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.

Gig Review: Alpine, City Riots, Jive, 9/7/2011

Having just packed out two shows at the Northcote Social Club in their home city of Melbourne, Alpine were on a mission to maintain the momentum of their 'Villages' tour on its Adelaide stopover at Jive. With the critical and broadcast success of debut EP Zurich well and truly in the bank, the 6-piece appear comfortable and content on keeping things intimate, although this show was a step-up from their previous appearance in this city at the much-smaller Ed Castle Hotel. The crowd was to dictate this point further, as a wide array of mums, indies and moshers converged on the venue in the hope of an enlightening performance on a consequently icy evening.

A small but enthusiastic congregation came together to witness locals City Riots put on their second major support slot in a matter of days at the same venue no less. Having been third in line for Papa Vs. Pretty’s Adelaide appearance two days earlier, and now opening for another touring act in Alpine, I would be expecting a headline slot in the coming days if the trend were to continue. Many in this city are beginning to warm to the local hopefuls, who continue to churn out tight performances each time they take the stage. The blend of deep synths with their unabashed rock sound make for pleasurable listening on older tracks, such as She Never Wants To Dance, and the newer beasts, which are beginning to sound like radio staples almost immediately. With new single In My Head gaining regular airtime and their touring juggernaut set to continue in support of Ball Park Music later this month, don’t expect City Riots to leave your radar anytime soon.

It certainly appeared as though Alpine have made an impact on Adelaide audiences as more people began to wander into Jive following their performance. Though by the time they’d hit the stage, the attendance was incomparable to the band’s Melbourne shows, demonstrating the fact that this city still perhaps neglects great talent in a live format on occasion. Opening energetically with Heartlove, Alpine instantaneously relieved themselves of any inhibitions and set about enjoying every moment of their time on a Jive stage made to seem tiny once filled with the band’s instruments and stage presence. That stage presence is dominated by vocalists Lou James and Phoebe Baker, who, when in full flight, are impossible not to become engaged with. Baker flies around the minimal space available in an ethereal manner, while James largely holds her position behind the microphone, content to rest on her delicate vocal range that, in tandem with her band-mate, really carves out the essence of Alpine’s uniqueness. Once the band rocks out, watching all members move around the stage is simply captivating, as they create music that you really feel rather simply hear.

Tracks from their debut EP Zurich were well represented this evening, with Too Safe possibly the most enjoyable of the lot with its slow and enthralling build-up. The level of crowd participation continued to grow as the band aired a number of as yet unreleased tracks that were well-received amongst the enthusiastic patrons. It is almost scary to think of the havoc that could be caused once the band begin putting together a full-length release after viewing some of its newer material on this occasion. Closer and notable single Villages demonstrates Alpine’s ability to make the simple sound completely grand; the song slowly creeps along courtesy of some 80s inspired synthetic rhythms and elegant harmonies, then suddenly rushes out in a wash of light keyboards, acoustic drumming and raw energy from all involved to create a real pop masterpiece. It is no surprise that the crowd did not want the show to end there. The band’s drummer leapt out and asked if the Adelaide audience wanted one more song, to which they requested and Alpine subsequently obliged. Though I did not catch the name of the song, their performance of an INXS cover slotted in well with the band’s sound and ensured everyone was left cheerful as they meandered into the realms of another Saturday night.

It’s not often in this setting a band can unravel folded arms and genuinely make people want to move to its music, yet Alpine succeeded in making sure everyone in their presence felt involved in what they were watching. The ability to make a crowd consider itself part of the overall experience is the best element of live music, and thankfully, we were witnesses to this tonight. Thank you Alpine, please adorn our fair city again sometime soon.

Take a look at the band's cinematic video for 'Villages' here:

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.

Gig Review: Papa Vs. Pretty, Redcoats, Jive, 7/7/2011

As Thomas Rawle, lead singer of headliners Papa vs. Pretty, stated early on in the band’s set, the last time they played in Adelaide was in front of roughly 15 people, so obviously they were delighted to be playing to a Jive crowd that managed to fill the ground floor completely. Of course, this previous performance was prior to the 3-piece releasing their debut album, United In Isolation, subsequently having it featured on the public youth broadcaster, and gaining consistent airplay for rollicking tracks One Of The Animals and Honey. This kind of publicity is huge for a band who’s average age barely reaches beyond the 20 year mark, but it was clear on this Thursday evening that age is no barrier for this talented Sydney group.

Adelaide act City Riots appeared first this evening having been overseas to record their debut album which has been a long time coming for many. At this stage the crowd were still briskly wandering in, but the band managed to put on a professional performance nonetheless, certainly demonstrating their progression as a band in the last few years. I’m sure we can expect more from the group throughout the remainder of the year as the album is released.

Due to time constraints the now filled out Jive crowd were introduced to Melbourne act Redcoats, who immediately had everyone’s horns up. As the band were setting up, I must admit I was highly skeptical of what was to come. The guys look like an authentic 70s rock group; three of the lads sported long, flowing stoner-like locks, while lead singer Emilio Mercuri almost came across as a reincarnated version of Andrew Stockdale, pinned back afro and spearing eyes included. And as they came out to begin their set it was easy to hear the influences of these guys right from the start. Flourishes of Zeppelin, Hendrix, Kyuss, Floyd and Rage Against The Machine all shone through early on the band’s performance. It would be easy to forfeit the band’s credentials based on the fact they were reviving the sounds of their forefathers, but the overriding fact became that Redcoats are simply brilliant at what they do. For the majority of their near 40 minute set I simply zoned out, in a good way, Their style of music is completely mesmerizing, entrancing, and played with an undeniable level of skill to match. Their constant shift of time signatures is something to behold. Mercuri is a true frontman, while guitarist Neil Wilkinson and bassist Rhys Kelly wield their instruments as if they’d just been removed from a time machine that landed in the early 90s. Dreamshaker is a hit with most of the crowd, but it was the longer, more drawn-out songs that really showed the potential of Redcoats going forward. This was certainly a live experience worth witnessing again.

Papa vs. Pretty arrived soon after to kickstart their performance, which was unfortunately marred by numerous feedback issues early on. It seemed to rattle frontman Rawle and created a somewhat disengaging atmosphere at the beginning. However, as soon as the first chords of Heavy Harm strung out, the band seemed far more comfortable on the stage, with the initial sound problems seemingly devoid by this point. Heavy Harm is a great indicator of the band’s sound, as Rawle exquisitely finds his way around the guitar, while the rhythm section of Angus Gardner and Tom Myers allow the band’s music to flow up and down when necessary. At times the mix creates problems in hearing Rawle’s incredible vocals, yet when they do appear they are genuinely unforgettable, falling somewhere in between a rockabilly drawl and a Beatles-esque croon.

One Of The Animals received a huge reception from the crowd as was to be expected, while Wrecking Ball from the band’s Heavy Harm EP displayed a raw grit to the band’s sound. This was brilliantly contrasted by I Still Believe In Us, a far slower track from said EP that demonstrated Rawle’s immense ability with the 6-string, with lush harmonies provided by Myers from behind the sticks. Myers voice consistently enhanced the band’s sound on the night, and especially shone on latest single Honey. This was probably the most well-performed song on the evening; it showcased everything good about the 3-piece, while displaying a level of maturity and comfort on stage that is far beyond their years. The guys completed the set with an unnamed production which they only ever play live, and after a reluctant call from the crowd, returned for a two-song encore to end the night on a high.

Many can sometimes be fooled by broadcast radio these days, with recent countdowns demonstrating that accuracy in determining the best from the rest can sometimes succumb to a popularity contest. However, the recent publicity provided to Papa vs. Pretty was consolidated this evening at Jive; these guys are the real deal. Thomas Rawle is a talent to be reckoned with, and with an apparent 30 albums worth of unreleased material up his sleeve, we can only dream of what the band has to offer up next.

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