Fujiya & Miyagi - Ventriloquizzing

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making it difficult to decipher any lyrical code, and you can only try so hard to do so before becoming completely withdrawn and detached from the lyricist.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.

Album Review: The Middle East - I Want That You Are Always Happy

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.

• The Middle East play The Governor Hindmarsh on June 10. Tickets available at Venuetix, Moshtix, or The Gov itself.

Related item: New Music Monday - Parades, The Middle East

New Music Mon… Wednesday – City & Colour, Husky, Death Cab For Cutie

Well it’s only been about 4 weeks since I’ve done this, and it’s not even on the right day. But at least it’s something.

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’.

Death Cab For Cutie – 'You Are A Tourist'

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.

Esben & The Witch - Violet Cries

Brighton, England trio Esben & The Witch have been dealt a great deal of hype in the past 12 months, largely as a result of their dark, brooding, atmospheric sound, which has not been widely attempted by many bands. Receiving a Sound of 2011 nomination from the BBC, a Next Big Thing nomination from Q Magazine, and numerous favourable reviews across the blogosphere, the group have plenty of street cred to their name, even though they only formed just over 2 years ago. And what have we learnt from hype in the past? Well, it can certainly be a burden on young bands making their way in the industry, as many can fail to live up to the thoughts of their peers and the pressure they are faced with. Luckily for Esben & The Witch, they have one thing on their side: originality.

It is hard to knock a band that attempts to break sonic ground; whether it is necessarily what the majority wants to hear or what the critics will draw kindly upon can be a hard thing for musicians to grasp when first starting out. Yet natural progression through sound is often the most important step in affirming a band’s presence amongst others. It is clear that Esben & The Witch have this in spades. The echoing guitars and vocal layers that encapsulate the dark atmospheres created on 'Violet Cries' are so engulfing, with every twist and turn validated from start to finish. Splaying crash cymbals are often kept distant in the mix, providing a light percussive element to the band’s sound that never becomes overbearing. In fact, much of the drum work on 'Violet Cries' is fairly minimalistic, often incorporating a mere bass beat, which further shows how the trio can create an ambience that is filled more so with melody rather than being carried by rhythm.

To an extent, the album as a whole can be thought of as walking through a dark forest, as the fantastically intricate artwork may suggest. To gain exemption from a forest, you must face many obstacles. Some may be eye-opening and truly memorable, while others can be hard to overcome, though at the end of the journey having left the forest, you can look back on everything you have experienced and respect the importance of both the good and the bad moments. 'Violet Cries' offers up many challenging tracks that can take a while to grasp, particularly lyrically, but more so through the ethereal vocal performance of Rachel Davies, which aids the wall of noise often produced on the album. A song like 'Chorea', interspersing sampled cymbal beats with droning guitars and operatic singing, can be summated as one of the obstacles. Yet it is still an obstacle that had to occur to make the album what it is. After all, 'Violet Cries' is made to be a challenge.

On the other hand, 'Warpath' for instance, is a far more hopeful track. Although a sinister edge remains as it trails off towards its conclusion, the guitar sounds offer a lighter element to the band’s sound. This is also witnessed on 'Light Streams', as the song treads slowly, almost as if it were time to stop near a valley, take a drink and reassess. However, the two most significant moments on 'Violet Cries' come in album opener 'Argyria' and tail-ending track 'Eumenides'; both lend themselves to a slow, progressive, entrancing build-up which then explodes into a ball of euphoria that has the same effect after many listens. The latter incorporates a synth-like dance beat to enhance its level of significance; it is almost the part of the album where you would be running from your prey in continuing with the forest analogy. Album closer 'Swans' acts as a moment of reckoning and reflection, and aptly demonstrates the end of 'Violet Cries', with a hidden message opposing nobility and monarchism.

Esben & The Witch have shared the stage with indie luminaries such as Deerhunter, The xx, Warpaint and Foals in their time together, and it is clear with 'Violet Cries' that they do not fall too far from this scene’s respective tree. Yet the band makes this dark atmospheric outlook their own, through the combination of contemplative observations and demanding declarations that are simultaneously invigorating and imposing. Yes, this is certainly a challenging listen, but by all means it is a rewarding one. And with 'Violet Cries', Esben & The Witch have certainly done all they can to gain inception onto the critics end-of-year lists in 2011, fulfilling the hype that has surrounded the early stages of their tenure.

Esben And The Witch - Eumenides