2010 is turning out to be an inspired year for Australian music, and Princess One Point Five’s latest release, What Doesn’t Kill You, is up there with the best so far. The fourth release from this Melbourne trio is equally eclectic and ambitious, taking the listener to places far away from normality. Yet the raw emotion that comes through in the lyrics of lead vocalist Sarah-Jane Wentzki makes the record what it is; at its core, What Doesn’t Kill You is a journey through themes of love, inclusion, and self-actualisation. Simple as these premises may appear, the complexion with which the band deliver this record is truly otherworldly.

Straight from the first track, aptly titled Start, an array of atmospheric synths immediately warrant the listener’s attention in a fairly peaceful and almost hypnotizing manner. This leads into I’m Not Ready, which builds up progressively into a bombastic climax that really emphasizes the lyrics succinctly. The distorted guitar and atmospheric synth sounds continue throughout the record, yet are implemented differently on Suit Yourself. The song opens with an almost AIR-like feel, with reverb-soaked guitar and simple piano carrying the song through to another climactic ending that could quite easily be the soundtrack to any independent Australian film, as the combination of electronic and acoustic drumming adequately complements the song’s peaks and troughs.

P1.5 show their pop sensibilities through the mid-section of the album, with tracks like Today and Quote Me adding to the eclectic nature of the record. Today is one of the album’s stand-out tracks and deservingly acquired some substantial airplay on the national broadcaster already. The simplistic finger-picked riff coupled with Wentzki’s demanding vocal performance make the song incredibly easy to listen and relate to, and really helps to emphasise the somewhat down-to-earth traits that the band possesses. Quote Me is perhaps one of the lower points of the album, mainly due to the fact that it doesn’t really fit with the direction of the other tracks. It is a great rock song in its own right; however this is most certainly not a typical rock album on the whole.

The stand out track on What Doesn’t Kill You lies in I Dare You. The track is preceded by an atmospheric interlude, and begins with a rather haunting and deep piano line. Wentzki once again proves how diverse her voice can be, this time taking a more soulful and raw approach, and carrying lines like “Shut up and kiss me/I dare you” which show the lyricists sense of want and fulfillment. The song is another slow-burner, and rapidly grows into another ravaging exhibition of the band’s ability to create post-rock style music in its own original and unique way.

The album is toned down during tracks like Fly My Pretties and All That You’d Thought, with some elements of each track almost reminiscent of fellow Australians Decoder Ring, in keeping with the sparse and open sound that tends to influence local musicians these days. Closing track All You Are concludes the record with one final flourish of ambitious and optimistic sounding music that leaves much to the imagination. The track then slowly fades out into the synth sounds that were evident on the album opener, and it is now clear how the band wants you to feel on this record. The notion of creating a world within a world, a sort of escape from day-to-day life, is the whole aim of What Doesn’t Kill You, and Princess One Point Five have provided this special element of music in spades.

Many will be hard-pressed to find a more diverse and eclectic Australian record than What Doesn’t Kill You for the remainder of 2010. Princess One Point Five will surely receive the acclaim they sincerely deserve for this record and have set the standard for many other contenders of similar ilk. Listen to this album and escape into the world of Princess One Point Five; it is a good place to be.

British India, City Riots, Galleon, The Gov, 26/6/2010

As formidable a touring act as British India are, I had never experienced their live show in full flight before, and my anticipation of a great night was certainly high. It seems like the band are never far from the Australian music radar. Whether they’re releasing a new album or touring the country from corner to corner, the past 4 years have been a constant musical journey for the Melbourne lads. This continuous cycle is what has made them so popular in the eyes of music lovers and critics alike, with their brand of garage rock garnering a massive fan base since their sudden rise to fame, while also allowing them to become indie-mainstays throughout the country. And judging by the turnout at the band’s second Adelaide show on this tour, it appeared that their third album, Avalanche, had well and truly kept the fans coming back for more.

It was great to see two rising Adelaide bands opening the night, and it definitely proved that this city is churning out some truly great acts. First up were the band formerly known as Foreshore, Galleon, who warmed up the crowd with their brand of anthemic rock. The band have recently been recording with members from former Melbourne act Motorace, and the similarities between the two bands were certainly evident on the night. Stand out tracks included In Stereo and current single Kamikaze, which has gained some Triple J airplay as the boys subtly alluded to. It was somewhat ironic that the band delivered a track name Nothing Really Happens, based around the supposed lack of talent coming out of the Adelaide music scene. It appears that, with a new album to be released soon, Galleon will certainly have things happening for them in the latter half of 2010.

Next up was 4-piece pop-punkers City Riots, who livened up the building crowd with a tight and professional set. The band have been a shining light to come out of Adelaide in the past few years, with travels to America and Europe certainly enhancing their live performance and ensuring the majority of the front row had their dancing shoes on. However, as energetic and tight as the show was, the band seemed relatively uninspiring at times and perhaps lacked any variation in their sound to keep the back of the room interested. Nonetheless, the band showed enough promise throughout the set to ensure they will continue to grow, closing the set with new single She Never Wants to Dance, Let’s hope that these two bands can continue to fly the flag for the Adelaide music scene in 2010.

The British India boys walked out to a rapturous reception, and as soon as the first bars of 90 Ways to Leave Your Lover were solidly belted out, I knew that this crowd was in for something special. Frontman Declan Melia opened the set wearing a hooded jumper as if it were a cape; fitting, as his voice can at times be somewhat super-human when at its most raw. Old favourites Tie Up My Hands and Run The Red Light soon followed, with the mosh pit slowly gaining a high level of intensity. The hits continued to roll out, with the band’s most recent single Avalanche certainly living up to its name, It is incredible to note how the raw British India sound that served them so well in their early days has still remained throughout their three releases, and considering the amount of bands looking to produce a sound like theirs, the band have stuck to their guns and continued pumping out catchy songs and appealing to their fans on a constant basis.

One exception to this statement is the first single to come from Avalanche, Vanilla, which is arguably the best song the boys have produced over the journey. The track ascends and descends with speed, allowing the crowd to both sing along in the slower parts and mosh to their heart’s content when the song reaches its heavier moments. Songs from the band’s second album, Thieves, were also on show, with God Is Dead (Meet The Kids), This Dance Is Loaded, and I Said I’m Sorry all delivered with absolute conviction. The latter showed how well Melia and fellow guitarist Nic Wilson worked together to establish the band’s heavy guitar sound, with both the lead and rhythmic elements considerably enhanced in a live format. And just when many though the night couldn’t get any better, British India produce a ravaging cover of the Beastie Boys track Fight For Your Right (To Party!), representing exactly what many crowd and band members alike were there to do. The set was finished with an ode to the older fans in Black and White Radio, and the set was well and truly complete.

It was a shame that many fans were seemingly let down by one member of the audience in the front row who managed to rattle the British India boys and was ultimately removed from the crowd, with this possibly being the reason why the band didn’t produce an encore. However, no encore was required. The boys had done their job, offering a solid performance and further stamping their claim as one of Australia’s premier live rock acts. It is a testament to the group’s hard work ethic that they have been so successful to date, and will ensure their stability in the Australian music scene for some time yet.

Boy & Bear, Oh Ye Denver Birds, The Chemist, Jive, 4/6/2010

A cold winter’s night greeted Adelaide’s live music-goers keen to catch Sydney band Boy & Bear on their first official headline tour of Australia in support of their debut EP ‘With Emperor Antarctica’. The sold-out sign adorning Jive’s frontage says just how quickly this five-piece have snuck up on the Australian music scene, with previous tours supporting bands like Laura Marling, Angus & Julia Stone and Lisa Mitchell helping to boost their profile substantially. However, this short trip around Australia as the main act proves their ability to draw crowds, with shows also selling out in other capital cities, and it promised to be an enjoyable night.

First up was Perth band The Chemist, who seem to be making a name for themselves as a solid opening act. Having seen them a couple of weeks back in support of Old Man River, I knew what to expect from the band’s live show. The more you listen to this group though, the more you have to wonder just when these guys will break out into bigger and better things. With their current EP ‘The Wolves’ Howls Shatter The Old Glass Moon’ making waves around the country, it is certain the band will tour the country at some stage this year, with their live show seemingly growing in confidence with every show.

Brisbane band Oh Ye Denver Birds definitely surprised me. They put forth a sound that I had not heard before, which is always promising. The band channels acts such as Yeasayer and were reminiscent of Adelaide band Fire! Santa Rosa, Fire! In their more upbeat moments, though the lower aspects of their crescendos almost symbolized the sound that fellow Queenslanders The Middle East are producing at present. The band implements stilted melodies and woo-ing harmonies, together with a format that allows for jangly-sounding guitars and a wonderful inclusion of a live violin, which appears to be the instrument of the moment for many Australian bands. The use of the violin was particularly interesting, with Katherine Gough showing her talent in both picking the strings and playing in a more conventional manner that allowed the band to produce some quite worldly and atmospheric sounds. The employment of various synths and noise elements though did help to bring the party, which many in the front-row certainly seemed to enjoy. My only criticism is their constant hounding of the sound guy to keep turning up their instruments, which only managed to make their mix blend really poorly, and didn’t help to bring out the intricacies that can be heard on record. Their blend of atmospheric-electro-folk is certainly one to watch out for in the latter half of 2010.

Boy & Bear hit the stage to a rapturous reception from the Adelaide crowd and kicked off with the opening track from their EP in ‘Blood To Gold’. It was immediately noticeable how adept the band were in the live format, and compared to their support bands which tended to implement various forms of sound, the simplicity of Boy & Bear’s resonance showed that great music can be made with bare instruments. Most notable is the voice of front-man Dave Hosking, which really gives the band’s sound a form of authenticity in what they are conveying. The band continued on with ‘The Rain’ and current single ‘Rabbit Song’, which gained a massive reception from the crowd, happy to sing along where possible.

Next came ‘The Storm’, arguably one of the best tracks from the EP, which generally sums up the whole Boy & Bear sound. Although an older track, the song fits well amongst the others when played live, and that catchy-as-hell riff combined with the percussive elements of the song (shakers and hi-hats in full force) and brilliant harmonies. The band soon followed with a few newer tracks and a brilliantly executed cover of Bon Iver’s track Flume, which went down well with the large Adelaide crowd. It was unfortunate that the group could not play longer than they did, due to the fact they simply haven’t released enough songs yet, as they stated.

Finishing with ‘Mexican Mavis’, the track that “did everything for the band” as Hosking states, Boy & Bear leave everyone in a warm and energetic mood, with many still wanting to kick on and dance the night away. Boy & Bear have a sound that is warm, inviting, and quite simple; it is a sound that can be hard to find in amongst the overload of content we are graced with these days. It is good to know a band can stick to their guns and make good quality music using only the bare essentials, with Boy & Bear delivering a delightful collection of songs that left many wanting so much more.

Old Man River, Ernest Ellis, The Chemist - Jive, 14/5/2010

My first Old Man River experience was back in 2007, on a Sunday afternoon, with the band riding high on the back of their debut LP ‘Good Morning’. I remember the great joy and musicianship that Ohad Rein and the other band members conveyed through their songs and how comfortable the band was on stage. Fast forward to 2010 and, after topping the charts in countries as diverse as Japan, Italy, and Germany, Old Man River was at last back on the road 2 years after last touring Australia.

Perth band The Chemist appeared first and kicked things off nicely with their off-kilter style of indie-pop, showing they are a band to watch out for in future years. Their set built up gradually and finished with a heavy echoing conglomerate of noise that rang out throughout the venue.

Next up was Ernest Ellis from Sydney. This band has been making waves recently after receiving a large amount of radio airplay, so I was quite excited to view the band in the flesh. As it were, they were extremely impressive, even considering the fact they were without a keyboard player on the night, which Ernest did apologise to the crowd for. The apology was unwarranted though, as the band’s live sound in a 3-piece set-up made their show all the more dynamic. The thing that really struck me was the passion displayed by all three members, with pulsating drums and almost U2-like riffs, coupled with Ernest’s knack for writing thoughtful lyrics, particularly shining through on songs like Heading For The Cold and set-closer Loveless.

The PA system had a collection of songs from The Beatles playing during the interval that preceded Old Man River’s appearance, and suddenly the mood became a lot warmer. The band appeared and opened straight up with 3 tracks from their first album in Sunshine, Believe It and Better Place. Ohad then followed with a solo acoustic number that was played to a silent and attentive audience and, by the third chorus, the majority of the crowd was singing along with the heartfelt track.

Things soon kicked back into gear, with the band road-testing songs from their upcoming new album Trust. Many of the songs went down well with the small but enthusiastic patrons, with new single You’re On My Mind gaining a warm reception. However, the biggest response was left for the older songs, with the band playing Summer towards the end of the night. The encore was brief but the band’s rendition of La had everyone on their feet and jumping around without a care. Members of the other two support bands came on stage to help out by playing any instrument they could get their hands on, and the crowd’s participation was particularly useful when it came to creating a mash of animal noises and generally left everyone in an upbeat mood as they left Jive.

Although the set-up and band members had changed since their last trip around Australia, Old Man River still stayed true to their sound and filled the room with a rockier, more permeating sound that will surely be fulfilled in the group’s new album.

Parades - Foreign Tapes

It is hard to fully comprehend how music with such a grandiose sound could be made in a garage in north-west Sydney. Yet Parades have managed to create an album in Foreign Tapes that is so expansive and ambitious, you’d be a fool not to think this was made somewhere in Europe during a cold winter (alas Sigur Ros). The Sydney 4-piece, supported by a large group of backing musicians, have proved with this album that no matter how the music is made, the motives behind it can still manage to produce something quite extraordinary.

Self-produced by indie sensation Jonathan Boulet (who is also the band’s drummer), Foreign Tapes shows it’s raw, youthful edge right from the first track. Dead Nationale’s fast beat and unrefined guitar hooks, that almost sound like classic rock riffs, open the album in a style that harks back to the early Bloc Party releases. The lyrics in this song though certainly make it a unique track in its own right, with the use of chants throughout the early parts of the song setting the scene for much of the rest of the album.

Tracks Hunters and Past Lives follow in much the same way as the opener, with uplifting, joyous moments that fearlessly show the band’s exuberance and willingness for exploration through their music. Many of the songs on Foreign Tapes show Parades’ knack for being able to produce songs with driving synth lines, repetitive drum beats, and group chants, complemented by lyrics that are optimistic and emotive in content. Marigold follows on with this formula, with the introduction of a brass section adding emphasis to the band’s harmonious sound, while singers Daniel Cunningham and Rebecca Shave jointly repeat the line “happiness, is a new idea, don’t forget the rest of us, it’s an exodus” throughout much of the song. This makes the track feel as though they are singing with you, bringing you along on their journey of escapism.

Amongst the fast-paced indie rock moments throughout Foreign Tapes, Parades provide the listener with some quite majestic tracks on this long-player. The synth-laden Invaders (Review) and down-tempo Lung Full Of Light show the band’s ability to move from one style of music to another whilst keeping their unique uplifting post-rock style intact. Shave’s vocals on the latter bring to life a story about a life beneath the ocean, with Boulet proving he is no dummy behind the skins. However the album’s centerpiece is most definitely Loserspeak In New Tongue. This track dares to be different from the start, with scratchy-sounding vocals leading into group chants which build into a wall of sound, evoking images of bursting life and explosions of colour. The song ebbs and flows throughout, showing the band’s deeper, darker, more thoughtful elements, with the mix of keys, guitars and vocals sounding almost jazz-like in part. The lyrics also manage to make this track feel like the expression of youth that it is, with Cunningham singing of adolescent apprehension to great effect (“lift your head you are young, don’t go cutting at your tongue”).

The album closer, Vulturehood, only leaves you wanting more from this band, with the slow acoustic fadeout transformed towards the end of the track by the same edgy guitar sound that Parades are not afraid to exert throughout much of Foreign Tapes. It is easy to see through many elements of the group’s sound that their indie contemporaries, namely bands such as Sigur Ros, Bloc Party, and Radiohead have all influenced the making of this album in some way. However, Parades almost create their own style of visual post-rock with their debut effort, and it is hard to compare the band’s sound to any other collective going around. With ambition, expression, and youth on their side, Parades have certainly put their hand up for Australian album of the year early in 2010, while delivering one of the more impressive debut albums from any Australian band in quite some time.

Introduction.

Welcome to Off The Money, it is good to have you. This is dedicated to all things music-related and nothing more. It will contain both record and gig reviews, and lists that may (hopefully) enhance your record collections. There might be a prediction or two thrown in, and perhaps a plug for artists you should see. I don't know, but I'll see how it goes anyway. Enjoy, and stay Off The Money.