Tag: review

LIVE: Groovin’ The Moo, Canberra, 2011.

A couple of weeks ago I attended the Canberra leg of the Groovin’ The Moo festival.

Overall, it was a great day. Getting negative comments out of the way, there were a few jerks in the crowd, and a few sections reeked of weed, but what can you do right? The day was so much fun it was unbelievable, although it probably helped spending it with some great friends too. Over the day I saw a few full sets, and a few partial sets, but here’s what I took from it all.

The Jezabels:

Clearly these guys should’ve been billed much higher. Brilliant drumming, especially on the last track they played (not sure of the title). Their playing was incredibly tight, the singer has an amazing voice, and the crowd knew both of these things. The Jezabels have been climbing up the ranks of Aussie bands for a while now and it shows.

Sampology:

Saw part of his set, but it was really fun. Mixing visuals and sound, The Mighty Boosh remix he did of the Bouncy Castle crimp was brilliant. The Queen singalong was also spectacular.

Datarock:

Saw the first 5 odd minutes of their set and a bit at the end. They sounded really fun, wish I could’ve stayed longer. The saxophonist sounded brilliant.

Plus they had giant inflatable condoms on stage. Enough said.

The Go! Team:

Hadn’t heard much of their work beforehand, but they were really fun and energetic. Almost in a “I really want to dance to these guys” way. I loved how the band members regularly changed instruments too. Added a bit of variation and excitement into the set.

House of Pain:

Witnessed the end of their set, and saw everyone running over for “Jump Around”. It truly was a sight to behold. The whole crowd got involved.

Gyroscope:

The crowd was pretty lacklustre for the first half of their set, but they got them moving eventually. Very big, raw sound. At the time I was in line at the signing tent to meet Birds of Tokyo, but I could still see them. They put on a good show.

Gotye:

Disappointingly, from my spot as I was getting ready for Birds of Tokyo, I could only hear Gotye playing. Couldn’t see them. But they sounded great. Wally De Backer has an astounding voice. Everyone on stage worked together to recreate the tracks in a live environment. If I could go back in time, I’d make sure I saw their whole set.

Birds of Tokyo:

Not sure there’s much for me to say here. Amazing. Brilliant. They sounded great as usual, and their set was really engaging. Still one of my favourite live acts.

The Wombats:

Only knew a little of their material, but they were fun. Did a good job with the crowd I thought, and they sounded pretty close to their studio material from what I could tell.

Bliss N Eso:

I am unbelievably happy I watched these guys do their thing. I’m a fan of the singles I’ve heard from them, but still don’t have “Running On Air”. Might have to get it now.

Out of the whole festival, Bliss N Eso were one of the best acts playing. They know how to get a crowd going. They know how to perform well. They know how to interact with the audience. They know how to get people moving. They had a brilliant DJ. Everything about their show was great. If you have a chance to see them, do it.

Cut Copy:

By this time, I was well and truly freezing. But Cut Copy sounded good. It seemed like a lot of the crowd had left for Drapht, but they did a really good job of getting everyone going. I’m not the biggest fan of their pop, but some of it sounded pretty good. In terms of replicating their sound live, they were great. If you’re a fan, see them.

~

That was my day. It was brilliant, and I’m proud of GTM for making their festival all ages. One of the most frustrating things about being under 18 is missing out on a heap of amazing gigs. Thanks to GTM, everyone could see a brilliant line-up of musicians.

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REVIEW: Coptic Soldier – “The Sound of Wings 2”

In case you missed it, I reviewed The Sound of Wings quite some time ago. Over here. Ultimately I felt it was an alright release, but that better things were to come from Coptic Soldier. The Sound of Wings 2 proves I was right.

For those of you unaware, The Sound of Wings 2 is an acoustic EP from Coptic. If you’re worried, don’t be, because the acoustic atmosphere suits Coptic’s rapping style more than ever, and it’s amazing how much of a difference it makes. This feels like a niche Coptic could easily slot into on a regular basis, because it works really well, and as a result the release sounds much more cohesive.

Like Inkstains (Acoustic), there’s new material, this time in the form of “I Hate Sleep (Acoustic) feat. Charlie Mayfair” and “Fight for the Fame (Acoustic)”, both of which are brilliant. The latter is a personal standout: musically with the guitar picking and strong back-up vocals, and lyrically.

Vocal melodies and hints of jazz instrumentation throughout the EP help it retain the soulful feel its predecessor had, and I don’t think that’s a sound you hear too often. Which is great, because ultimately The Sound of Wings 2 wins through its diversity. It really sets itself apart. Not content with being any normal acoustic release, it goes that step further to differentiate itself (an increasing trend I seem to be seeing with I Forget, Sorry!’s releases). Which is exactly what makes it such a strong release.

And the effort put into it shows. Coptic and Phatchance both reached capacity at Sydney’s Oxford Art Factory three weeks in a row to showcase these acoustic tracks. That alone should tell you there’s something special here.

The Sound of Wings 2 represents what feels like a natural progression for Coptic Soldier. It’s a big step from his last release (despite both sharing tracks), and it’s where Coptic’s real talent starts to shine. Amongst the mountains of musical trash thrown at us every day, The Sound of Wings 2 proves there is always something special out there – you just have to find it.

Grab lead single “I Hate Sleep (Acoustic) feat. Charlie Mayfair” from Coptic’s triple j Unearthed page here, and pick up The Sound of Wings 2 online here!

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REVIEW: Phatchance – “Inkstains (Acoustic)″

You probably don’t remember, but last year I reviewed Phatchance’s debut album Inkstains. If you can’t be bothered reading it, let me just say it was incredibly positive. The album is amazing, and Phatchance is a very talented artist. His latest release reinterprets those classic tracks in a stripped back, acoustic setting, and it works surprisingly well.

This was the first time I’d ever heard a full release of acoustic hip-hop tracks, and it was certainly the first time I’d heard acoustic hip-hop done so well. Fans will be pleased classic tracks like “Mountain of Glass” and “Build It Up” get a chance to shine (the latter being the lead single). However what’s really impressive is the amount of effort put into the arrangements and instrumentation. Every track sounds great, with over-layed banjos and vocal harmonies playing a large part. The songs truly sound reinvented; Chance has done the original tracks justice. Unlike some artists who just play some guitar chords and count that as an “acoustic version”, Inkstains (Acoustic) takes it to the next level and firmly sets the bar.

Maybe it’s a testament to the effort put into the original tracks, or maybe it’s a nod towards those who helped out on the release (Charlie Mayfair, Jon Reichardt, amongst others), but for something so new and different, this short collection of tracks works very well.

Importantly, Inkstains (Acoustic) isn’t just some lazy half-baked release. In fact, it’s anything but. This is an amazing reinvention of some brilliant tracks, accompanied by the impressive tease “Infinity” from Chance’s next album. Lending the songs an acoustic air suits them, and at the risk of seeming like I’m sitting on the fence, they sound just as good as the originals, especially with Chance’s style of rapping. If I had to describe these songs in one word, it would be “refreshing”. Hopefully this will help introduce a whole new audience to some great Aussie hip-hop, because trust me: more people need to hear this.

Inkstains (Acoustic) smashes apart any stereotypes hip-hop has been branded with, and does so with stylish quality. This is just something you have to try.

Grab lead single “Build It Up (Acoustic) feat. Charlie Mayfair” here from Phatchance’s triple j Unearthed page, and pick up Inkstains (Acoustic) online here!

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LIVE: Mind Over Matter, live at the ANU Bar, Canberra (07-04-11)

Coptic Soldier and Johnny Utah.

I Forget, Sorry! can be credited for really broadening my interest and faith in hip-hop. The Australian based collective create some brilliant, innovative music that deserves much more attention than it’s currently receiving. I’ve been a fan for quite a while, and recently I was lucky enough to catch a few of them live on Mind Over Matter’s Just Like Fireworks tour.

My friend and I arrived at the ANU Bar a bit before 7. The place didn’t look incredibly lively, but by the time the first supports took to the stage there were a few people wandering around. Unfortunately I think Illy playing a show the next night may have had a small effect on the turnout, but everyone looked like they enjoyed themselves throughout the night. Even if they’ve probably played to bigger crowds before.

If I’m blunt, I don’t remember a whole lot about some of the local supports. That’s not an insult to Canberra’s hip-hop scene (if there is one – I’m new here), it’s just they didn’t grab my attention and I was hanging out with a few mates. Although I do remember a duo called Domesticated Apes. Their songs got better towards the end of the night, although a few were hit and miss. Repeatedly saying “Sh*t C**ts” over and over didn’t do much for me to be honest.

I think it was about 9.30 or so before Coptic Soldier and Johnny Utah came on. To say the least, I was a little excited. Johnny Utah’s EP The Welcoming Party was a solid release, and I love Coptic’s acoustic stuff I’ve heard lately. At any rate, these guys have been a part of my hip-hop diet for almost a year now, and I was pumped to see them perform live. They did not disappoint.

Coptic Soldier and Johnny Utah (with Count Effectz DJ’ing)

That night was the first time Coptic and Johnny had performed live together, and I was incredibly impressed. The interplay between the two was great. Playing tracks they would normally perform individually, each knew the right moment to jump in and the right moment to hang back. As a result, the older songs sounded collaborative and fresh, but didn’t take anything away from the original.

The duo went through tracks from Johnny’s debut EP and Coptic’s The Sound of Wings. We even got to hear “I Hate Sleep” from The Sound of Wings 2, the acoustic release (which you should all buy by the way! – acoustic hip-hop sounds brilliant. I’ll have a review up soon). I was lucky enough to hear some of Johnny’s new songs too, which will hopefully feature on his debut album Handful of Gravel. They sounded brilliant, and I’m keen to hear the studio versions.

Coptic Soldier and Johnny Utah were a great support act, and despite the fact they didn’t have a live band like Mind Over Matter, they energy they put into the performance was amazing. Great songs performed by great musicians, with enough energy to get everyone pumped up. Count Effectz was DJ’ing for them and did a great job as well. Seeing these guys was a highlight of the night, and has only reinforced my belief that I Forget, Sorry! deserve more attention across Australia.

Mind Over Matter

Next up Mind Over Matter came on stage, and the crowd reacted incredibly well. I haven’t heard Just Like Fireworks yet, although I’ve heard good things about it. After seeing them live, I’m convinced I’ll enjoy it. The songs they played had amazing hooks and sing-a-long choruses (see “Be A Pirate”), and everyone really got into it.

The addition of a live band did the set wonders. Ernst Carter Jnr’s back-up vocals were amazing and added a whole new dimension to the songs. It really did sound great, and the live bass and drums gave the whole act more stage presence. Everyone had more to look at, and the way it all meshed together is a testament to their talents and preparation.

The general consensus from the media is that Mind Over Matter have really launched themselves into the Australian hip-hop scene with this album. Their live show reflects this in a way that you have to see to understand. I thought they were going to play longer, but I think noise restrictions came in or something. At any rate, they put on a great show, and for $10, I think everyone felt like they got more than their money’s worth.

Mind Over Matter

It’s a pity that brilliant artists like the ones that performed all night aren’t getting the recognition or airplay they deserve. I could go into a large rant about support of Australian musicians, but it’d detract from the review. Suffice to say, like Coptic and Johnny, Mind Over Matter put on an incredibly entertaining and engaging show. In my case, familiarity with the songs means that I personally enjoyed Coptic and Johnny a tiny bit more. In some cases familiarity can go a long way, but Mind Over Matter buck that trend. Despite the fact I knew only one or two songs they played, their show emphasised their talent as live artists, and these days that talent can be quite rare.

I Forget, Sorry! are a brilliant collective. Download the free mixtape I put together last year and give them a go.

Don’t forget to get over here and check out the rest of their dates. You should definitely head along.

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REVIEW: Various Artists – “Triple J Hottest 100 Volume 18”

2010 was a great year for music. We were lucky enough to get some amazing releases from bands like The National, Dead Letter Circus, Los Campesinos!, Birds of Tokyo, and Delphic. The Australia Day of 2011 reflected this, with what I thought was a fairly solid count-down. More importantly it also reflected a great year for Australian artists, with 51 spots taken out by some of our best talent. Australian artists even took out 4 of the top 5 places, and although I don’t quite like “Big Jet Plane”, I’m proud that Australian musicians have worked their ways into the hearts of so many voters.

What this means is that there wasn’t too much room to go wrong with the latest Hottest 100 compilation. Some Hottest 100’s have been a bit hit and miss, but the latest offering features tracks from  some amazing musicians. It includes some of the most popular artists of the year: Cee Lo Green, The Wombats, Arcade Fire, Adrian Lux, and more! And in all honesty, without name-dropping, I probably only dislike 3 or 4 tracks across the two discs. In my world, for a release with over 40 songs, that’s excellent.

This is one of the best Hottest 100 compilations I’ve listened to, and it’s a testament to triple j and their commitment to music that is not only good, but also Australian. Their support of Australian artists is shown in the poll results, and I’m proud to listen to a station with such a passion for local talent. No other station does this better than triple j (and sadly, I don’t think many other stations care).

Volume 18 is a brilliant compilation of some of the best tracks from 2010. It’s a snapshot of a musical year, and it’s worth buying: you’ll definitely get your money’s worth.

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REVIEW: Mike Noga – “The Balladeer Hunter”

Mike Noga (drummer from The Drones) is set to release his sophomore solo album The Balladeer Hunter on the 1st of April. Filled with acoustic ballads and stories, Noga has written an album that will click with some instantly, and evade the interests of others. That’s what makes it special – for many, the best albums are those that stretch boundaries. The albums that have to be understood over time to be properly appreciated and enjoyed.

Whether it’s intentional or not, the album feels like a dusty trudge through a perfect Australian landscape. That’s probably an overdone cliche, but I don’t really care in this case. Noga’s voice and the instrumentation have a distinctive Australian feel to them. Noga crafts music of a style that doesn’t seem to be as prevalent as it used to be, but people are unlikely to claim this release is past its time. This is music that will appeal to those who listen and pay attention to what’s being said. Those who are prepared to take in an album for what it’s truly worth. Sure, it’s unlikely to hit the top 40 charts, but it’s music with a brooding depth to it. Music that says what it wants to say, and says it well.

Behind the finger-plucked guitars and the occasional deep stomps and percussion is Noga’s coarse voice. Not uncomfortably coarse, but enough to add texture to the songs. Lofty strings make an appearance every now and again to complement the melodies. It’s the simplicity behind these additions that makes the music interesting without detracting from the messages being sent. Occasionally the music takes a more upbeat turn, and at other times it’s accompanied by a darker atmosphere, like the ominous booms on the excellent “Walk With Me”.

Noga seems like an old fashioned story-teller, and I mean that as a huge compliment. These are songs that would not feel out of place around a camp fire. Speaking only of the music I’m familiar with, Noga’s style is comparable to Australian legend Paul Kelly. His song-writing and lyricism focuses more on getting a message and story across. A feeling. A sensation. Instead of drawing upon abstract metaphor after metaphor and trailing into ambiguity, like so many lyricists do, Noga crafts songs and tells stories that make perfect use of his coarse, deep vocals. The musical textures help paint a rather vivid picture.

For many listeners, myself included, this release will be something quite new. It’s outside of my usual listening. Which is one of the most exciting things about blogging and being deeply involved in music – discovering new things! I urge you to give The Balladeer Hunter a go. Sit down and listen to a track or two with an open mind. There are qualities deep within this music you won’t find elsewhere, and if you take the time to find them for yourself, you’ll be rewarded well.

Take a listen to “M’Belle” below and see what you think.

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REVIEW: Guineafowl – “Hello Anxiety” EP

Guineafowl hail from Sydney, and their well crafted indie pop manages to walk a fine line. That fine line between appealing to an alternative audience looking for something new, and creating songs laden with catchy pop hooks. They do both extremely well.

Hello Anxiety, Guineafowl’s debut EP, is a refreshing breath of musical air in the face of what seems like an overabundance of bands who do indie pop the boring way. Throw in a few synth hooks, an off-beat pound, and away we go! Well, Guineafowl gladly take a different path. Though with their fair share of amazing beats and hooks, Guineafowl layer over winding guitar leads and soaring vocals. The bass groove and keyboard riff in “Little Fingers” is tremendous in size and effect. It seems that overall, every track has such a full and rich sound, full of interesting nuances and background noises that add to the experience, and the band should be commended for it. Amidst the many instruments and sounds, Guineafowl’s music obtains a personality. Something that is theirs, and seems to be theirs alone – something new.

To be honest, there isn’t much I can pick apart here. It’s a great offering from a relatively new band. If anything, I find the chorus of “My Lonely Arms” to not quite fit. It isn’t that I find swearing in music off-putting, but it just doesn’t seem to flow. Other than that, Guineafowl have put a very solid effort into the release.

One of the problems with EPs is that they often leave us wanting more – which is both a curse, and an indication of a band’s worth. Hello Anxiety, Guineafowl’s debut EP has more than enough quality, but by the time it finishes you can’t help but wish there was a bit more. Guineafowl will no doubt take flight (pun completely intentional) and gain the recognition they deserve as one of Australia’s biggest upcoming bands. How long that will take is anyone’s guess – but the fact remains that these guys have something special, new, and exciting, that sets them apart. I’m excited. You should be too.

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LIVE: Guineafowl, live at Transit Bar, Canberra (03-03-11)

[Couldn’t get a photo I took on the night off my iPhone – it was playing up. So I’m using this press shot instead. It’s probably much cooler anyway.]

On Thursday night, after much adventuring (I found Canberra’s Casino!), I found my way to Transit Bar with the help of my iPhone and some kind bouncers. Walking down some stairs, I handed over $12 to the nice lady at the door – Guineafowl would be more than worth it, I thought. I was right.

I met a friend there, and we then proceeded to make our way into the crowd. We weren’t up the very front, but the stage was small, and from past experience I think the sound would have been better where we were anyway. It wasn’t crowded in an uncomfortable way, but it was nicely packed. There was a solid reception for the band on the third last stop of their tour, and rightly so! Although not incredibly well known in the independent scene (yet!), Guineafowl have begun to earn their metaphorical indie chops with national airplay on triple j and by getting nominations for 2 SMAC Awards. The SMAC Awards are run by FBi Radio in recognition of Sydney’s artists and cultural events, and Guineafowl took out Best Sydney Song for “In Our Circles”!

At about 10.30 the band hit the stage, and they burst through about nine songs over the night. Which is quite a respectable effort for a band launching their debut EP (Hello Anxiety), which only has five tracks itself. Some of the newer unrecorded material sounds absolutely brilliant, especially the song they closed with (can’t remember it’s name unfortunately). It was good to see some of the initially unenthusiastic watchers participate in “Botanist”, the penultimate song in the set, because hand-clapping has never sounded so good – or felt so fun. “In Our Circles” sounded great, and all throughout the night the band were jumping up and down without sacrificing any musicianship (a skill some bands are lacking in). Unfortunately Sam (lead vocals) broke a couple of guitar strings during the first song, but the band recovered – in fact I don’t think they faltered at all – and it was as if nothing had happened.

The band played a solid set, and I think they’ll have definitely won some new fans over. Keep an eye out – if Guineafowl tour near you, rush out and see them.

All in all it was a great night. We got to chat with a few of the band members, and they were really nice. I picked up their EP and a t-shirt, so look out for a review in the near future (of the EP obviously, but the shirt is quite nice too).

If you’re quick you can grab “In Our Circles” for free here!

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REVIEW: Further Earth – “Kingdom”

Further Earth have leapt out of the far western city of Perth, and they’ve certainly leapt with more force and confidence than you’d expect! Considering they’re such a young band, their balanced sound may come as a surprise. However it’s an interesting result of their musical history – each band member has years of experience playing with at least one other member. This is a group of musicians who know how things work, and are at the beginning of something that sounds very special.

The first thing I noticed while scanning the press release for Kingdom, Further Earth’s debut EP, was that it was produced by none other than Forrester Savell. For those of you unfamiliar with his work, Savell has worked alongside Birds of Tokyo, Dead Letter Circus, and Karnivool. His work with these bands has made it clear just how valuable he is to the Australian rock scene, and Kingdom serves to reinforce that even more.

Further Earth merge influences, throwing in a dabble of prog-rock, to the softer opening strums of the title track, to the racing pace of “Fierce Euphoria”, but the way that everything seems to mesh together so well really defines these guys from the get go. Rarely do you hear a debut EP with such consistency and flow. Rarely do you hear a band that can develop such an expansive sound so quickly, with so many individual and truly interesting layers.

Each instrument has a life of its own, yet fits in so well to create the whole. It is bands that can do this, that eventually develop a strong fan-base in the rock scene, especially in Australia. Karnivool and Dead Letter Circus are testaments to that fact. Kingdom has a huge amount of potential to get Further Earth very far, and with a few tours planned this year, I’ll wager that Further Earth will be attracting quite a bit more attention very soon. Grab Kingdom and see what it’s all about, and keep your ears open for a tour announcement!

At the very least, check their triple j Unearthed page and grab some free tracks.

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LIVE: Grafton Primary, live at The UC Refectory, Canberra (11-02-11)

Last Friday I got a chance to see Australian dance act Grafton Primary at the University of Canberra’s Refectory.

We arrived at about 9 o’clock, hoping to get in early and nab a good spot. To my dismay, it wasn’t necessary for two reasons. Firstly, various DJ’s had been booked to play until Grafton came on – their set time started around 11:30. Secondly, there were no more than 30 odd people in attendance, and with a venue the size of the Refectory, the crowd seemed even smaller and scattered around the room.

Luckily, my friend convinced the organisers to give us a pass out, and we left for the pub. Returning two hours later, we only missed the first song or two of Grafton’s set, and the crowd hadn’t grown too much, but I can say this – the band were cool enough to put on a show for us anyway. I always imagined that for some it could be hard to play to such varying crowd sizes, and it could be hard to get excited about playing in what looks like an empty room, but Grafton Primary did it, and they did it fairly well.

Being unfamiliar with most of the set material, I will say some of the songs sounded very samey – but that happens to me when I see some artists live with no prior knowledge. Sometimes it all kind of blends in. Though they did “All Stars” as an “encore”, which was nice to be able to sing along to something I knew.

The three of them put in a solid effort (although I was disappointed I didn’t see the keytar from the “Relativity” clip), and for such a small show, I was pleased they got an excited response from a few listeners up the front in the crowd. It’s always good to see people showing their appreciation and enthusiasm for a band, and Grafton certainly seemed to enjoy the people who sang along and got into it all. Time will tell whether their sound evolves into something more, or if they sit on what they have now. At any rate, it’s good fun, and their dance-floor electro style no doubt hits it’s target market right on the head. I have an underlying feeling that if it isn’t happening already, that the Australian public will soon become tired of a band like Grafton – not because Grafton are bad, they’re not, but because there seem to be a flood of bands like this around doing this thing already. Nothing reaches out and grabs me as a listener and demands my attention, or says “look at me – I do this exceptionally well”.

It was a fun gig, and Grafton play music which has a lot of appeal. Unfortunately, to get the exposure they probably want, they either need to move out more creatively, or somehow refine their style to reach that upper echelon of dance and pop music.

It’ll be interesting to see where they go, but they’re clearly a band determined to stick around – which is always a promising sign.

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