Album Review: The TJ Collective - It's My Right To Be Wrong

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.

• Check out Terry's website for more information.

Album Review: Fred Smith - Dust of Uruzgan

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.

• Fred Smith is in the middle of an Adelaide tour that takes in the SA Folk Centre at George St Thebarton this Saturday night, tickets are $20 at the door, with doors at 7.30pm.

Album Review: SBTRKT - Sbtrkt

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.

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.

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.

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