Edward Deer - The Sandringham Hotel

My FasterLouder review - (15/09/10)

Sydney-based singer-songwriter, Edward Deer, kicked off his three week residency at The Sandringham Hotel with a mammoth set. His performance was more than just one man and his guitar.

Three-piece Sydney act, Cogel, warmed up the cold September evening with their luscious indie-rock tunes. Grow let loose an enchanted bass line that reverberated through to the heart of the audience, whilst the up-tempo number Aquarium saw two band members take to the drum kit to create a rhythmic climax. Rocks on the Sun allowed frontman Nic Cogels to bring a refreshing wave of vocals, in its most purest form.

Ole Sport brought with them an unusual combination of instruments intriguing the audience. Paperface featured a Tibetan bowl and erratic guitar finger-picking woven around a time signature of 17/8 which was challenging to follow and keep in time with. Holding on to the loose bounds of the rhythmic complexities they kept the audience at the edge of their seat and in awe.

It was time for the lovely Edward Deer, who connected with his audience emotionally and lyrically from beginning to end. Introducing his set with Maree, he gradually unveiled layer upon layer and formed a rich tapestry of sound. His superior looping skills amplified his sound and presence on stage. It was an uplifting introduction.

The 25-year-old artist then delved into deeper musical narratives. The Drifter and Someone’s Watching enticed listeners with its therapeutic words. Playing both songs simply on acoustic guitar, he allowed audiences to peak into the window of intimacy he had created on stage. Both songs also emphasised his vocal range with his strong projection into the higher registers down to the whisperings of the low, setting the mood and keeping the audience captivated.

Spicing up his set a little, he went on to deliver a solo take on Talking Heads’ This Must be the Place. Flowing in and out of guitar loopings, he gave the song a little bit of Edward Deer and performed it with great confidence. Inviting a fellow band member onto the stage, the duo entered into the gentle harmonies of Pickpockets, only to invite a third member and shift into more up-tempo folk-rock numbers such as With Ease and Tie Up the Birds.

The night concluded with the emotive A Song About Monsters. A perfect choice to finish on, and the highlight of the evening. The looping crescendo allowed the song to harmoniously reign, enlightening everyone in the room.

Edward Deer delivered each song with a fiery confidence and enjoyment, which naturally seeped into the audience and reflected back.

The Cat Empire

FasterLouder Feature Article - 01/09/10

Known as Australia’s very own ‘party’ band, The Cat Empire has unleashed their Australian tour following the release of their fifth studio album Cinema.

Front-man and trumpeter Harry James Angus caught up with FasterLouder to tell all about the eBay-Cinema debacle (was it really the record company that leaked the album?), their undefined position in the Australian music scene and revealed a new Jackson Jackson album is on its way.

You guys definitely thrive as a live band, do you have any sort of prep-up ritual to hype yourselves up before you jump out on stage?
Different people in the band do, like Felix the singer always listens to something on his headphones, he’s got like kind of pump up music he listens to before the gig. And you know some of the other guys have got their routines. But I like to just distract myself right up until the moment I have to walk on stage so it’s almost like a surprise that I’m going out on stage and that I haven’t had time to think about it. I think it’s a really good head space to be in when you’re there and you’ve just got to react.

Last night in Sydney was really good! There were heaps of people there, big place that Hordern Pavillion. The crowd were awesome like I don’t think we’ve ever done an all ages show before in Sydney so it was good to see all the kids up the front going mental. Yeah, I had a ball, but I always do.

And so as a band you have performed, correct me if I am wrong, but up to 800 live shows, or have you passed the 800 mark?
I don’t think we’ve past it yet, but it’s coming up really soon though, like in the next month we will have done 800 shows.

That is an incredible amount of shows, where do you guys get all the energy from? And how do you hold onto all that energy?
I ask myself the same question sometimes. I’ve got such a sore back this morning [laughs]. I don’t know, I think we’re lucky in the sense [that] the kind of music that we play, it kind of involves a lot of variation, a lot of improvisation and a lot of room for song change and growth. And it’s different every night. So I guess we never get to that point where you’re just going through the motions on stage…we’re not that kind of band that just construct the show and stick to it and that’s our job. We change it every night, and so it’s exciting for us and I guess it is exciting for the audience I think they pick up on that as well, that we’re doing things that we’re not quite sure where it’s going.

And so with the new album, how did you guys come up with the title name Cinema?
Cinema. Well, it’s just what we want to evoke I guess. Like when you listen to the music, it’s nice to think that you might see some kind of movie in your head. The music is expressive, it changes themes, goes through different moods. We’ve got a lot of different instruments and a lot of different kind of sounds in our band, and I guess we want to explore them all. And that kind of went into a cinematic kind of approach.

You also seem to have a lot more darker lyrics this time round? How did you find that sense of darkness?
I think with song-writing, it’s not like you say “Oh I’m gonna write a darker song” and then you get about trying to work out how to do it. I think you try to write a song and it turns out to be darker. It’s probably because we’re older and we’re kind of maybe more mature, I hope. And stuff that we just have to write about. It’s just whatever’s in your head really, that’s what you write about.

You definitely seem to have a crazy fan base, what was your reaction when a fan offered $200 for an advanced copy of the album on e-bay prior to its release date?
My first reaction was you know, I was very flattered. Obviously. And my second reaction was that I thought it was probably our own record company who had leaked it as a way of promoting the record. Because all of a sudden, all these journalists started asking us about it but…um actually, I’m sitting next to someone from the record company right now and she’s shaking her head. She’s like “No way, it wasn’t us.” So yeah I don’t know.

But I actually met the guy who bought that and he was a really nice guy. He is like a super fan, he runs a Cat Empire unofficial fan site in America, and it couldn’t have gone to a more loyal fan basically. I think he earned it.

It’s been about three years since the last album, including the year in hiatus, was this album like a reunion for the band?
Yes it was in a way. You know, we had reached a point sometime after that last record where after years of touring and playing together, we were maybe ready for a change, or a break and we were feeling pretty jaded about things.

And yeah we took some time off, then we talked about writing a record together and this record is really a document of us kind of coming together, learning to enjoy making music together again and kind of try to come up with fresh concepts. When I listen to the album I have lots of good memories about it.

And so you also took some time away, which was around the same time you began working on your side project Jackson Jackson. How did that change the dynamic of the band?
I think it’s been really good for the band. I think the main thing…is just that it being part of helping me to get my head straight and enjoy being a performer and you know, not get too caught up in my ego and things like that. And so I was able to come back to the band a much more happy, healthy well adjusted individual.

Will we see any new projects in the near future for Jackson Jackson?
Yeah I mean, we’re pretty lazy. Like we’re not exactly the most timetable-y of people. But we are about half-way through a new record and who knows when we’ll finish it. One day, when we’ve got time basically.

And will it go by the same style of the previous record?
Maybe not. It’s not finished yet so it’s hard to say. But I mean, like our whole thing is to do something that is not the same as anything else. So it probably won’t be the same as our last record either.

Do you see yourself leaking Jackson Jackson influences into the sound of Cat Empire, and vice versa?
I like to be as spontaneous as possible and so both Jackson Jackson and The Cat Empire are the result of collaborating with the people who are in those projects…I think I prefer the spontaneous approach. I don’t know why, I just like the challenge of kind of relying on your wit. Like not having planned too much and being forced to just kind of be creative on the spot…So I don’t think I was bringing things in to either project except just myself.

Veering back to Cat Empire, some critics have said that as a band you are stuck in between the mainstream and alternative worlds of music. Where do you think you fit in the Australian music scene?
Yeah, I would totally agree with that. That’s where we want to be. We’re a bunch of jazz musicians who get played on the radio and write pop-y songs. People come to our shows and they see 20 minute discordant keyboard solos and a bass-y throb jam. And I love that aspect of the band. Maybe sometimes some people come to see us play and they hear things that they haven’t heard before and maybe they hear things that are a bit challenging for them.

But you know, I think in a musical landscape where so much music is kind of pre-packaged and measured out to be entertaining but safe and not too confronting for anyone, I think that’s a really good place to be in.

How do you feel about the fact that jazz isn’t such a mainstream genre in Australia, what do you think needs to be done to bring it out there a bit more?
It’s really hard to say. I think music is a product of culture…And I think that jazz in a way had its time and its place in the history of the 20th Century and it was a massive part of that. But I think that the idea of jazz has become really a massive cliché and that people should really learn that there can be a difference between jazz and between big, exciting, spontaneity of improvising in music. And I think there are a lot of possibilities for musicians to learn to improvise in ways that are really powerful. And I guess more relevant to culture as we live in it now.

Kate Nash - Metro Theatre

My FasterLouder review - 05/08/10

Kate Nash’s performance at the Metro Theatre shocked more than impressed. Drastically different to her Big Day Out performance of 2008 due to her grungey makeover, the British singer has delved into a new persona. Previous to this she was known as an indie-pop femme, musically travelling along the lines of Regina Spektor and threaded with the attitude of Lily Allen.

The support slot saw Queensland band The Thin Kids take the stage. Though their purpose as a joke-band is to be extensively ridiculous, their on-stage karaoke was as painful as hearing nails screeching on a blackboard.

It was hard to adapt to the new Kate Nash, her intensified attitude clearly visible from the start with a confronting banner across her piano proclaiming “A cunt is a useful thing.” Her set began with many sound issues, which saw sound tech guys running across the stage throughout the first three songs, killing the mood just a little.

The introductory bracket of Paris, Do-Wah-Doo and Mouthwash were all victims of the sound disaster. The back-up band drowned out Nash’s vocals and piano, which play such an integral role in her music. However, Nash looked past the sound difficulties and Do-Wah-ed her way into alluring the crowd to shake it away like the 60s.

Sacrificing the cute charm she once carried, the 23-year old continued with her new punk-rock material. This time she ripped into the electric guitar, the same way she slammed on the piano and threw out more of the popular tunes from her most recent album including Kiss That Grrrl, Take Me to A Higher Plane and a song dedicated to homophobia, I’ve Got a Secret.

The crowd grew weary of the new material played and the sound of chatting grew, forcing Nash to ask the crowd to be quiet for I Hate Seagulls. Throughout the entire set there was a lack of vocal clarity, however quieter songs like I Hate Seagulls brought the quirky characteristics of her voice back out. She reignited audience interest with the spoken-word track Mansion Song that led into a segway of vocal art and screaming. Though captivating, the obscurity of the track and her onstage antics alienated her from her older fans.

Finally Ms Nash satisfied older fans with Merry Happy, Foundations and an encore performance of Pumpkin Soup. Yet Foundations seemed to lack the vibrance it so successfully achieves on CD and live, it did not lift up into the anthemic track that it is. Pumpkin Soup was also slightly altered, as it was played fast-paced and injected with a dose of grunge.

The show ended with Kate Nash standing on top of her piano stamping away to produce an atonal racket. Sound issues aside, the level of energy she produced on stage electrified the audience. Announcing she’ll be back in Australia next year, we shall see whether she further transforms her style.

To read the review on FasterLouder head to: http://www.fasterlouder.com.au/reviews/events/24991/Kate-Nash--The-Metro-Theatre-Sydney-50810.htm

Andy Bull feat. Lisa Mitchell - Dog

I’m a sucker for ¾ time. I love how it prods into your inner rhythms and makes you want to dance with its waltzy effects. Andy Bull’s Dog successfully brings that to the floor. The song features Lisa Mitchell, but the charm does not lie in her hands (though her voice is to be accredited for melding pleasantly with the voice of Andy Bull). This week it’s been getting more attention on Triple J.

The piano interludes are somewhat refreshing. You do not hear the usual plain chord progression, or a simple melody that leads to nowhere. Instead Bull brings us an interesting piano-solo, injected with ferocious rhythms and musical embellishments, giving the song a certain depth of sophistication. The loose vocals featured in the chorus uplifts the song and will make you beam with joy.

Musically, it is full of the delights of Spring, yet is accompanied by darker lyrics threaded around the idea depression. It caters to all who appreciate lyrical and musical bliss.

Head to www.myspace.com/andybull to have a listen!

Birds of Tokyo - Album Review

Check out my album review for The Music Network - 22/07/2010

Head to http://www.themusicnetwork.com/reviews/album/2010/07/22/album-review-birds-of-tokyo/ to read the review!

Clare Bowditch - The Opera House

My FasterLouder review - 03/07/10

The Opera House played host to the first of The Friends series, with an intimate performance from Clare Bowditch and Friends.

The night began with the earthy sounds of a cappella trio, Aluka. The rhythmic vocal complexities and three-part harmonies of their songs enlightened the audience. They were a brilliant introduction to the night.

Followed was Melbourne-based singer-songwriter, Henry Wagons. His humour and musical capabilities combined was like a fusion of comedian Will Ferrel and country-singer Johnny Cash. He was a great entertainer and also made country music bearable to listen to.

It was time for the lovely Clare Bowditch to take the stage. Imitating Prime Minister Gillard, Bowditch jokingly introduced herself as the PM’s “fellow ranga”. She was shortly joined on stage by her band, ‘The New Slang’ aka the ladies from Aluka. Jumping straight into Between the Tea and Toast, a tranquil atmosphere on stage was established by their stillness and simplicity. Keeping to the theme of the song, Bowditch played a teapot solo (blowing in from the spout), which was a delightful element.

The night continued with the humble performance of her older songs including Divorcee By 23 and Human Being. The real highlights were the honest stories that came from the 35-year old mother, such as Lucky Life, which for the first time that evening was accompanied by the grand piano.

I Thought You Were God was another highlight as it accentuated the warmth of her voice and the song-writing skills she possesses. It is these songs that show the true colours of Clare Bowditch on stage.

Scattered throughout her set were new singles off her soon-to-be-released fifth studio album Modern Day Addiction. Songs such as You Keep Running Around The Park, Bigger Than the Money and Modern Day Addiction all had similar drum loops and an ‘80s vibe with powerful lyrical statements.

But her creation of this new genre, which she calls ‘political-disco’, only seemed to alienate her on stage from her other musical material. Singing on her Casiotone and retro-dancing away on stage did not quite suit her onstage barefootedness and rural image. Though she confidently performed each new single with a new found edge, it just seemed unnatural for the ARIA-Award winner we know and love.

The night ended with an encore performance of Empty Pockets, leaving the audience with a sense of the real Clare Bowditch they came to see and hear.

To read the review on FasterLouder head to:
http://www.fasterlouder.com.au/reviews/events/24512/Clare-Bowditch-and-Friends--The-Opera-House-Sydney-030610.htm

The Audreys

Check out my interview with The Audreys for The Music Network - 30/06/10

Head to http://www.themusicnetwork.com/music-features/artists/2010/06/30/the-audreys-good-to-be-humble/ to read what Taasha Coates has to say about life, music and travel!

Tash Parker- The Sandringham Hotel

My FasterLouder review - 21/06/10

Tash Parker charmed the audience at The Sandringham Hotel with her jazz-inspired folk tunes. Though petite, she dominated the stage with her incredible vocal range.

Starting off with an acoustic song, I Feel Nowhere invited the audience into a story about the insecurities felt by artists. The simple arrangement of the poetic guitar melodies allured the crowd. Her voice, so fluid in motion easily moved from the high to low register with the smoothest of transitions.

The erratic syncopation in Move Around livened things up a little, whilst Understand silenced the crowd with its magical harmonies. So delicate in nature, yet its effects so powerful. The same goes for her flawless falsetto in On The Wind.

Her comical stage banter revealed her quirky personality, which was also scattered through her performance. Stopping midway throughout Move Around, she showed the audience that the notes being played were the same notes from the theme song of the TV series The Jetsons, which amused the crowd.

Towards the end of her set, the sound amplified with a full band on stage for I Take The Blame and Not Unprepared. A soft-natured voice like hers could have easily been drowned out with additional instruments. However the use of a full band did not affect this at all, as she powerfully projected her voice, even in the higher range of her vocals. With the crowd grooving along to the jazzy beats, Not Unprepared ended the night with a joyous vibe.

The night not only showcased the flawless vocals of Tash Parker, but also the genuine stories within her songs.

Keep an eye out for her in the upcoming months!

To read this review on FasterLouder head to: http://www.fasterlouder.com.au/reviews/events/24356/Tash-Parker.htm

Scissor Sisters - Night Work

Check out my album review for The Music Network - 22/06/10

Head to http://www.themusicnetwork.com/reviews/album/2010/06/22/album-review-scissor-sisters-night-work/ to read the review!

Kaki King - Junior

Check out my album review for The Music Network - 22/04/10

Head to http://www.themusicnetwork.com/reviews/album/2010/04/22/album-review-kaki-king-junior/ to read the review!

Boy & Bear - The Annandale Hotel

Photo credit: Max Knight

My FasterLouder review - 12/06/10

Boy & Bear reached all expectations in their sold out show at the Annandale Hotel. After spending the last six months supporting other bands, this was their first headlining tour of the year.

The night began with Perth-based band The Chemist, who gave the audience a taste of their circus inspired pop-rock. Next up was Oh Ye Denver Birds, who attempted to create a certain style of sound (similar to Parades), but instead produced a messy fusion of rock and electronic music.

The Annandale Hotel was an interesting choice of venue for headlining act Boy & Bear, as it usually attracts a rowdy crowd. A little too rowdy perhaps, for the style of music produced by the folk band. Their set began with Blood to Gold, the first track off their debut EP, With Emperor Antarctica. Front-man Dave Hosking soothed any doubts that live, his voice would not reach the standard of their recorded tracks. Easily projecting his voice through the crowded room, it was as powerful and as delicate.

Rabbit Song was a definite highlight, and an obvious favourite of the crowd’s. Their performance featured flawless vocal glissandos from Hosking, as well as a tight-knit percussive drive. One of the best things in a live performance is seeing the artist on stage enjoy and feel the emotion of their music. Electric guitarist Killian Gavin got into those meticulous guitar motifs with such enthusiasm and was a pleasure to watch.

After playing a couple of new songs including Eden, Lordy-may and two Untitled tracks, they played a cover of Flume by Bon Iver. Thinking this was a risky choice at first, they proved me wrong. Their simple arrangement of the banjo and acoustic guitar did the song justice. Ending with a 5-part vocal harmony, so together and solid in form, it was a harmonically magical moment.

The show ended with the very popular Mexican Mavis. Stretching out the intro and adding additional lyrics, they transformed the song into a two-part finale. After the climactic fusion of harmonies, they dropped back into the single-melody verse of Mexican Mavis. This brought on a new dimension of their performance abilities as they strayed away from their rather safe renditions of other songs performed that night. The show ended with a naturally provoked sing-a-long, the crowd singing the last line with Hosking, word for word.

3 1/2 stars out of 5

To read the review on FasterLouder head to:
http://www.fasterlouder.com.au/reviews/events/24206/Boy--Bear.htm

The Crayon Fields - Oxford Art Factory

My FasterLouder review - 29/5/10- reworked.

Unfortunately for The Crayon Fields, their supporting acts outshone their own performance at Oxford Art Factory last week.

Step-Panther started off the night with their 60s surf-pop set list. Getting the keen arrivals bopping and dancing away, they also managed to work the audience with their charismatic banter.

Making way for Parades, the presence on the stage amplified. Starting off with Marigold, the lead female singer showcased her superior vocal ability of control and release. Leading into a two minute instrumental, the climax was thickened with additional drums and double layering of electric guitar chords. They catered to every element needed in making a live performance successful.

Hunter was another highlight, bringing the audience into a musical soundscape. Live, they executed the contrasts of their music; with a heavy drop into richly textured musical layers, to delicate ghostly vocals accompanied by minimal percussion. The level of intensity of this 50-minute set was mind-blowing.

With the room now packed with people, it was time for The Crayon Fields. Would It Be So Strange? demonstrated their skill with smooth dynamic control, whilst Mirror Ball saw the live execution of those brilliant subtleties of their music. However, there was something lacking in their performance from the beginning - it was energy. Playing straight after Parades also didn’t help.

A little awkward on stage with minimal stage banter, they jumped right into So Much Time. The crowd began to lose interest as the sound of chatting grew louder and louder. However, their rendition of Timeless brought back audience interest, thanks to the beachy harmonies and a chorus that takes you back to when 60s pop reigned American high-school proms.

The show ended with an average performance of All the Pleasures of the World. Compared to the well produced CD track, the audience lost the aural experience of a few important musical ingredients. Firstly, their signature sound of woodblocks failed to appear in this final song. Secondly, the lead singer had trouble reaching a smooth falsetto, losing control over the higher notes.

Returning to the stage for an encore they played a new song, She’s My Hero, ending on a good note for fans.

2 1/2 stars out of 5

For the more lengthy FasterLouder article head to: http://www.fasterlouder.com.au/reviews/events/23987/The-Crayon-Fields-.htm

Muse's new single....Sigh.

I was quite amused with Muse's latest single, Neutron Star Collision (Love is Forever), which was released this week and is set to be a part of the new Twilight: Eclipse soundtrack.

The song crushes all the stamina, anger and quality of their old songs and instead depicts the three talented men as whimps of love. A song that will be embraced by Richard Mercer (Love Song Dedication God). Have a listen for yourself.




1 star out of 5

Regina Spektor - Sydney Opera House

This review was written April 2010.

One lady and her piano wooed the audience of her first sold out Sydney show at the Opera House. Executing every song live, she proved that her talent exceeds beyond the studio.

Opening with the banging sounds of The Calculator, her powerful voice projected through the concert hall, setting great standards for what was to come. Though an unexpected choice to begin with, she hit the high registers with flawless vocal jumps, making it a worthwhile opening song.

Back to back we heard tunes from her most recent album Far, getting some old fans jittery. Machine was a standout, her generous use of sforzando on the piano and the distortion on the electric violin adding to the surreal effects of ‘machinery.’

Her vocal control was simply incredible. The walrus-like vocals of Folding Chair, the staccato effects of Better, and her soothing falsettos in Eet - she aced them all. Live, her ability to vocally fragment complicated syllables whilst also holding the melody intact WHILST accompanying herself on the piano, shows how out-of-this-world talented she is.

Regina’s beautiful personality was threaded through her banter. She even made swearing a beautiful thing in Sailor Song, its comical lyrics getting people giggly. On The Radio (oh-oh) was easy to sing along to and Dance Anthem of the 80s brought her face to face with the audience for the first time, playing on the keyboard and revealing her quirky facial expressions.

Silly Eye-Color Generalisations, was sung in a Capella, whilst Regina’s guitar skills were shown in Bobbing for Apples and That Time. She sung Apres Moi and Music Box on the grand piano alone, which was a brilliant choice due to the overwhelming significance of the piano part in both songs.

Her ‘last’ song Summer in the City, seemed like an extremely insignificant song to end on, and the audience was hyped for an encore.

After a couple minutes of cheering and clapping, Regina Spektor returned to the stage to bring one of the best encore performances. Samson, hypnotised every single audience member. Continuing with the theme of romance, Us (from the film 500 Days of Summer) beared the smoothest vocal trills.

After a whopping set-list of 25 songs, it was time for the finale, a country song she had written called, Love, You’re A Whore.

The show ended with a standing ovation.

5 golden stars out of 5.

Angus & Julia Stone - Down the Way

This review was written March 2010.

Angus and Julia Stone's greatly anticipated second album Down the Way has hit our shores after three years in the making. The sound of their new album develops upon their previous style of ghostly folk and explores the themes of love, loss and strength. With a vast improvement on production skills, each track is crafted with an emphasis on texturing and layering, giving the album a rich and succinct finish.

The amplified sound of Hold On introduces the new depth that this album has reached. The dominant string arrangement harmonises the sounds of Julia's fragile yet husky vocal melodies, reeling out dramatic and evocative senses. The simple yet distinct piano arpeggios provide a colourful backbone towards the introductory song.

Julia's ability to control her vocals is showcased in For You through the effortless ornamental flutters and vocal jumps. Her vocal style is very similar to American singer song-writer Joanna Newsom. It is this reason why her songs slightly outshine those of Angus'. However, Angus nails the theme of desperation in Draw your Swords, where his singing becomes borderline screaming, through his strained yet delicate vocals. This is the most powerful moment of the album.

And the Boys was the first track released. Produced by Brad Albetta (Martha Wainwright) and co-produced by Angus and Julia Stone, the rich tapestry of harmonies contributes to the maturing sound of the album. However, the chorus of Yellow Brick Road reminds listeners that their delicate and quirky melodies still exist through the music. The electric guitar solo brings something fresh to the album, providing a nice contrast to their mono-rhythmic acoustic guitar chords, allowing a nice fusion of sound.

With their signature style of finger-picking guitar, the album ends with the sweet sounds of The Devil's Tears. The marching percussion rhythms meld in well with the loose vocals of both Angus and Julia, filled with humming and ooh-ing. It provides a harmonically magical end to a brilliant album.

4 stars out of 5

Edward Sharpe & The Magnetic Zeros - Up From Below

This review was written February 2010.

Home! Let me come home.

Yes it’s that catchy folk song floating around radio stations, also reaching No. 15 on Triple J Hottest 100 this year, filled with stamping rhythms and royal brass melodies.

Edward Sharpe and the Magnetic Zeros’ debut album Up From Below, has received much attention from the alternative-music-world primarily for their hit song Home. It has become an anthem to their image of nomadic freedom and obscure primitivism. It also displays their fusion of natural sounds such as whistling and stamping, along with their generous use of percussion, brass and banjo, making the album a joy to listen to.

40 day dream introduces the expectations of the album. Overflowing with simple rhythms of hand-clapping and foot-stamping, juxtaposed with extremely loose and uneven vocal melodies. It captures a musical sense of freedom and restraint. The darker essence of Desert Song could be labelled as a folksy-Radiohead attempt, a brilliant attempt at that. Janglin will put a brain-worm into your head, thanks to the dozen or so ‘Magnetic Zeros’ passionately belting out that catchy chorus.

The highlight of the album is the dramatic song Kisses over Babylon, sung in Spanish. It bears the musical characteristics of a Western country film soundtrack. The intense brass rhythms build up the tension throughout the song. The climactic section of the song is rich in musicality, with the arpeggiated ascension of humming leading into the eruption of a new melody for the vocals. If this song doesn’t make you feel the intensity of drama and passion, nothing ever will. Kisses over Babylon is possibly the only other song on the album that reaches the standard of Home.

The remaining songs on the album fail to have the same euphoric drive of passion, however are still enjoyable with their dramatic brass melodies. Utilising the simplest musical elements, it has made the entire album extremely appealing, allowing anyone to bop, thump, stamp, whistle or Ooh their way through the album.

3 stars out of 5

St Jerome's Laneway Festival

This review was written February 2010.

There were no laneways this year at St. Jerome’s Laneway Festival, with Sydney College of Arts playing host to the overly-indie festival of the summer. With three stages spread nicely across the sandstone campus, it was convenient to make those desperate runs in-between acts, or throughout the various timeslot clashes. It was definitely the place to be for the Sydney 'indie' crowd, where people's fashion nearly took the attention away from the quality of music that was being performed.

Indie-pop band Florence and the Machine attracted the largest crowd of the day. The energy brought to the stage by front-lady Florence Welch, along with her unique voice, drumming moves and climbing antics led thousands of people to let loose in dance. The musical arrangement of each song differed slightly to her album, making the performance more authentic and raw. Her delightful sapphire outfit along with the on-stage flowers, earthy backdrop and the enchanting harp really established the jungle atmosphere which her music is inspired upon.
But there was one question that was on everyone’s mind: WHERE WAS THE GLITTER? But it’s ok. We forgive you Florence, after all you were amazing.

Echo and the Bunnymen were probably never the best choice for this festival. The arrogant middle-aged men made awkward jokes about the brilliance of their music, ruining the mood for all who had settled at the main stage eagerly waiting for the headlining act. However, these men did deliver a strong set, with great sound, and they are to be commended for that.

Gracing the same stage earlier was the lovely Sarah Blasko, who always charms audiences with the delicate huskiness of her voice. However, her awkward robotic dance moves just seemed unnatural, and brought on the feeling of discomfort.

A definite mistake by festival organisers was the unbelievable time-slot clash between Mumford and Sons and The xx. Mumford and Sons were all the talk, with their recent number one hit on the Tripe J Hottest 100, Little Lion Man. Delivering the sprightly sounds of indie-folk led by charismatic lead singer Marcus Mumford, their guttural vocals were glazed with perfect harmonies and amazing banjo riffs. On the other side of the grounds, 3-piece band The xx delivered a seductive performance with their minimalist songs, and beared a haunting presence on stage.

Throughout the early hours of the day, there was more of a taste of local artists including the fragile sounds of The Middle East, the 7-piece band from Tamworth. The delicate vocals of the three lead singers along with their use of an overwhelming amount of instruments on stage, dazzled and awed audiences. The tribal-pop sounds of Sydney singer/songwriter Jonathan Boulet was a slight disappointment due to the terrible staging acoustics. Melbourne duo, Kid Sam were brilliant in sound and allowed their audience to see how far the two artists could go musically, with only an electric guitar and drums.

Along with the glorious weather, the sophisticated fashion of the crowd, and the high quality musical acts, the St. Jerome’s Laneway Festival was one to be remembered.

4 stars out of 5

Mumford & Sons - Sigh No More

This review was written October 2009.

Mumford & Sons' debut album Sigh No More, gives you an experience of the adrenalin and passion of English folk music. Working with producer Markus Dravs (Arcade Fire, Bjork) the distinct influences of country, bluegrass and folk are used to retell and share the stories of these four men from Western London; that of love, heartache, despair and death.

The album starts off with the title track Sigh No More which could have easily been a failed attempt of an uplifting hymn. Instead, these musicians have restored courage and confidence into the composed melodies. It is a powerful introduction to the album, and has reached its purpose as the introductory song.

Thistle & Weed provides an insight to the darker passions through their use of ominous harmonies. Whilst the ballads White Blank Page, Winter Winds and Roll Away Your Stone lighten up the mood through sprightly guitar and banjo riffs which could even make an old, fragile elderly person want to get up and dance.

One of the highlights of this album is the much acclaimed single The Little Lion Man, which has been air-flogged on Australian and World-wide radio. However, it is towards the end of the album that we hear Dust Bowl Dance, a song that captures the darkest mood of minor composition. Along with an overly layered and textured instrumental section, this is definitely the most musically powerful and emotionally desperate moment of the album.

4 ½ stars out of 5