Up ‘til now
April 30th 2007 05:54
There have been some very welcome releases over the past little while, including celebrations of great songwriters with Billy Thorpe singing Joni Mitchell’s Free man in Paris on Billy Thorpe Solo: the last recordings. Patti Smith’s album Twelve where among eleven others, Patti sings Helpless by Neil Young, both tracks interpreting a great song in fresh ways reigniting the uniqueness of the original while not mimicking it.
Many welcome celebrations of great songwriters including Burton Lane and Alan Jay Learners beautiful On A Clear Day (You Can See Forever) by Mario Biondi from his swinging album Handful of Soul or Dwight Adams covering Eric Burdon & The Animals with his smooth rendition of Please don’t let me be misunderstood on his album Soul Master then there’s The Herd among so many distinguished others reinventing Kev Carmody’s Comrade Jesus Christ from Cannot buy my soul: the songs of Kev Carmody and even the cover by My Morning Jacket of It makes no difference from Endless Highway: the music of The Band or the Sex Pistols being effectively reimagined by Ema Tuennerman and Timothy Sellers singing Liar from Never mind the bollocks here’s the sex pistols by artichoke.
Artichoke
Never mind the bollocks here’s the Sex Pistols
Forget all the Aussie Idol wannabe cover singers, try this on for size. Imagine some of the most explosive pop material of the late 70’s reimagined by a quirky laid back band playing tambourine, French horn, kazoo, ukulele, snare drum, theremin and accordion. You don’t need to imagine it because Artichoke have done it with this album and it’s a completely delightful experience. If you were into the Pistols originally this will be a very special and respectful treat, especially tracks like No Feelings, Liar; God save the Queen is perfectly beautiful! It’s all a wonderful hoot.
The soft wispy voices of Ema Tuennerman and Timothy Sellers make what was once a righteous smack in the head feel like a chummy tickle at a church picnic. It’s sweet and anarchically corn-ball. Yes there are rude words and angst aplenty in a few of the tracks, but it’s hardly offensive. Tracks like Anarchy in the U.K. and Sub-Mission come off as gentle ballads. You’ll be tapping your toes and wondering what put you off these smart little ditties in their first incarnation. Well, maybe not, but honestly, this is a real treat.
Von Sudenfed
Tromatic Reflexxions
This is the debut album of Von Sudenfed a trio formed by and consisting of Andi Toma, Mark E Smith and Jan St Werner. Their intention is to create a type of futuristic sound that incorporates punkish ska and grime for a new millennium dance club. The ‘live’ combining of synths, samplers and sequencers drives everything along in a scattered way unlike the bulk of club music, so they certainly have mastered the art of sounding like production-line fodder that’s somehow broken out of the mold. Although I’m not totally convinced it will find its way onto the staunchly predictable club floor in a hurry, some of the tracks are particularly good such as Speech Contamination and Duckrog; Chicken Yiamas and Dear Dead Friends sound too acoustically sweet for a club.
To fully appreciate the album one must accept that a constant beat has to drive the club crowd on, but don’t mistake this for anything like 70’s disco, it’s categorically more interesting than that ever was. The onslaught your senses will experience is truly reasonably acceptable, even if attempting anything futuristic in the here and now is forever fraught with peril; it definitely makes an impressive debut. Clubbers beware!
Herbie Hancock with the Adelaide Symphony Orchestra
conducted by Robert Sadin,
featuring Nathan East on bass, Vinnie Colaiuta on drums and Lionel Loueke on guitar.
Gershwin’s World
Adelaide Festival Centre’s audacious Trans:Mission Program delivered Herbie Hancock with the Adelaide Symphony Orchestra conducted by Robert Sadin, featuring Nathan East on bass, Vinnie Colaiuta on drums and Lionel Loueke on guitar all paying homage to George Gershwin’s highly styled orchestrated jazz; this was an extraordinarily enjoyable gig. Robert Sadin proved to be every ounce the electrified mover and shaker as his corporal conducting supported Hancock’s liberated vibe to draw the exceptionally gifted Adelaide Symphony Orchestra through imaginatively improvised riffs, humbly pointing out that “Each performance is definitely a unique experience when working with an inspired musician like Herbie Hancock”.
Gershwin’s world was suitably represented in the first set by Fascinating Rhythm, Lullaby, Prelude and Someone to watch over me. Inspirational sources influencing Gershwin were Ellington’s Cottontail and the mother lode of St Louis Blues by Handy with particularly excellent vocal jam from Loueke adding much spicy zest. The second set focused on Hancock’s world and included Nefertiti arranged by Sadin to simulate Miles Davis’ original take on it, Actual Proof and Maiden Voyage. Hancock’s commentary between most numbers conveyed his great generosity of spirit to the packed house and kept it all real; who could ask for anything more?
Crosby, Stills & Nash
The DVD Collection
Before he was a regular on the American anti-sit-com Rosanne, David Crosby was a hero of the politically conscious whale-loving critical mass. Groups The Byrds (Crosby), Buffalo Springfield (Steven Stills) and The Hollies (Graham Nash) proved to be incubation platforms for these gifted musicians. Joined briefly by Neil Young (they were Crosby, Stills, Nash & Young) they touched on compelling issues with gutsy lyrics and outstanding voices. This three DVD “exclusive collector’s edition” will undoubtedly warm hearts. It includes two concerts Daylight Again (1983) and The Acoustic Concert (1991) with a documentary Long Time Comin” (2004) containing vintage concert footage from their early days; there’s some repetition of songs, but that shouldn’t be perceived as a negative.
There are delicious moments on each of the DVD’s and the time lapse between them is sufficient to provide great insight into the developing maturity of these three very beautiful voices. Younger audiences may only know CSN songs from television advert soundtracks; this collection will provide an excellent introduction to one of the great folk/rock bands to hail from the summer of love. More than a nostalgic hit, this is a treasure of material just as relevant now as ever.
The Frames
The Cost
With this excellent release I hope The Frames will be noticed by a larger audience and appreciated for the nothing short of compelling outfit they are. Never too heavy, never lightweight, this is a very cool album full of songs that don’t sound derivative but fit comfortably into the down and dirty neo-folk/rock genre that’s been emerging over the past decade. Outstanding tracks include The Cost, Sad Songs, The side you never get to see and Bad Bone. Thing is, each song is delivered so well with such skillful production this whole album is great.
The Cost could very well prove to be The Frames most iconic album yet. Often songs that play out as genuinely personal run the risk of sounding indulgent but there is none of that here despite deeply felt notions contained in some very well developed lyrics. Not very far from the likes of Crosby, Stills and Nash with shades of Cat Stevens; The Frames have achieved a great vigor in the sound they have created on this album.
Stirring arrangements that rise out of uncomplicated melodies lift the sophisticated narratives presented far beyond the average. There is a palpable primitive intensity contained in some of these tracks. Title track, The Cost, uses steely distortion and a slow rock delivery to grow a sense of bleak premonition.
There isn’t a single thing to complain about here, to appreciate the album you just have to appreciate the genre. Even so, if you don’t get into post-rock or neo-folk/rock this isn’t a bad album to test run at all. However if you are from the growing tribe who’re sick of Detroit garage derivatives that stay on the unplugged end of the curve without managing to improve or develop chances are The Cost will really float your boat.
The Besnard Lakes
The Besnard Lakes is a dark horse
If the Mamas and Papas had been on LSD during their recording sessions, they could easily have sounded like this. Resting somewhere between harmoniously atmospheric and darkly low key The Besnard Lakes’ latest album follows their critically acclaimed debut of 2004. The maturity of the sound owes a great deal to the variety of instruments employed by this six-piece band including violins, flute and French horn along with the standard electric guitars and skins. Similar to late 60’s Pink Floyd; but imagine the Beach Boys are trilling the lyrics in their harmonious way.
The slow experimental progressive rock feel of Disaster and For Agent 13 starts to unravel around And you lied to me in an ordered and enjoyable way then gradually builds back upon itself by the fourth track Devastation only to slip back into experimentalist mode for Because tonight. This immediately reminds me of Julee Cruise from the Twin Peaks Soundtrack rather than Cruise’s current appearances on Keneth Bager’s Fragments from a space cadet. Rides the rails and On Bedsford and Grand pick up the album’s pace again, so by final track Cedric’s War there’s a completely satisfied feeling as if this is the journey’s natural end. Enjoyable.
Marmalade Circus
Live & Sticky 3
If you like jazz and you have never experienced Marmalade Circus you have been missing out big time because their sound is superbly, massively awesome. A local ten-piece world-jazz troupe comfortably presenting some of the freshest most invigorating foot tapping hip swinging original material in the tightest yet jovial way possible.
Unquestionably world class, practically unbelievable they’re so good. Even a jaded jazz aficionado would likely be gob-smacked by the whole Live & Sticky experience. These musicians have clearly dedicated a considerable amount of their lives to perfecting the wide variety of instruments they play. Horns, percussion, keys: categorically hot!
Joanna Newsome
Y’s
Many people find listening to Joanna Newsome is something of an acquired taste. People seem to either love her or hate her, perhaps because of Newsome’s stark and highly pitched voice with harp string accompaniment.
Y’s (pronounced ‘ease’) is a transformational release from this curious and gifted post-alt-country harp playing singer songwriter. Here she shifts into a more fleshed out musical mode and exploits orchestrations and instruments so far neglected or at least unrevealed.
Newsome’s equally poetic and anarchic lyrics remain, and they continue to tell remarkably absurd stories or generate a surreal feeling of happenstance. What is probably most remarkable is her sixteen minute song winding its way along nonchalantly extruding a tale of delight.
This cd is fifty-five minutes long and has five tracks on it. While sixteen minutes for one song may seem excessive, her rare talent at weaving remarkably nutty songs is wonderful. The orchestral accompaniment is an added bonus to the listening pleasure of this fascinating musical stylist.
Early in 2007 Newsome will perform as part of the Sydney Festival, I for one hope she takes time to visit Adelaide to enchant us with her gifted muse.
Richard Swift
Dressed up for the letdown
A light hearted roots reggae feeling kicks off Richard Swifts Dressed up for the letdown and it shifts into a feel good acoustic sound that is reminiscent of an uncomplicated, unplugged Rufus Wainwright. His vowels extend the notes in a sliding, almost lilting way with a touch of vibrato here and there. Swift builds on certain notes with an accomplished jazz singer style. Curiously the song titles don’t give much away about the song content. A song title like Million Dollar Baby has a repetitive hook “I wish I was dead most of the time, but I don’t really mean it”; go figure.
Ballad of you know who brings in the solo piano to accompany Swifts resonant voice and a counter melody provided by fiddle sweeps in romantically to add an extra layer of complexity. Eventually other accompaniment floats in on this track and truly sets Richard Swift up as a very accessible artist. The arrangements vary from simple, layered and acoustic to slightly funky base tracks mixed with angelic backing vocals. One can hear the artist extending beyond a middle of the road easy listening sound, towards a more alternative sound without getting overtly experimental. It’s an unusual sound, but not at all troubling for the ear.
In fact it’s most likely Dressed up for the let down is a disk you’d feel is worthy of spinning again and again. The opening bands finishes the album off with a contemporary interpretation of the John the Baptist/Jesus Christ relationship, which is short, sweet and wonderfully simple. It’s not preaching anything, just introducing a concept that may be accessible to a younger generation. Give it a spin, you may get hooked.
Archie Bronson Outfit
Derdang Derdang
Drag out your waistcoats and headbands dudes; this is pure retro 60’s acid rock and dirty pumping energy. Gritty and raunchy like the guilty pleasure of a cats tongue licking your cheek while you’re half awake. Sounding like a live album without the screaming audience, there are ample moments of pure hardcore bliss to be had here, it’s truly exceptional.
Kicking off with Cherry Lips, a driven sound akin to The Doors/Jim Morrison oozing manic quality with arresting amplitudes of the same dynamism propelled by the Brian Jonestown Massacre. Kink retains this spirit, although it seems more driven towards that alcohol and drug fueled section of the summer of love. Dart for my sweetheart utilizes the popular na la la la la, la la backing vocal hook that helps a rocking crowd shift from one massively hyped-up gear to the next; “Sing along man, the words are easy”.
Got to get (your eyes) keeps up this mesmerizing theme before Dead Funny which along with Cuckoo is the closest thing to a ballad, opens up a little breathing space, but careful about inhaling. In the truest sense it’s all rocket slung poetry and ramping along at a great pace, infused with deeply felt romantic agony. Nothing sounds waxy with the Archie Bronson Outfit, it’s sweaty and vital. The album producers have totally hit the mark, not to mention the band who are nothing short of brilliant.
Finally winding down with the eleventh track; almost as if the roadies are packing up around them, Harp for my sweetheart is a simple tipple of a song. Its easy lyrics and a next stop hangover mood is gentle and airy. If you crave a musical experience that is both exciting and authentic get yourself hooked on Derdang Derdang. It’s a great legal high.
Akoustic Odyssey
Akoustic Odyssey
The complex string compositions of Michael Nyman and Bernard Hermann came to mind more than once during this excellent program. Although it was an informally relaxed concert and CD launch at the German Club the band were presenting material of the highest quality. Akoustic Odyssey was formally known as Highly Strung. They are crucial evidence of the treasure trove of musical genius we are blessed with in South Australia. Each of the vigorous compositions displayed fine balance and highly enjoyable melodies. If you missed out on all of this I suggest you purchase the CD of the same name, it’s a detonating experience for everyone into original neo-gypsy-fusion.
Ann Vriend
Modes of transport
There is a bright and fluent quality juxtaposed with some darker emotional depths in the original work of Ann Vriend. Her vocal sound is clear and smooth, she masters all those essential feel-good ingredients that are necessary to lift the spirit with the occasional quirk thrown in. Vriend constructs pop songs that sound a little like the excited scribbling you’d find on a postcard from a friend having a quiet epiphany somewhere distant and warm.
Modes of transport is very fresh and at times almost giddy with happiness particularly with her song feelin’ fine. Mid way through the ten tracks included she shifts into a slightly more alternative musical style and proves her great competency as an original lyricist with don’t cry and no stranger to love. Such brief soulful moments are well delivered and express a mature artistry reminiscent of a Tom Waits and Joni Mitchell. Don’t get me wrong though, Ann Vriend has a complete original sound and style and doesn’t sound like Waits or Mitchell, she simply has admirable qualities found in both of those artists.
A song like here we are tells the sad tale of breaking a heart in a way that doesn’t get depressing, yet it is so well rendered it may cause a downcast eye and wrinkled forehead, but don’t despair, Vriend ends the album with the well balanced backseat driver and lifts the lid on her bounteous spring of joy again.
Although this is a studio album, Vriend and producer Paul Brill have captured the qualities of her intimate live gigs particularly well. Her Australian tour included gigs at The Basement in Sydney, Melbourne’s Northcote Social Club and in Adelaide at the Grace Emily Hotel. Unlike so many artists who loose momentum on their second album, Vriend is gathering strength with this welcome release.
Balkan Beat Box
Balkan Beat Box
Just when you think it is safe to say I’ve heard everything along comes this uncommonly remarkable explosion of sassy creativity to challenge your dance skills and enjoyment levels. In so many ways this album defies description and I’m tempted to say Do yourself a favor like any hoary old reviewer can.
The compelling thing about the Balkan Beat Box is a dual strangeness and familiarity contained within it. Anyone who enjoys a good Bollywood tune will appreciate this material. Even though it’s essentially distant from the traditions of India many of the beats and rhythms feel close. If you are open to something entirely different in an eastern European vein you can’t go past this truly excellent combination of beat box, dub rhythm, twanging strings and kooky horns. Copious servings of melodious chanting supplied by hip swaying gypsy women clapping in tune with the spirit of naiveté or toothless old chaps chewing yesterday’s tobacco doesn’t quite offer the right impression, because this is great stuff.
Turkish influences collide with the New York rave party while Balkan traditions reveal themselves to encompass a delightful smorgasbord of aural vivacity. Anyone with adventurous musical taste will delight in the Balkan Beat Box.
Joseph Tawadros
Epiphany
The Oud is a fretless stringed instrument, the Egyptian ancestor of the lute. Epiphany will serve you well if you’re snugly staying warm indoors harking for some sort of exotic sound that helps add heat to the atmosphere without overpowering. Joined on this album by jazz/funk bass player Ben Rogers and percussionist James Tawadros, the amazingly accomplished Joseph Tawadros obviously delights his live audience. The crisp warmth of the sound is extremely appealing and the visceral quality enlivens a listener’s spirit.
As the ancient rhythms and traditional movements unfold early on, Tawadros allows contemporary riffs some elaboration without sounding unharmonious or peculiar. Mid album a dream really opens this contemporaneous sound and offers insight into the vast scope of these musicians’ abilities. The title track epiphany entwines the best of both the ancient and the edgy contemporary feeling heralding in a collection of works that naturally follow on including oasis, shelter lullaby and café riche.
How lucky we are to have this young man born in Cairo but raised in Australia developing his natural affinity with the Oud so open-mindedly. Innovative, accomplished and marvelously rich, this album will provide the appreciative listener with endless hours of stimulation and satisfaction.
Bit By Bats
Go Go Go
Whatever you may think of post this and alt that, you can’t ignore fervently brash musicians stepping up to be noticed when they’re as talented as this. High energy, cracking along, post-punk/garage is not a particularly commercial genre but it packs a magnificent punch. Mid-album She was Venezuela offers a slower more melodic turn after some very driven tracks like Let’s heart attack and Go Go Go; then a second wind kicks-in with Dance the dance which starts gradual before gyrating along like there’s no tomorrow.
Neon flux is a curiously entertaining song and Out for love contains glimpses of the brilliant potential Bit By Bats have. Some of these songs pump along at a scarily feverish rate but despite our salt-and-pepper temples we all feel like simulating a mosh-pit in the comfort of our own home every so often don’t we? When you do, this is one home grown band to listen up for. It will probably gain you a few points with alienated teenagers as well as take you back to the Battle of the Bands circa. 1974; either way, that can’t be all bad.
Zulya and the children of the underground
3 Nights
Nominations for BBC’s World Music Award don’t get handed out willy-nilly, so it’s quite an achievement that this Melbourne outfit have received one; listening to the brilliant combination of Tartar, Russian and English on the album it’s completely understandable. What a refreshingly uplifting collection of original songs; the translation of lyrics shows poetry in the lyric, yet the feeling is up beat, quintessentially traditional and fresh.
Children’s Bird Song is a beautiful track about a bird who isn’t singing, with a simple message to convey about love and loss, yet is not a miserable song. Red Flower creates an ambience of feeling so good yet it could easily be interpreted as a song of sadness. Zulya Kamalova the singer/songwriter responsible for these wonderful works is one of those extraordinary gems on our local scene.
There are deeply sophisticated qualities to this music that should be embraced by anyone who enjoys something a little different, particularly trumpet, tuba, cello, violin and viola. Russians will fall head over heels if they haven’t already discovered Zulya and her band, but you don’t need to speak the language to appreciate a great song well delivered – anyone who attended Womad will tell you that.
Many welcome celebrations of great songwriters including Burton Lane and Alan Jay Learners beautiful On A Clear Day (You Can See Forever) by Mario Biondi from his swinging album Handful of Soul or Dwight Adams covering Eric Burdon & The Animals with his smooth rendition of Please don’t let me be misunderstood on his album Soul Master then there’s The Herd among so many distinguished others reinventing Kev Carmody’s Comrade Jesus Christ from Cannot buy my soul: the songs of Kev Carmody and even the cover by My Morning Jacket of It makes no difference from Endless Highway: the music of The Band or the Sex Pistols being effectively reimagined by Ema Tuennerman and Timothy Sellers singing Liar from Never mind the bollocks here’s the sex pistols by artichoke.
Artichoke
Never mind the bollocks here’s the Sex Pistols
Forget all the Aussie Idol wannabe cover singers, try this on for size. Imagine some of the most explosive pop material of the late 70’s reimagined by a quirky laid back band playing tambourine, French horn, kazoo, ukulele, snare drum, theremin and accordion. You don’t need to imagine it because Artichoke have done it with this album and it’s a completely delightful experience. If you were into the Pistols originally this will be a very special and respectful treat, especially tracks like No Feelings, Liar; God save the Queen is perfectly beautiful! It’s all a wonderful hoot.
The soft wispy voices of Ema Tuennerman and Timothy Sellers make what was once a righteous smack in the head feel like a chummy tickle at a church picnic. It’s sweet and anarchically corn-ball. Yes there are rude words and angst aplenty in a few of the tracks, but it’s hardly offensive. Tracks like Anarchy in the U.K. and Sub-Mission come off as gentle ballads. You’ll be tapping your toes and wondering what put you off these smart little ditties in their first incarnation. Well, maybe not, but honestly, this is a real treat.
Von Sudenfed
Tromatic Reflexxions
This is the debut album of Von Sudenfed a trio formed by and consisting of Andi Toma, Mark E Smith and Jan St Werner. Their intention is to create a type of futuristic sound that incorporates punkish ska and grime for a new millennium dance club. The ‘live’ combining of synths, samplers and sequencers drives everything along in a scattered way unlike the bulk of club music, so they certainly have mastered the art of sounding like production-line fodder that’s somehow broken out of the mold. Although I’m not totally convinced it will find its way onto the staunchly predictable club floor in a hurry, some of the tracks are particularly good such as Speech Contamination and Duckrog; Chicken Yiamas and Dear Dead Friends sound too acoustically sweet for a club.
To fully appreciate the album one must accept that a constant beat has to drive the club crowd on, but don’t mistake this for anything like 70’s disco, it’s categorically more interesting than that ever was. The onslaught your senses will experience is truly reasonably acceptable, even if attempting anything futuristic in the here and now is forever fraught with peril; it definitely makes an impressive debut. Clubbers beware!
Herbie Hancock with the Adelaide Symphony Orchestra
conducted by Robert Sadin,
featuring Nathan East on bass, Vinnie Colaiuta on drums and Lionel Loueke on guitar.
Gershwin’s World
Adelaide Festival Centre’s audacious Trans:Mission Program delivered Herbie Hancock with the Adelaide Symphony Orchestra conducted by Robert Sadin, featuring Nathan East on bass, Vinnie Colaiuta on drums and Lionel Loueke on guitar all paying homage to George Gershwin’s highly styled orchestrated jazz; this was an extraordinarily enjoyable gig. Robert Sadin proved to be every ounce the electrified mover and shaker as his corporal conducting supported Hancock’s liberated vibe to draw the exceptionally gifted Adelaide Symphony Orchestra through imaginatively improvised riffs, humbly pointing out that “Each performance is definitely a unique experience when working with an inspired musician like Herbie Hancock”.
Gershwin’s world was suitably represented in the first set by Fascinating Rhythm, Lullaby, Prelude and Someone to watch over me. Inspirational sources influencing Gershwin were Ellington’s Cottontail and the mother lode of St Louis Blues by Handy with particularly excellent vocal jam from Loueke adding much spicy zest. The second set focused on Hancock’s world and included Nefertiti arranged by Sadin to simulate Miles Davis’ original take on it, Actual Proof and Maiden Voyage. Hancock’s commentary between most numbers conveyed his great generosity of spirit to the packed house and kept it all real; who could ask for anything more?
Crosby, Stills & Nash
The DVD Collection
Before he was a regular on the American anti-sit-com Rosanne, David Crosby was a hero of the politically conscious whale-loving critical mass. Groups The Byrds (Crosby), Buffalo Springfield (Steven Stills) and The Hollies (Graham Nash) proved to be incubation platforms for these gifted musicians. Joined briefly by Neil Young (they were Crosby, Stills, Nash & Young) they touched on compelling issues with gutsy lyrics and outstanding voices. This three DVD “exclusive collector’s edition” will undoubtedly warm hearts. It includes two concerts Daylight Again (1983) and The Acoustic Concert (1991) with a documentary Long Time Comin” (2004) containing vintage concert footage from their early days; there’s some repetition of songs, but that shouldn’t be perceived as a negative.
There are delicious moments on each of the DVD’s and the time lapse between them is sufficient to provide great insight into the developing maturity of these three very beautiful voices. Younger audiences may only know CSN songs from television advert soundtracks; this collection will provide an excellent introduction to one of the great folk/rock bands to hail from the summer of love. More than a nostalgic hit, this is a treasure of material just as relevant now as ever.
The Frames
The Cost
With this excellent release I hope The Frames will be noticed by a larger audience and appreciated for the nothing short of compelling outfit they are. Never too heavy, never lightweight, this is a very cool album full of songs that don’t sound derivative but fit comfortably into the down and dirty neo-folk/rock genre that’s been emerging over the past decade. Outstanding tracks include The Cost, Sad Songs, The side you never get to see and Bad Bone. Thing is, each song is delivered so well with such skillful production this whole album is great.
The Cost could very well prove to be The Frames most iconic album yet. Often songs that play out as genuinely personal run the risk of sounding indulgent but there is none of that here despite deeply felt notions contained in some very well developed lyrics. Not very far from the likes of Crosby, Stills and Nash with shades of Cat Stevens; The Frames have achieved a great vigor in the sound they have created on this album.
Stirring arrangements that rise out of uncomplicated melodies lift the sophisticated narratives presented far beyond the average. There is a palpable primitive intensity contained in some of these tracks. Title track, The Cost, uses steely distortion and a slow rock delivery to grow a sense of bleak premonition.
There isn’t a single thing to complain about here, to appreciate the album you just have to appreciate the genre. Even so, if you don’t get into post-rock or neo-folk/rock this isn’t a bad album to test run at all. However if you are from the growing tribe who’re sick of Detroit garage derivatives that stay on the unplugged end of the curve without managing to improve or develop chances are The Cost will really float your boat.
The Besnard Lakes
The Besnard Lakes is a dark horse
If the Mamas and Papas had been on LSD during their recording sessions, they could easily have sounded like this. Resting somewhere between harmoniously atmospheric and darkly low key The Besnard Lakes’ latest album follows their critically acclaimed debut of 2004. The maturity of the sound owes a great deal to the variety of instruments employed by this six-piece band including violins, flute and French horn along with the standard electric guitars and skins. Similar to late 60’s Pink Floyd; but imagine the Beach Boys are trilling the lyrics in their harmonious way.
The slow experimental progressive rock feel of Disaster and For Agent 13 starts to unravel around And you lied to me in an ordered and enjoyable way then gradually builds back upon itself by the fourth track Devastation only to slip back into experimentalist mode for Because tonight. This immediately reminds me of Julee Cruise from the Twin Peaks Soundtrack rather than Cruise’s current appearances on Keneth Bager’s Fragments from a space cadet. Rides the rails and On Bedsford and Grand pick up the album’s pace again, so by final track Cedric’s War there’s a completely satisfied feeling as if this is the journey’s natural end. Enjoyable.
Marmalade Circus
Live & Sticky 3
If you like jazz and you have never experienced Marmalade Circus you have been missing out big time because their sound is superbly, massively awesome. A local ten-piece world-jazz troupe comfortably presenting some of the freshest most invigorating foot tapping hip swinging original material in the tightest yet jovial way possible.
Unquestionably world class, practically unbelievable they’re so good. Even a jaded jazz aficionado would likely be gob-smacked by the whole Live & Sticky experience. These musicians have clearly dedicated a considerable amount of their lives to perfecting the wide variety of instruments they play. Horns, percussion, keys: categorically hot!
Joanna Newsome
Y’s
Many people find listening to Joanna Newsome is something of an acquired taste. People seem to either love her or hate her, perhaps because of Newsome’s stark and highly pitched voice with harp string accompaniment.
Y’s (pronounced ‘ease’) is a transformational release from this curious and gifted post-alt-country harp playing singer songwriter. Here she shifts into a more fleshed out musical mode and exploits orchestrations and instruments so far neglected or at least unrevealed.
Newsome’s equally poetic and anarchic lyrics remain, and they continue to tell remarkably absurd stories or generate a surreal feeling of happenstance. What is probably most remarkable is her sixteen minute song winding its way along nonchalantly extruding a tale of delight.
This cd is fifty-five minutes long and has five tracks on it. While sixteen minutes for one song may seem excessive, her rare talent at weaving remarkably nutty songs is wonderful. The orchestral accompaniment is an added bonus to the listening pleasure of this fascinating musical stylist.
Early in 2007 Newsome will perform as part of the Sydney Festival, I for one hope she takes time to visit Adelaide to enchant us with her gifted muse.
Richard Swift
Dressed up for the letdown
A light hearted roots reggae feeling kicks off Richard Swifts Dressed up for the letdown and it shifts into a feel good acoustic sound that is reminiscent of an uncomplicated, unplugged Rufus Wainwright. His vowels extend the notes in a sliding, almost lilting way with a touch of vibrato here and there. Swift builds on certain notes with an accomplished jazz singer style. Curiously the song titles don’t give much away about the song content. A song title like Million Dollar Baby has a repetitive hook “I wish I was dead most of the time, but I don’t really mean it”; go figure.
Ballad of you know who brings in the solo piano to accompany Swifts resonant voice and a counter melody provided by fiddle sweeps in romantically to add an extra layer of complexity. Eventually other accompaniment floats in on this track and truly sets Richard Swift up as a very accessible artist. The arrangements vary from simple, layered and acoustic to slightly funky base tracks mixed with angelic backing vocals. One can hear the artist extending beyond a middle of the road easy listening sound, towards a more alternative sound without getting overtly experimental. It’s an unusual sound, but not at all troubling for the ear.
In fact it’s most likely Dressed up for the let down is a disk you’d feel is worthy of spinning again and again. The opening bands finishes the album off with a contemporary interpretation of the John the Baptist/Jesus Christ relationship, which is short, sweet and wonderfully simple. It’s not preaching anything, just introducing a concept that may be accessible to a younger generation. Give it a spin, you may get hooked.
Archie Bronson Outfit
Derdang Derdang
Drag out your waistcoats and headbands dudes; this is pure retro 60’s acid rock and dirty pumping energy. Gritty and raunchy like the guilty pleasure of a cats tongue licking your cheek while you’re half awake. Sounding like a live album without the screaming audience, there are ample moments of pure hardcore bliss to be had here, it’s truly exceptional.
Kicking off with Cherry Lips, a driven sound akin to The Doors/Jim Morrison oozing manic quality with arresting amplitudes of the same dynamism propelled by the Brian Jonestown Massacre. Kink retains this spirit, although it seems more driven towards that alcohol and drug fueled section of the summer of love. Dart for my sweetheart utilizes the popular na la la la la, la la backing vocal hook that helps a rocking crowd shift from one massively hyped-up gear to the next; “Sing along man, the words are easy”.
Got to get (your eyes) keeps up this mesmerizing theme before Dead Funny which along with Cuckoo is the closest thing to a ballad, opens up a little breathing space, but careful about inhaling. In the truest sense it’s all rocket slung poetry and ramping along at a great pace, infused with deeply felt romantic agony. Nothing sounds waxy with the Archie Bronson Outfit, it’s sweaty and vital. The album producers have totally hit the mark, not to mention the band who are nothing short of brilliant.
Finally winding down with the eleventh track; almost as if the roadies are packing up around them, Harp for my sweetheart is a simple tipple of a song. Its easy lyrics and a next stop hangover mood is gentle and airy. If you crave a musical experience that is both exciting and authentic get yourself hooked on Derdang Derdang. It’s a great legal high.
Akoustic Odyssey
Akoustic Odyssey
The complex string compositions of Michael Nyman and Bernard Hermann came to mind more than once during this excellent program. Although it was an informally relaxed concert and CD launch at the German Club the band were presenting material of the highest quality. Akoustic Odyssey was formally known as Highly Strung. They are crucial evidence of the treasure trove of musical genius we are blessed with in South Australia. Each of the vigorous compositions displayed fine balance and highly enjoyable melodies. If you missed out on all of this I suggest you purchase the CD of the same name, it’s a detonating experience for everyone into original neo-gypsy-fusion.
Ann Vriend
Modes of transport
There is a bright and fluent quality juxtaposed with some darker emotional depths in the original work of Ann Vriend. Her vocal sound is clear and smooth, she masters all those essential feel-good ingredients that are necessary to lift the spirit with the occasional quirk thrown in. Vriend constructs pop songs that sound a little like the excited scribbling you’d find on a postcard from a friend having a quiet epiphany somewhere distant and warm.
Modes of transport is very fresh and at times almost giddy with happiness particularly with her song feelin’ fine. Mid way through the ten tracks included she shifts into a slightly more alternative musical style and proves her great competency as an original lyricist with don’t cry and no stranger to love. Such brief soulful moments are well delivered and express a mature artistry reminiscent of a Tom Waits and Joni Mitchell. Don’t get me wrong though, Ann Vriend has a complete original sound and style and doesn’t sound like Waits or Mitchell, she simply has admirable qualities found in both of those artists.
A song like here we are tells the sad tale of breaking a heart in a way that doesn’t get depressing, yet it is so well rendered it may cause a downcast eye and wrinkled forehead, but don’t despair, Vriend ends the album with the well balanced backseat driver and lifts the lid on her bounteous spring of joy again.
Although this is a studio album, Vriend and producer Paul Brill have captured the qualities of her intimate live gigs particularly well. Her Australian tour included gigs at The Basement in Sydney, Melbourne’s Northcote Social Club and in Adelaide at the Grace Emily Hotel. Unlike so many artists who loose momentum on their second album, Vriend is gathering strength with this welcome release.
Balkan Beat Box
Balkan Beat Box
Just when you think it is safe to say I’ve heard everything along comes this uncommonly remarkable explosion of sassy creativity to challenge your dance skills and enjoyment levels. In so many ways this album defies description and I’m tempted to say Do yourself a favor like any hoary old reviewer can.
The compelling thing about the Balkan Beat Box is a dual strangeness and familiarity contained within it. Anyone who enjoys a good Bollywood tune will appreciate this material. Even though it’s essentially distant from the traditions of India many of the beats and rhythms feel close. If you are open to something entirely different in an eastern European vein you can’t go past this truly excellent combination of beat box, dub rhythm, twanging strings and kooky horns. Copious servings of melodious chanting supplied by hip swaying gypsy women clapping in tune with the spirit of naiveté or toothless old chaps chewing yesterday’s tobacco doesn’t quite offer the right impression, because this is great stuff.
Turkish influences collide with the New York rave party while Balkan traditions reveal themselves to encompass a delightful smorgasbord of aural vivacity. Anyone with adventurous musical taste will delight in the Balkan Beat Box.
Joseph Tawadros
Epiphany
The Oud is a fretless stringed instrument, the Egyptian ancestor of the lute. Epiphany will serve you well if you’re snugly staying warm indoors harking for some sort of exotic sound that helps add heat to the atmosphere without overpowering. Joined on this album by jazz/funk bass player Ben Rogers and percussionist James Tawadros, the amazingly accomplished Joseph Tawadros obviously delights his live audience. The crisp warmth of the sound is extremely appealing and the visceral quality enlivens a listener’s spirit.
As the ancient rhythms and traditional movements unfold early on, Tawadros allows contemporary riffs some elaboration without sounding unharmonious or peculiar. Mid album a dream really opens this contemporaneous sound and offers insight into the vast scope of these musicians’ abilities. The title track epiphany entwines the best of both the ancient and the edgy contemporary feeling heralding in a collection of works that naturally follow on including oasis, shelter lullaby and café riche.
How lucky we are to have this young man born in Cairo but raised in Australia developing his natural affinity with the Oud so open-mindedly. Innovative, accomplished and marvelously rich, this album will provide the appreciative listener with endless hours of stimulation and satisfaction.
Bit By Bats
Go Go Go
Whatever you may think of post this and alt that, you can’t ignore fervently brash musicians stepping up to be noticed when they’re as talented as this. High energy, cracking along, post-punk/garage is not a particularly commercial genre but it packs a magnificent punch. Mid-album She was Venezuela offers a slower more melodic turn after some very driven tracks like Let’s heart attack and Go Go Go; then a second wind kicks-in with Dance the dance which starts gradual before gyrating along like there’s no tomorrow.
Neon flux is a curiously entertaining song and Out for love contains glimpses of the brilliant potential Bit By Bats have. Some of these songs pump along at a scarily feverish rate but despite our salt-and-pepper temples we all feel like simulating a mosh-pit in the comfort of our own home every so often don’t we? When you do, this is one home grown band to listen up for. It will probably gain you a few points with alienated teenagers as well as take you back to the Battle of the Bands circa. 1974; either way, that can’t be all bad.
Zulya and the children of the underground
3 Nights
Nominations for BBC’s World Music Award don’t get handed out willy-nilly, so it’s quite an achievement that this Melbourne outfit have received one; listening to the brilliant combination of Tartar, Russian and English on the album it’s completely understandable. What a refreshingly uplifting collection of original songs; the translation of lyrics shows poetry in the lyric, yet the feeling is up beat, quintessentially traditional and fresh.
Children’s Bird Song is a beautiful track about a bird who isn’t singing, with a simple message to convey about love and loss, yet is not a miserable song. Red Flower creates an ambience of feeling so good yet it could easily be interpreted as a song of sadness. Zulya Kamalova the singer/songwriter responsible for these wonderful works is one of those extraordinary gems on our local scene.
There are deeply sophisticated qualities to this music that should be embraced by anyone who enjoys something a little different, particularly trumpet, tuba, cello, violin and viola. Russians will fall head over heels if they haven’t already discovered Zulya and her band, but you don’t need to speak the language to appreciate a great song well delivered – anyone who attended Womad will tell you that.
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