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.

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