I applaud The Herd. Not only, as a collective, have they provided us with four successful albums and now a fifth in Future Shade, but they have also nurtured many acts into success through their Elefant Traks label. In amongst their own body of work has come solo projects from basically all of the eight members that form the band; the work of Urthboy, Ozi Batla, Unkle Ho, and Jane Tyrrell’s contribution to Newcastle acoustic troupe Firekites provides a snapshot of the hard work and commitment to the music industry that these guys have delivered. Their political nature and controversial lyricism has further defined their 10-year career, allowing them to reach audiences broader than simply the Australian hip-hop community. And yet they achieve this with such a great sense of honesty and modesty, two attributes that can be hard to find in a genre dominated by big egos and self-indulgence.
My gratitude further extends to their support act, Sietta, of whom Elefant Traks recently signed. The Darwin-via-Adelaide two-piece has received strong recognition for its debut release The Seventh Passenger, culminating in a nationwide support slot with their Sydney label mates. A successful frame of mind usually brings about confidence in any field, and from the first moments of these guys taking to The Gov stage, Sietta were completely at home. A strong performance was merely a fait accompli. Along with two backing singers, lead vocalist Caiti Baker is bold, completely soulful, and full of the elements that made her influences Etta James and Aretha Franklin great. Her flow is smooth, and complements the musical stylings of her compatriot James Mangohig, who has the production and soundscape side of things covered. These soundscapes are eclectic, ranging from funk and soul, to much deeper electronic and bass sounds, whilst even dabbling in amongst the reggae and dub creations that appear to be sweeping the world at present. This is most likely the reason they will go onto great success; their variation of sounds will hold them in good stead going forth into further recordings and tours. And with a breakout song as attractive as current hit What Am I Supposed To Do, the future looks bright for this talented duo.
You can feel the anticipation throughout The Gov as The Herd prepare to take the stage. And when they do, they begin an hour-and-a-half onslaught of pure, no holds barred music. Opener 20/20 is the perfect way to kick off the set, demonstrating the 8-piece at their absolute best both musically and lyrically. The set-up is spellbinding for a hip-hop crew; there are turntables, keyboards, electric and bass guitars, piano accordions, oh, and some MC’s for good measure. Most often, each member takes a turn at assisting the group’s sound with any instrument they can get their hands on. Tracks from their new album demonstrate the progression this group has made over the course of their 10-year history. Jane Tyrrell-penned Grandma’s Song is indicative of their maturity, while the chorus in Spin Cycle is hard to avoid, portraying the urgency of the band’s messages.
Recent singles The Sum of It All and Signs of Life are played to perfection. There’s something about Signs of Life that really hooks you in; there is a slightly off-time feel to it, slowly flowing along, then completely over-emphasised in its culminating fade-out. Popular track from previous album Summerland, The King Is Dead, gets a worthy spin before the band leave the stage, only to return for an encore that largely pleased the sold-out Gov crowd. The group’s brilliant cover of Redgum’s I Was Only 19, possibly the most successful Australian cover of recent time in terms of not only musicianship but also cultural significance, was indeed an emotional performance. Then finally, the crowd was rewarded with a version of the band’s first ever single Scallops, to which they responded with word-for-word sing-a-longs.
My burning after-thought from tonight’s gig was that Australian hip-hop, and in a broader sense, the Australian music industry is a far brighter scene with The Herd around. Their influence on young musicians in the genre has provided it with a level of respectability that can sometimes be lost in amongst the narrow-mindedness of many urban artists in the Australian music landscape. If the band did happen to walk away from the business tomorrow, they would leave the Australian independent in a far better place than they found it in. A capable pair of hands they have brought to us, along with cultural sense, political advocacy, moral conscience, and fantastic music to boot. They still set the pace amidst their contemporaries in all areas, and seem as though they may do so for some time to come.
Adelaide’s own Terry Jones carries on the tradition of many famous crooners on his latest release, It’s My Right To Be Wrong, under the moniker of The TJ Collective. The Collective is formed by a number of well-known and applied South Australian musicians, all supremely disciplined in the style of music that Jones produces. This is made even more enhanced by the fact that these songs are all written by Jones, yet are almost wholly played by the Collective, aside from Jones himself appearing on saxophone throughout the album.
The album itself is a trip through memory lane, covering styles that range from soul and funk to jazz and rock ‘n’ roll. There is even time for some serious scatting work on Soul Provider, another sign of the smooth songwriting that makes this album a success. Possibly Jones’ greatest asset is his ability to cover such a wide range of genres without losing the sound of the collective altogether. April Berry’s vocal performance Once In A Lifetime is simply outstanding, and is something that needs to be heard to be completely appreciated. Two of the more interesting tracks come later in the album in Paris 1967 and Cleopatra. The latter combines slower, marimba rhythms with minimal instrumentation and backing atmospherics, while the former, probably the album’s greatest moment, is a real hark back to, well, 1967 Paris. The horns on this track are simply sublime, as a French narrative floats along effortlessly across a myriad of light rhythms that really encapsulate a classic jazz sound. To be completely honest, it is a track that would come along once in a lifetime, and outdoes many acts in a similar vein attempting these older styles of music in recent years.
If you want to hear jazz/swing/soul/funk/rock/everything played by professional musicians, be sure to grab a copy of It’s My Right To Be Wrong. It is ultimately the professionalism in the production and musicianship that makes this a fun, entertaining album to listen to. Terry is sure to be spruiking these new tracks at a venue near you in the coming weeks, so be sure to keep your eye out for a gig or two and get along to see these great musicians show their wares in the flesh.
On most occasions, songs about the trials and tribulations of war can be particularly confronting, especially if you have some relation to a military serviceperson. However, our relationship with those in warzones can often become detached, as we hear little about the work that is done by our soldiers in certain areas of the world. Their stories need to be told, they need to be understood, and this is where Fred Smith comes in.
Fred Smith is no stranger to warzones, having been deployed to places like Bougainville, The Pacific Islands and South America, whilst also working and living in the United States, Iraq and Afghanistan at various stages over the past ten years. Dust of Uruzgan is Smith’s fifth full length album and largely follows on from his previous work in a stylistic sense. For those who are uninitiated, Smith’s lyrics and succinct poetic brilliance provide the real spark for each of his songs, often fronting musical compositions that bear a great resemblance to classic Australian songwriters like John Williamson and John Schumann. His lyricism is easily relatable, and like his songwriting counterparts, Smith provides many snapshots into the lives of those he’s seen or had some kind of relationship with, using his fragile and honest voice to communicate their tales across to the listener.
Dust of Uruzgan focuses largely on Smith’s experiences in the Uruzgan Province of Afghanistan, an area of the country heavily populated by Australian soldiers since the Afghan War begun. Australia’s presence in the region mainly focuses on the training of Afghan soldiers and armies with the overall outcome being the ability of these soldiers to fight independently against rebel Taliban soldiers without the influence of Western forces. Smith provides many accounts on Dust of Uruzgan which go a long way to summing up the feeling of those working in the harsh conditions of war. Sapper’s Lullaby is possibly the most well-written and outstanding song on the album; it depicts the death of Sappers Darren Smith and Jacob “Snowy” Moerland who were killed in landmine accidents in the line of battle. The more you listen to this song, the more you begin to appreciate the outstanding work that our soldiers do for country, and when Smith sings the line “all good things must die” a range of emotions are triggered, not the least pride, helplessness, and overwhelming resentment knowing these men passed away long before their time. It is a true representation of modern wartime and one that will surely stand the test of time through the ages.
On the flipside, Smith also provides more upbeat accounts of life in the firing line, with resounding sentiments of mateship and camaraderie evident on tracks like Niet Swaffelen Op De Dixie, Zeebrugge FOB and Taliban Fighting Man. All of these demonstrate, in differing ways, the friendships made between soldiers of Western countries, and the idea that anyone on your side is immediately your mate. Woman In A War shows another more heartfelt side to Smith’s songwriting, combining with songwriting partner Liz Frencham to display another side to war that juxtaposes its often tough elements we are generally familiar with.
Musically, this is another step-up from Smith’s previous work, with styles varying from traditional folk, bluegrass and Dixieland sounds to more acoustic, low-key compositions that clearly sum-up the differing emotions felt within a warzone. Dust of Uruzgan presents a contemporary Australian take on many traditional themes, inviting a new audience into the current wartime situation, whilst never forgetting the roots left by previous battles and successful Australian songwriters. Smith is destined to become one of Australia’s truly great folk songwriters, and amidst a time of great commercialism in music, it is pleasant to come across such a refreshingly honest record that perfectly portrays the stories of Australian soldiers presently doing us proud in various parts of the world.
Having just packed out two shows at the Northcote Social Club in their home city of Melbourne, Alpine were on a mission to maintain the momentum of their 'Villages' tour on its Adelaide stopover at Jive. With the critical and broadcast success of debut EP Zurich well and truly in the bank, the 6-piece appear comfortable and content on keeping things intimate, although this show was a step-up from their previous appearance in this city at the much-smaller Ed Castle Hotel. The crowd was to dictate this point further, as a wide array of mums, indies and moshers converged on the venue in the hope of an enlightening performance on a consequently icy evening.
A small but enthusiastic congregation came together to witness locals City Riots put on their second major support slot in a matter of days at the same venue no less. Having been third in line for Papa Vs. Pretty’s Adelaide appearance two days earlier, and now opening for another touring act in Alpine, I would be expecting a headline slot in the coming days if the trend were to continue. Many in this city are beginning to warm to the local hopefuls, who continue to churn out tight performances each time they take the stage. The blend of deep synths with their unabashed rock sound make for pleasurable listening on older tracks, such as She Never Wants To Dance, and the newer beasts, which are beginning to sound like radio staples almost immediately. With new single In My Head gaining regular airtime and their touring juggernaut set to continue in support of Ball Park Music later this month, don’t expect City Riots to leave your radar anytime soon.
It certainly appeared as though Alpine have made an impact on Adelaide audiences as more people began to wander into Jive following their performance. Though by the time they’d hit the stage, the attendance was incomparable to the band’s Melbourne shows, demonstrating the fact that this city still perhaps neglects great talent in a live format on occasion. Opening energetically with Heartlove, Alpine instantaneously relieved themselves of any inhibitions and set about enjoying every moment of their time on a Jive stage made to seem tiny once filled with the band’s instruments and stage presence. That stage presence is dominated by vocalists Lou James and Phoebe Baker, who, when in full flight, are impossible not to become engaged with. Baker flies around the minimal space available in an ethereal manner, while James largely holds her position behind the microphone, content to rest on her delicate vocal range that, in tandem with her band-mate, really carves out the essence of Alpine’s uniqueness. Once the band rocks out, watching all members move around the stage is simply captivating, as they create music that you really feel rather simply hear.
Tracks from their debut EP Zurich were well represented this evening, with Too Safe possibly the most enjoyable of the lot with its slow and enthralling build-up. The level of crowd participation continued to grow as the band aired a number of as yet unreleased tracks that were well-received amongst the enthusiastic patrons. It is almost scary to think of the havoc that could be caused once the band begin putting together a full-length release after viewing some of its newer material on this occasion. Closer and notable single Villages demonstrates Alpine’s ability to make the simple sound completely grand; the song slowly creeps along courtesy of some 80s inspired synthetic rhythms and elegant harmonies, then suddenly rushes out in a wash of light keyboards, acoustic drumming and raw energy from all involved to create a real pop masterpiece. It is no surprise that the crowd did not want the show to end there. The band’s drummer leapt out and asked if the Adelaide audience wanted one more song, to which they requested and Alpine subsequently obliged. Though I did not catch the name of the song, their performance of an INXS cover slotted in well with the band’s sound and ensured everyone was left cheerful as they meandered into the realms of another Saturday night.
It’s not often in this setting a band can unravel folded arms and genuinely make people want to move to its music, yet Alpine succeeded in making sure everyone in their presence felt involved in what they were watching. The ability to make a crowd consider itself part of the overall experience is the best element of live music, and thankfully, we were witnesses to this tonight. Thank you Alpine, please adorn our fair city again sometime soon.
Take a look at the band's cinematic video for 'Villages' here:
2011: the year that electronic music was revitalized for the better. It’s hard to forego the immense breed of talent arising this year, particularly from artists coming out of the UK. Many would not be complaining though; the mere fact that these skippy beats and heavy rhythms are being reincarnated is enough for a new generation to appreciate, rediscover, and generally feel good about. Enter SBTRKT ("subtract", for those of you playing at home). An intriguing entity in himself, Aaron Jerome, under the guise of SBTRKT, hides behind a distinctive mask, creating a character-like image that represents his brand rather than himself as an artist. It’s a good move, not just because I’ve seen his face and it’s really ugly (I haven’t), but it provides a visual for listeners amidst the often bland image of guitar bands and their timid efforts at creating “the look”. Furthermore, it allows Jerome to distance himself personally from his music, producing an almost intermediary figurehead between his compositions and the listener, whilst removing the personal burden that comes with being a well-known musician.
SBTRKT follows on from earlier single and EP releases aside successful remixes of tracks by M.I.A., Mark Ronson and Underworld. This album really allows Jerome to step out of the shadows of his DJ persona and become a real electronic composer with a simplistic knack for hooks in amongst the conducive sounds of the moment. There is so much variation on this album, something that makes it a pleasure to listen to on repeat. Heatwave begins the album modestly, with vocals and distant synth flourishes working in tandem with pan-shifting beats to create a warm opening. Vocalist Sampha is distinct throughout SBTRKT, and his first port-of-call here is Hold On, a true ballad that employs light atmospheres amidst xylophone lines to provide an eerie, fairytale-like mood. It is here in Sampha’s vocal that Jerome allows his inner crooner to be unleashed, albeit through another voice, and demonstrates that an intrapersonal connection with the audience can still be effective in passing on interpersonal messages to the listener.
The inclusion of a number of female vocalists helps to characterise the album further and demonstrate Jerome’s ability as a DJ to imply the feeling of ‘guest appearances’ in how these tracks vary from the majority of the album. The most notable collaboration here is with Little Dragon’s Yukimi Nagano, who adds a smooth, silky poise to lead single Wildfire; it is easily the most commercially accessible track on the LP. Jessie Ware’s vocal range is perfectly suitable to the deep electronic rhythms of Right Thing To Do, while Roses Gabor greatly enhances Pharaohs, a highly danceable house track that dapples in disco and funk stylings while maintaining the continuity of the rest of the album. On the contrary, Ready Set Loop is a fast, up-tempo instrumental that possesses a real warped feel, falling somewhere between a loop-heavy electronic act, like PVT, and the dub-step currently fermenting in the music world like a broth on high heat.
We really have a find here though in Sampha; his undeniable delivery is beautifully breathy, incredibly soulful, and all parts raw. And the more you listen, the more you tend to appreciate the talent at hand. Never Never is a classic R&B production, and utilizes Sampha’s succinct range to great effect, working with backing vocals to create a collective feel. He also allows SBTRKT’s exploration into various styles to work so well, as a track like the fast-moving Something Goes Right perfectly juxtaposes the sleuthing grooves of Trials Of The Past. It truly demonstrates that SBTRKT could ply his trade anywhere on the live scene, from the festivals to the seedy bars and far beyond, and his effect would be no less engaging.
Music always comes in waves, regenerations and experimentations. And at present, the 2011 electronic movement fits all of these categories. It is simultaneously reviving sparkly keyboards and harmonies from the 90s while experimenting with new and interesting beats and rhythms to create an eclectic new wave of music. With every month there appears to be a new member on the throne of the scene, healthily pushing the boundaries of their compatriots. And currently, SBTRKT is the king. It may yet take some doing to knock this masked man from the position of crossover electro-royalty.
Have a look at the sweat-laden video for 'Wildfire' feat. Yukimi Nagano here:
Looks as though SBTRKT will be heading our way this October, keep eyes and ears peeled.
As Thomas Rawle, lead singer of headliners Papa vs. Pretty, stated early on in the band’s set, the last time they played in Adelaide was in front of roughly 15 people, so obviously they were delighted to be playing to a Jive crowd that managed to fill the ground floor completely. Of course, this previous performance was prior to the 3-piece releasing their debut album, United In Isolation, subsequently having it featured on the public youth broadcaster, and gaining consistent airplay for rollicking tracks One Of The Animals and Honey. This kind of publicity is huge for a band who’s average age barely reaches beyond the 20 year mark, but it was clear on this Thursday evening that age is no barrier for this talented Sydney group.
Adelaide act City Riots appeared first this evening having been overseas to record their debut album which has been a long time coming for many. At this stage the crowd were still briskly wandering in, but the band managed to put on a professional performance nonetheless, certainly demonstrating their progression as a band in the last few years. I’m sure we can expect more from the group throughout the remainder of the year as the album is released.
Due to time constraints the now filled out Jive crowd were introduced to Melbourne act Redcoats, who immediately had everyone’s horns up. As the band were setting up, I must admit I was highly skeptical of what was to come. The guys look like an authentic 70s rock group; three of the lads sported long, flowing stoner-like locks, while lead singer Emilio Mercuri almost came across as a reincarnated version of Andrew Stockdale, pinned back afro and spearing eyes included. And as they came out to begin their set it was easy to hear the influences of these guys right from the start. Flourishes of Zeppelin, Hendrix, Kyuss, Floyd and Rage Against The Machine all shone through early on the band’s performance. It would be easy to forfeit the band’s credentials based on the fact they were reviving the sounds of their forefathers, but the overriding fact became that Redcoats are simply brilliant at what they do. For the majority of their near 40 minute set I simply zoned out, in a good way, Their style of music is completely mesmerizing, entrancing, and played with an undeniable level of skill to match. Their constant shift of time signatures is something to behold. Mercuri is a true frontman, while guitarist Neil Wilkinson and bassist Rhys Kelly wield their instruments as if they’d just been removed from a time machine that landed in the early 90s. Dreamshaker is a hit with most of the crowd, but it was the longer, more drawn-out songs that really showed the potential of Redcoats going forward. This was certainly a live experience worth witnessing again.
Papa vs. Pretty arrived soon after to kickstart their performance, which was unfortunately marred by numerous feedback issues early on. It seemed to rattle frontman Rawle and created a somewhat disengaging atmosphere at the beginning. However, as soon as the first chords of Heavy Harm strung out, the band seemed far more comfortable on the stage, with the initial sound problems seemingly devoid by this point. Heavy Harm is a great indicator of the band’s sound, as Rawle exquisitely finds his way around the guitar, while the rhythm section of Angus Gardner and Tom Myers allow the band’s music to flow up and down when necessary. At times the mix creates problems in hearing Rawle’s incredible vocals, yet when they do appear they are genuinely unforgettable, falling somewhere in between a rockabilly drawl and a Beatles-esque croon.
One Of The Animals received a huge reception from the crowd as was to be expected, while Wrecking Ball from the band’s Heavy Harm EP displayed a raw grit to the band’s sound. This was brilliantly contrasted by I Still Believe In Us, a far slower track from said EP that demonstrated Rawle’s immense ability with the 6-string, with lush harmonies provided by Myers from behind the sticks. Myers voice consistently enhanced the band’s sound on the night, and especially shone on latest single Honey. This was probably the most well-performed song on the evening; it showcased everything good about the 3-piece, while displaying a level of maturity and comfort on stage that is far beyond their years. The guys completed the set with an unnamed production which they only ever play live, and after a reluctant call from the crowd, returned for a two-song encore to end the night on a high.
Many can sometimes be fooled by broadcast radio these days, with recent countdowns demonstrating that accuracy in determining the best from the rest can sometimes succumb to a popularity contest. However, the recent publicity provided to Papa vs. Pretty was consolidated this evening at Jive; these guys are the real deal. Thomas Rawle is a talent to be reckoned with, and with an apparent 30 albums worth of unreleased material up his sleeve, we can only dream of what the band has to offer up next.
With the rising prominence of revivalist musicians in modern music therein lies a question: will future musicians be forced to revive the revivalists? Needless to say, Montreal two-piece No Joy take upon the feel of a 90s shoegaze revival act, yet there is still much to be digressed from their rough and ready debut LP, Ghost Blonde. Formed in 2009 via a cross-continental partnership between songwriters Laura Lloyd and Jasmine White-Glutz, No Joy have since found their into the American lo-fi crowd amongst the likes of Wavves and Best Coast, and it is easy to see why going on their debut release.
The duo implements minimal instrumentation to maximum effect on Ghost Blonde, with a great wall of vocals, guitars and drums all coinciding to create a fuzzed out afterglow throughout the album. Though where their contemporaries may choose a more direct pop route to engage their listeners, No Joy decidedly take a more darker undertone towards their compositions, perhaps sacrificing the fun in their music for more thought-provoking moments. The band in this case find themselves in a catch 22 situation, as the style of music itself creates a great vibrancy that can be overwrought when murkier inflections are introduced into the mix.
Ghost Blonde does contain some fantastic glimpses of the band’s capabilities. Heedless is the stand-out track on the album, a real ear-catcher that strikes on the first listen mainly due to the path taken with the guitar lines which here sound more melodic and laid-back, in the same vein as the light-infused grunge that encapsulated the indie sound of the 90s. Hawaii implements a garage-rock sound that is tinged with surf elements from the 60s and 70s and is largely cymbal heavy in the percussion stakes, proving another worthy moment on Ghost Blonde. Yet at times the duo do lack direction and lose the promise and spark that their better songs present. Indigo Child is a melancholy change from the fast-paced instances felt throughout the album, but it just takes too long to ignite, and the band allows the listener to lose interest in the song, a cardinal sin in this case. The title track closes the album in very much the same way; as the only track on the album to breach the six minute mark, it is simply too long, and this style of music is not the kind that thrives on long drawn out tracks, which often become repetitive and fail to capture the essence of its nature.
No Joy have provided a largely no-holds barred debut in Ghost Blonde, yet their ambition never really pays off over its duration. They would serve much purpose in enveloping the music of their contemporaries and look to build on the edginess of their sound, which at times shows a great deal of promise. The lo-fi revivalist scene is reaching greater boundaries, and No Joy are exemplary of this. With the ground that they have made on Ghost Blonde, the evidence points to a successful follow-up if they can incorporate a few more aspects into their sound that will distance them from the pack.
Sydney experimentalists Megastick Fanfare have been working on their debut album Grit Aglow for the best part of four years since first venturing into the world of music at a Sydney University band competition. Like many other bands of the same ilk, the 5-piece released a number of singles alongside a split 7” inch record with fellow Sydneysiders kyü entitled Brain Tooth amongst relentless gigging in their home city and more sparsely, interstate. After playing alongside the likes of The Middle East, Cloud Control and Leader Cheetah and with appearances at the Come Together, Peat’s Ridge and Parklife festivals under their belt, 2011 marks the culmination of Megastick Fanfare’s hard work with the release of Grit Aglow.
The word “experimental” certainly sums up the majority of Grit Aglow’s make-up, as the songs flow statically and sporadically along with a surprising level of class, given the somewhat lo-fi conditions the album was created amongst. Produced by Frey Lindsay and the band themselves in their own rehearsal space, Grit Aglow marks another credit for Jonathan Boulet, this time in the mixing department. His influence in the Sydney indie scene is markedly growing, and he certainly has carved his name into a lot of great experimental rock sounds coming out of the city in recent times, a glowing reflection on his own ability. The production side of things here is often quite lush, with flavours of guitar, synth and on occasion, warm brass fermenting above a percussive-heavy backbeat that beautifully juxtaposes the raw elements of the band’s sound with its clearer components.
June Strangelets is a great example of this; it begins almost in the ilk of early Dappled Cities or Faker recordings, then twists and turns with a bubbling, pitch shifting synth line that separates the refined from its opposite, all accompanied by a breezy melody that really encapsulates a lot of what Megastick Fanfare are trying to achieve on Grit Aglow. That is, make the listener inclusive while making music which can at times be considered exclusive. Other inviting moments, such as Teething and Do What You Like, demonstrate the band’s willingness to make enjoyable music that very much encapsulates the jungle-like soundscapes surfacing heavily amongst Australian acts at present. The former has a lot going on, what with its glitch-laden electronics, layered tribal percussion and constant vocal shrieks, which all make for an insightful listen. The combination of these tracks with songs like Good Øer and Pow - both of which use stranger keyboard lines to create their melody – allow the band to push its musical boundaries whilst remaining firmly within the realms of making music that is listenable.
In fact, upon listening to the album a number of times, you do begin to feel more at ease with the soundscapes on offer throughout Grit Aglow, as the immediacy of its weirdness and oblique nature starts to become more normal and easy to consume once those barriers are broken down. This is a credit to Megastick Fanfare, who have found a way to make music that draws the best elements from traditional pop sounds and genuinely experiment with them. We can now add these guys to a growing vibe of Australian underground musicians willing to defy genres in order to stand out from their peers.
For this review, I decided to go back and listen to Friendly Fires' debut self-titled album as a predecessor to their follow-up effort, Pala. I was reminded of what a solid debut album it was, packed with dance-floor fillers that had the kids dancing for the most part of the last 3 years or so. Couple that with the deluxe edition of the album, which included the band’s break-out single Kiss Of Life, and you have a band that is raw and highly talented, yet largely symptomatic of the British indie scene which unfortunately, resonates around media misrepresentations and enigmas that provide bands with levels of hype often hard to deal with in an artist's early stages.
Thankfully, as the first notes of Live Those Days Tonight ring out at the beginning of Pala, Friendly Fires announce themselves as a completely different beast in 2011. In fact, they immediately strike the perfect balance between keeping their devoted fans pleased while allowing new ones into their world simultaneously. It is a fantastic album opener, with the cowbells and whistles of their debut making way for shimmering 80s synths, sharp melodies and well-executed guitar lines that maintain their original euphoria albeit in a far more mature manner. Acclaimed British producer Paul Epworth, who had previously reworked some of the band’s more successful tracks including Jump In The Pool, Skeleton Boy, and Kiss Of Life, took control of Pala. In comparison to the band’s first full-length where they had creative control over all but one track, Epworth’s inclusion clearly provides the band with a greater sense of direction on Pala, producing a feel that never negates or neglects the listener but rather keeps them involved in the sound as a result of impeccable mixing and instrumentation.
The overall feel is summery; Hawaiian Air will sum this up for you in an instant with its longwinded siren-like synth strikes and reflective lyricism courtesy of eccentric lead singer Ed McFarlane. Another track that jumps out of Pala is Blue Cassette; the song generally moves along as an observational tale delivered with McFarlane’s typical English swagger in the slower moments, then becomes a dynamic journey through electronic samples representative of the music scene’s recent chillwave exploration, with the addition of thumping rhythms for good measure. It is hard not to feel engaged by what is going on here, as track after track you are lured into some sort of wonder world that keeps on giving. Whether it’s the slow burning title track that swims along elegantly, the insatiable feel of Running Away which demonstrates the band’s forebearing influences, or the demanding hip-hop feel of Show Me Lights, Friendly Fires indicate that they are ready to take their sound to levels it seemed were critically unbeatable on their debut long-player.
However vibrant this album comes across, there is still a sense of yearning in McFarlane’s lyricism. Where at times it is incredibly exploratory and escapist in nature, a deeper undercurrent can be found just as frequently throughout Pala. True Love is a classic example; the song tricks you with its funky bass lines and light chromatic feel, yet McFarlane’s vocal becomes desperate and listless upon further examination. The same can be said for Pull Me Back To Earth, as the title is harmoniously repeated amongst another well-produced soundscape, further demonstrating how far the 3-piece have come in their time out of the limelight. Pala’s blaze of glory is Hurting, a slow disco jam that would have been a mere blip on their previous album’s radar. The maturity shown in the band’s delivery here provides a genuine crossroad between today’s music and that of yesteryear, displaying everything which is good about Pala that demands it be repeated.
Friendly Fires have come of age and knuckled down in 2011. That is what can be taken from Pala on the whole. But their more serious attitude doesn’t necessarily reflect a change in musical inclinations, with their sound remaining easily danceable in conjunction with an increased level of refinement. There are many times on Pala where you have to listen hard, as there is a lot going into creating the atmospheres that Friendly Fires thrive on. This would largely be a result of Epworth’s heightened production influence which has allowed the band to remove the perceived novelty from their work and replace it with a more genuine sentiment. Although their 2008 release contained many unforgettable tracks, it feels like on Pala, the more memorable moments here hold greater personal meaning. It appears as though Friendly Fires will be remembered more so for this pop gem than anything else they have produced thus far.
This show tonight was a hipster’s paradise, or perhaps a perfect outlet for those who wouldn’t usually let their inner hipster out to attempt to do so. What most surprised me about this special Groovin The Moo sideshow, of which Adelaide has been provided a number of this month, was the immense of young screaming girls after the blood of Darwin Smith, flamboyant lead singer of headline act Darwin Deez. Given that this was an all ages show there were certainly grounds for this to occur, but for some reason I never imagined Smith to be the next teenage icon of the 21st century. He comes across as more of an indie nonchalant, and along with his equally boisterous band, creates a vibrancy that cannot be ignored. And with the screaming fans hanging on his every word, it made for a fantastic atmosphere for a Tuesday night at The Gov.
As the night warmed up, East End Villains had already begun winning over new fans with their tribal-infused brand of indie kraut-rock. Their music is genuinely pulsating, and you get the feeling these guys are onto brighter days in the future. Although there was only a small crowd gathered early on, many started to flow towards the stage to get a glimpse of the 5-piece in action. It is a very engaging live show they provide, with the second drum kit adorning the front of stage adding an extra slice of intensity to the band’s sonic presence. Having seen them a few times last year it appears as though East End Villains have improved their sound markedly, showing that they are ready to take the next step in their careers. The support slot for an act like Darwin Deez surely does their cause no harm.
The Salvadors were up next and they put on a fantastic show, something which is expected of them amongst many of us Adelaide gig-goers these days. The guys were on a hiatus specifically to record the follow up to their successful debut EP, however stated they could not pass up the opportunity to support the formidable New Yorkers on their Australian jaunt. As the crowd slowly made their way in from the beer garden to fill the room, the Adelaideans began to kick start the party atmosphere and proved their wares with a set list that comprised tracks from their past, present, and some newer ones we are likely to hear more of in the future. Another band that generated some new fans tonight and brought about much hipster shuffling from the young ‘uns.
One prominent aspect of Darwin Deez’s set was not in fact the set itself. I have never witnessed a band with the prominence of these guys actually set up their own gear on stage without a single roadie. It was quite impressive to see and proves that if you can do it all yourself then why wouldn’t you? Once the gear was in place and the band came back out, they never quite looked back. This was not just a live show, but a fully-blown choreographed performance. Complete with interlude contemporary dance compositions to specifically themed mixes this New York 4-piece knew what they were doing on stage. Most intriguing I guess is the fact that musically, the songs on offer overlap each other on many occasions, almost as if Smith has cottoned on to a chord pattern and wanted to multiply it over again. Sampled drums mix with live stickwork, creating the band’s unique unrefined sound, while the guitars are rough and distorted, everything they should be in a live setting.
Yet the overriding sentiment of the night was that of fun. At one stage Smith even made way for a devilish white-boy rap loosely aimed at the mixing guy who, pre-show, wondered if the band would be moving around at any time during the show; this was their time to move around. Smith takes on the rapper tag with ease, spitting rhymes with impeccable flow, and moving through the bunch of adoring fans on the floor only made the crowd’s reaction to this gallivant increase rapidly. The crowd favourites were of note; major singles 'Up In The Clouds', 'Radar Detector' and encore track 'Constellations' gained equally as much praise as album tracks 'The City', 'The Bomb Song' and 'DNA' from the rapturous patrons, with the band running through the majority of their debut album in a set that lasted just over an hour.
Darwin Deez this evening ensured that no fan was left disappointed with the purchase of their ticket. The sentiment from Smith and other band members almost guaranteed a return visit, which heaps much praise on promoters for attracting a band like Darwin Deez to Adelaide in the first place and creating a legacy for this culture in future months and years. Among a slew of other Groovin The Moo touring artists to be stopping over in Adelaide this year, this 4-piece raised the stakes amongst their travelling peers. And with such an enigmatic frontman at their peril who couldn’t forgive the guys for dismissing their inhibitions and having a little fun? Clearly no one at The Gov this evening.
There was a sentimental feeling about tonight’s gig at Enigma Bar, with As Tall As Lions touring Australia for the final time ever as they venture off into the wilderness after three amazing albums and one EP in their time together. A special evening was to become even more special with the knowledge that this was to be the band’s last show ever. In Adelaide, the town that is perceived to get nothing special musically compared to its interstate counterparts. I think a few members of the crowd began to count their lucky stars as the news caught on through the venue. But before the big finale ensued, a slew of local and interstate acts took to the stage to press their claims in the live arena – a surprising four acts to be exact.
After a short acoustic set from Aeden Cooper under the moniker of Fire For A Dry Mouth, local band Raider took to the stage and looked like seasoned performers and consummate professionals alike. Playing a simple brand of atmospheric indie rock, the four-piece displayed their talent from the get-go. Albeit their sound is nothing new or different overall, what Raider do they do well, considering the simplistic set-up they bring to the table. Even more impressive was the fact that this was their first ever live show; I think the majority of the quickly gathering crowd were genuinely shocked considering the band’s high intensity live show and stage presence to that point. The guys mixed it up with a few acoustic sounding numbers in the set list for good measure, proving they are a must-watch for future successes in the industry if they can maintain the same level of commitment they showed this evening.
Next up was another great local act in Mere Theory, who this evening, as a two-piece, took an acoustic approach to their set, although synonymously they used an electric guitar throughout the half-hour show. Some newer tracks were showcased from the band’s upcoming album, along with older favourites 'You Will Never Win', 'Gracefully', and 'Defeating This Feeling'. Mere Theory certainly have some amazing tracks and are continuing to do South Australia proud musically, yet their back catalogue is much more enjoyable with the full band playing in unison. Nevertheless, the raw emotion from lead singer Chris Mellow’s vocal emphasised the greatest elements of each song, helping to make this a thoroughly pleasing set to watch.
A long wait then developed before we saw Central Coast rockers Elliot The Bull take to the stage. It took at least 30-40 minutes for the band to set their gear up, a rather long wait when under a flourish of mounted pedestal fans which left most searching for warmth in the intimate venue. The five-piece made the wait worthwhile, playing tracks mostly from their recently released, freely downloadable EP in support of this tour. It was hard to succinctly pinpoint the group’s sound, but elements of folk, rockabilly, punk/hardcore and indie pop all came together to create a pleasurable sound. The band’s frontman went on to thank As Tall As Lions at least six times throughout the set for taking them on their last trip around Australia, ensuring we all had sore hands at the end of their very entertaining set, which also included a broken string and some well ad-libbed musicianship as a result of the mishap. Luckily the As Tall As Lions boys politely lent the band their acoustic guitar for the closing stages of their show, such was the camaraderie on the night. Elliot The Bull will continue to pick-up high-quality support slots while they continue to perform as they did this evening and will certainly go on to achieve bigger and better things in the future.
And finally, almost half an hour after they were meant to begin (not that anyone cared), the main act arrived on stage, satisfying every crowd member from the get-go. 'Ghost of York' from the band’s sophomore self-titled album opened the proceedings in a fine manner, with every ounce of softness displayed on record becoming completely intensified when performed live. This is credit to the New Yorkers, especially considering what could be perceived as a somewhat small turnout, yet this only made for a far more intimate and memorable experience. Leaving no stone unturned, the five-piece breezed through tracks from all three of their albums, much to the crowd’s delight. It is evident here tonight that they are the rich man’s version of Death Cab For Cutie, with far more intensity and variation on their hands compared to their established indie-pop counterparts. Tracks like 'Circles' and 'You Can’t Take It With You' show just how far the band has progressed since its beginnings nearly a decade ago, and proved to be signifiers of the band’s career on the night. The band left the stage with minimal fanfare, yet the crowd remained stagnant in the hope of one last encore from the band.
After much enthusiasm from the fans the encore finally came; lead singer Dan Nigro simply stating his desperate need for a toilet break was the reason behind the extended pause. The guys weren’t really sure where to go with the encore at first before playing a rousing rendition of 'Be Here Now'. This was followed by the last song the band would ever play live, 'Love, Love, Love (Love, Love)', a clear crowd favourite and possibly the most perfect way the band could have ended their career. This was where members of Elliot The Bull provided each band member with a shot of an undisclosed liquor (it appeared clear) and beers to celebrate the finale with. It provided a joyous occasion, and one that would have been bitter sweet for the band. At least they can be remembered for one thing: their last ever show occurred in little old Adelaide, and for that, those who witnessed it will be forever thankful.
Generally speaking, R&B music is the commercial hatred of those attempting to associate with the ‘in-crowd’, and is often completely neglected in favour of sounds that represent a more underground culture. Yet it appears as though the genre is being made cool again with the likes of James Blake and Toro Y Moi pioneering new directions in the R&B scene. The combination of more instrumental and electronic elements with the soulful voices of these particular artists creates a completely different vibe against the typical commercialised hip-hop, which overtly contains more pop elements rather than staying true to its soulful roots. One of these artists in amongst the new breed is British composer Jamie Woon. Finishing fourth in the influential BBC Sound of 2011 (significantly, behind Blake who came in second), 27-year old Woon has been plying his trade since he was 15, when he began playing guitar. Growing up in England’s famed BRIT School, where he experienced performances from the likes of Reggie Watts, he began to experiment with loop pedals and syncopated beats in conjunction with his acoustic style. And on 'Mirrorwriting', all these elements are brilliantly executed.
There are some really amazing soundscapes featured on Woon’s debut album, even though on the surface it appears like there is not a whole lot occurring. It is largely in the simplicity of the instrumentation and sparseness of each track where Woon shines. And occasionally, the more minimalistic the sound is, the more engaging it becomes. Lyrically, Woon is not as much technical as he is powerful, owing plenty to his nomination of words in certain sequences that largely aid to the reaction gained from this album. ‘Night Air’ for instance uses intrinsic lyrical conventions throughout, minus choruses, but still manages to provide a great amount of strength due to the soulful vocal effort implemented at critical times during the track. It is that vocal which propels Woon to lofty heights through much of 'Mirrorwriting', combining mostly with backing overdubs to create some really quite magical harmonies.
'Mirrorwriting' is certainly the sum of its parts; the parts become stilted at times while seamlessly coming together at others. The majority of the beats produced are reminiscent of early Massive Attack compositions, deeply entrenched in bass and mostly following a traditional skip-hop flow that enables Woon’s voice to traverse effortlessly over the top. Great examples of this in action are ‘Street’ and ‘Spirits’, the latter of which is possibly the best cut from the album. The slickness in which each track develops is credit to the production team behind the album, and its noticeable in electronic music as each element is brought to the fore with no place to hide. The synths become lush and refuse to overbear the overall sound in stages, while becoming heavier and more influential in more upbeat tracks like ‘Lady Luck’ and ‘Middle’, where the R&B side of this album really crosses over into soul stylings via apt volumes of programmed strings that would work behind almost any commercial release in today’s age, yet are put to considerably better use on 'Mirrorwriting'. It is in finding this mix that Woon distances himself from his competitors by refusing to tow one line of songwriting and creating a sound that seems more natural than others.
The latter half of the album is largely left for lighter compositions and a greater introduction of guitar sounds, which Woon grew up on. ‘Gravity’ is a particularly deep listening experience, built around completely euphoric synth sections and a hint of acoustic melodies implemented perfectly; the guitar is brought forward in the mix when the song becomes more sparse and sent to the back as the chorus allows other instrumentation to heighten the track. ‘Waterfront’ is a lo-fi closing track that is built around a skippy rhythm and finger-plucked acoustics, while ‘Spiral’ fields a real lounge-like atmosphere that is typical of what AIR produced in their early years. It is clear that Woon is well-educated in a musical sense, allowing him to enhance the sound he creates on 'Mirrorwriting' immensely.
Jamie Woon was probably lucky to become largely lost amongst the maze of hype artists gracing our presence in the past year or so. The lower level of publicity would certainly relieve a lot of pressure in releasing a debut album, while also helping to focus more precisely on the album itself without being forced to undertake more press and promotional appearances. 'Mirrorwriting' is a fantastic listen from start to finish, and will perhaps propel Woon to greater heights than some of his other British electronic friends.
Any album that proclaims to be influenced by ventriloquist’s dummies whilst leaving you “foaming at the mouth” does not create the most appealing of centrepieces at first glance. And this certainly turns out to be the case for Brighton, England’s Fujiya & Miyagi with the release of their fourth long-player, the appropriately titled ‘Ventriloquizzing’. Here, the four-piece attempt to implement elements of Krautrock with simmering electronic rhythms but unfortunately it never really gets off the ground at any stage of its 40-minute duration.
The band chose producer Thom Monahan to look after the switches on ‘Ventriloquizzing’; it bears an interesting decision, as Monahan has previously created more folkier compilations with the likes of Devendra Banhart and The Silver Jews. So you can’t knock the band for working outside of their temporal zone in this sense. However, it is hard to feel Monahan’s influence in full force, which is probably inopportune of the band considering how perhaps more folk stylings may have enhanced these tracks.
There are a number of things to be critical of here, but possibly the most endearing aspect of ‘Ventriloquizzing’ lies in the vocal projection of David Best. With Best, there lacks any genuine attempt to be competent in what he, or the band, is endeavouring to convey with each song. Yes, there may be some appeal in remaining low-key and trying to develop a sound that is alternative by nature. But the majority of these 11 tracks border on being jokes, although I am positive there will be some indie folk that would look to find legitimate meanings behind these compositions.
It is clear that Fujiya & Miyagi are looking to depict some sort of puppetry theme with ‘Ventriloquizzing’, almost in a concept album-like manner. The title track, along with ‘Yoyo’, show this sense of being taken over by another power in the lyrics, yet they are not strong enough to really punch home the premise, leaving the band floating in the middle of musical nothingness. Then there’s other tracks like ‘Tinsel & Glitter’, of which Best “coolly” implies “a pair of stilettos, can hit the high notes” and “a pair of red shoes, can sing the blues”, constantly making it difficult to decipher any lyrical code, and you can only try so hard to do so before becoming completely withdrawn and detached from the lyricist.
The disappointing thing here is, some of the sound-scapes being created on ‘Ventriloquizzing’ are actually bearable inflections, with the band having good ears for creating an uncomplicated mix of smooth electronic grooves and flourishes of fuzzed-out blues rock. Yet this sound is mostly masked by a completely inept vocal and lyrical attempt; perhaps to think of the medium between the Pet Shop Boys, The Bedroom Philosopher and Flight of the Conchords would not be too far away from what is going on here. This is not necessarily an indictment on the band, who are well into their career by now, but more so on the album itself. It is one that has the potential to kick off, yet fails to pro-create any foam from the inner-reachings of one’s mouth.
Australian music has had a revered history of iconic bands creating sounds that represent the true heart of the country whilst becoming national treasures. The 80s produced bands like The Go-Betweens, The Triffids, Hunters & Collectors, and Midnight Oil. The 90s gave us Crowded House, Dirty Three, and Powderfinger. The 00s delivered The Drones, The Panics, and Augie March. And as we move into a new decade, it appears this generation has found its band for the ages in The Middle East.
In 2008, The Middle East disbanded after the release of their eponymous album ‘Recordings of The Middle East'. Later that year the band was discovered by national radio broadcaster triple j through their ‘Unearthed’ program. They then re-released ‘Recordings…’ as an extended player in 2009, and have not looked back since. Singles ‘Blood’ and ‘The Darkest Side’ gave the Townsville folk collective great success, showing their penchant for writing warm, hearty tracks that exposed a number of themes to the listening public. Yet it was their combination of folk and ambient-rock on other numbers which created much interest in the group, especially through, and including, the songs that were cut from the re-released EP. ‘Lonely’ and ‘Beleriand’ showed an ambitious side to the band’s repertoire, and gave its genuine acoustics a far more grandiose feel. Nearly two years on and the public has finally received a new collection of songs from the six-piece in ‘I Want That You Are Always Happy’, an album that truly rewards the patience of fans and critics alike.
From the track-listing to the lyricism, this album is a truly Australian conglomerate of tracks. Each has its own story, yet the 13 songs manage to mildly bind together to create a long-player that does not necessarily flow through as one whole effort, but merely merges one track with the next, much like chapters of a book for instance. It is interesting also that the majority of the slower numbers here are placed throughout the first half of ‘I Want That You Are Always Happy’, allowing the album to slowly take shape; it is a fascinating aspect of building the album, as it makes it harder for the listener to become disenchanted when the songs gain momentum rather than trail off. At first glance this would seem an unwelcome tactic, yet The Middle East is all but captivating in their slower stages.
‘Black Death 1349’ and ‘My Grandma Was Pearl Hall’ are two exquisite pieces of music, and go a long way to setting the tone for things to come on ‘I Want That You Are Always Happy’. A dark, grandiose piano tone combines with an eerie ambience on the latter, which offers a startling reminder of the band’s harrowing and gruesome nature at times. Other songs, like ‘As I Go To See Janey’ and ‘Ninth Avenue Reverie’ follow this predicament, though the latter here is probably the band’s weakest moment on the album, if indeed there is one. Upbeat numbers ‘Land Of The Bloody Unknown’ and lead single ‘Jesus Came To My Birthday Party’ present variants between the more evocative songs, as do ‘Dan’s Silverleaf’ and ‘Hunger Song’ towards the closing stages of the 63-minute opus. Musically, the highlight comes with ‘Very Many’, a modest slow burner that subtly explodes in a raging ball of euphoria with an unexpected turn of cheek, incorporating a bare-boned acoustic and incredulous violin, with the hushed vocals of Rohin Jones remaining low in the mix so as to maintain its inter-personality.
It is hard to overlook the evocative nature of the band’s songwriting, which almost becomes ubiquitously Australian when examined closely. Chief songwriters Jones and Jordan Ireland have evidently been influenced by their travels and surroundings, and have developed an overall soundscape in accord with the images it aims to re-create. Take ‘Land Of The Bloody Unknown’, a collection of uniquely colonial tales that ultimately leaves Jones to proclaim that “the stars bear down from their throne/and that old Southern Cross is shown/and it points down the side road home/to the land of the bloody unknown.” This filters through to ‘Mount Morgan’, another instrumentally unique track where more howling, deep vocals are mixed with crashing cymbals to produce a sinister sounding ambience, differing completely from the rest of the album. Even the subtle hint of saxophone trickling through the mix in the latter half of the song depicts this rich sounding atmosphere, which is given an epic outro at the end of album-closer ‘Deep Water’, a 10-minute composition in itself.
This evocative sound can also be attributed to the production and mixing (credited to Mark Myers and the band itself) that encourages the best elements of The Middle East’s sound to shine with prominence and craft a joyous resonance on the best part of ‘I Want That You Are Always Happy’, one that would be ideally suited to a jam session on an abandoned property without a care in the world, which is how I imagine the band, hailing from far-north Queensland, would have carved out these individual creations. It is these elements that may in fact make The Middle East musical iconoclasts of this generation and for years to come.
Though many may disagree, The Middle East is the most important band in Australian music right now. Their ability to tell stories in a way that evokes their forefathers not only allows a whole new generation of listeners to be opened up to traditional folk music, but also creates a new chapter in Australian music as we know it. The names Rohin Jones and Jordan Ireland are certainly no Glenn Richards, Gareth Liddiard or Grant McLennan, though given time, they may have formed a most formidable artistic partnership that will be remembered through the ages.
City & Colour – 'Fragile Bird'
The first single from Dallas Green, AKA City & Colour’s third release, 'Little Hell', is 'Fragile Bird'. The most immedately noticeable aspect here is the electric element of the track that will leave his most devotional fans saying “where the heck has that straining acoustic guitar gone!?” Luckily for them, Dallas’s voice shines through strong as ever on 'Fragile Bird', and especially with a more up-tempo track, as is the case with his associated act Alexisonfire, he is freed up to excrete every inch of power holed up in his vocal. Needless to say, the same feel and atmosphere implemented on past City & Colour releases is still here, and this track, and most likely the album, will feel like a natural progression from 2008’s ‘Bring Me Your Love’ for many listeners. The fuzzed out guitar and abridged blues solos make for one interesting listen from this incredibly likeable Canadian, with an album to come that may prove to be Dallas Green’s masterpiece. 'Little Hell' will be released on June 7.
Husky – 'History’s Door'
Melbourne 4-piece Husky are gaining momentum in the live scene. Having just been chosen to play at Melbourne’s 'Pushover Festival' through triple j 'Unearthed', it is only a matter of time before we see the band traversing around the country with their folk luminaries. And deservingly so, as new single ‘History’s Door’ demonstrates the underlying potential of this new talent. Slotting in somewhere between Fleet Foxes, The Middle East and Boy & Bear, Husky would not immediately be considered as anything original. Yet ‘History’s Door’ has a feeling about it that is hard to pin down; the rollicking snares, intrepid electric licks, and sweetly plucked acoustics are tied together with subtle piano lines and wooing harmonies that are overwhelmingly hopeful and make it hard not to feel encapsulated by the sound. The band has recently returned from the States where it has been recording its debut album ‘Forever So’ in LA with the help of Noah Georgeson, who has previously worked with the likes of Joanna Newsom, Devendra Banhart, and The Strokes. Check out the band’s Unearthed page to hear another two tracks from the forthcoming album in ‘Dark Sea’ and Hundred Dollar Suit’.
When the time comes to write and produce a seventh album as a band, ideas must either run low or begin to overlap at some stage of the creative process. Unfortunately for Death Cab For Cutie adorers, this time may have approached. Over its 4 minute duration, 'You Are A Tourist' shows a return to the indie pop stylings of previous releases 'Transatlanticism' and 'Plans' which really kick-started the band’s career. The track is very guitar-heavy, with a skittering drum pattern that aids in the construction of the song, yet somehow it still never manages to reach a pinnacle. Ben Gibbard harmonizing with himself is mildly displeasing, and shows a lack of imagination from the band, especially in a lyrical sense, which is demonstrated in the opening verse as Gibbard tells another that if their heart is burning to build it higher than the sun. This lyric dominates the most part of You Are A Tourist, and the guitar lick becomes annoying at times (it sounds like it would be annoying to play as well). Whether this is the beginning of the end for this Washington cross-over act or just a bad choice for an introductory album offering remains to be seen, though don’t be subjected not to listen, you must hear it even if you don’t like it. 'Codes and Keys', the band's seventh LP, is released on May 27.
