Album Review: No Joy - Ghost Blonde

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.

Album Review: Megastick Fanfare - Grit Aglow

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.

teething by megastickfanfare

Album Review: Friendly Fires - Pala

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.

Live Review: Darwin Deez, The Salvadors, East End Villains, The Gov, 3/5/2011

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 21^st 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.

As Tall As Lions, Elliot The Bull, Enigma Bar 1/5/2011

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.

Album Review: Jamie Woon - Mirrorwriting

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.