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NEW MUSIC: Spoon – Can I Sit Next To You

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Spoon (Britt Daniel, drummer Jim Eno, bassist Rob Pope and Alex Fischel on keyboards and guitar) are releasing their new LP Hot Thoughts on March 17th via Matador Records/Remote Control Records. They’ve already released the first single and now they’ve posted the warped and spooky clip for the keyboard-heavy clip for ‘Can I Sit Next To You’, reminiscent to our ears of The Cure and Prince in the clipped rhythm.

Spoon – Sydney & Melbourne Headline Shows

Thursday 23rd March – Metro Theatre, Sydney

Saturday 25th March – Croxton Bandroom, Melbourne

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LIVE REVIEW: My Disco @ Newtown Social Club

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My Disco, Marcus Whale, Hviske @ Newtown Social Club, 11 February 2017

Minimalism shaping grand emotion was the order of the night at NSC for My Disco’s last stop on their summer tour. From the headliners down through Marcus Whale and opening duo Hviske, there was a common thread of space, intensity and the blurring of technology and organic instrumentation to create dramatic musical pieces.

Hviske are Kusum Normoyle and Ivan Lisyak and they generated a densely rhythmic mix of techno and cold wave electronica that hit the occasional peak but for the most part settled into a rewarding mix of hard surface sounds and minor melodic excursions. Live, Normoyle’s vocals were the weak-point compared to the more layered and integrated sound on their recordings and she seemed unsettled and distracted, never fully immersing herself in the music.

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Marcus Whale

 

Marcus Whale’s solo work seems to go to another level every time I see him live. Flanked by two drummers with stripped down kits (tom, snare, ride cymbal) and performing over backing tracks Whale took us deep into his album Inland Sea, his voice urging, consoling and serenading the audience with conviction and passion. The closest comparison is Bjork’s more recent work crossed with avant hip hop and dark electronica. A compelling performance.

My Disco have progressively peeled back the layers of their sound with each new album, whilst simultaneously ratcheting up the tension and their avant garde leanings. They are still a band of guitar, bass and drums but they now sound like a raw machine, ominous and commanding with their instruments often bathed in as much silence as coruscating noise, relentless drones and repetition. King Sound set the scene with Liam Andrews intoning those two words like an android with a glitch in its system while guitarist Benjamin Andrews scattered shards of distortion across the audience at high volume. The heartbeat of the band is still Rohan Rebeiro who brings the most humanistic element to their music, he controls the machine with his blend of doom and jazz-tinged tribalism. Their intensity and commitment to their sonic aesthetic is what defines My Disco, from throwing in an overlong drum solo to the complete lack of audience interaction, they have their own musical eco-system which made their set feel like we were temporary visitors to their fascinating, hypnotic and shadowy world.

Chris Familton

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LIVE REVIEW: Car Seat Headrest

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Car Seat Headrest + Jarrow @ Oxford Art Factory, Sydney 26.01.17

There was a real ‘will they or won’t they?’ atmosphere rippling through the arriving throng of punters as Jarrow took the stage. The nervousness was due to Car Seat Headrest main guy Will Toledo posting on Facebook earlier in the day that he was was here and ready to play but the band were still winging their way to Australia from Hawaii (courtesy of flight delays) and only scheduled to arrive an hour before they were due on-stage.

As people made bets on the band vs solo probability, Melbourne’s Jarrow did an excellent job in their opening slot. There were shades of The Smiths and Mac DeMarco in their music with clever twists and turns, a malleable rhythm section and Dan Oke’s quirky, heart-on-sleeve lyrics. Playing songs from their 2016 album 2003 Dream they displayed a balance of humour, musicianship, loose-limbed abandon and intellectual adventurism. Clever guitar pop for both the mind and feet.

Not long after Jarrow departed the stage, four figures emerged from the shadows and began furtively setting up their equipment and tuning guitars. The band had made it and just in time. Presumably wired and slightly disorientated they quickly conducted a make-shift soundcheck before launching into their set proper with Vincent, one of the many standout tracks from last year’s breakout album Teens Of Denial. It quickly became apparent how much of a complete band they are, rather than just Toledo and some other guys. Vocals were shared – guitarist Ethan Ives even got a lead vocal in the closing Pixies cover of Motorway To Roswell. The rhythm section were superb at building the tension and collapsing it on a dime when required. The audience in the sold-out and packed to the gunnels OAF were in fine voice, nearly drowning out the band during Drunk Drivers/Killer Whales, exhorting the band on through the jet lag as they laid down their refreshing blend of Okkervil River/Strokes/Pixies influenced indie rock. It felt like a celebratory, if a little short, set. The icing on the cake and reward for the devoted fans of Toledo and his literate and confessional songs.

Chris Familton

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NEW MUSIC: Mac DeMarco Announces New LP ‘This Old Dog’

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Mac DeMarco recently upped and relocated to LA from Queens, NY and the transition to a new city had a slowing effect on his writing and recording process this time around. He sat with the songs a while and then stripped them back to acoustic guitar, drum machine and synth, giving the new album much more of a laidback (is that possible) and skeletal sound.

This Old Dog is out on May 5th via Captured Tracks/Remote Control Records. Check out the first two singles below.

  1. Mac DeMarco – This Old Dog

    1. My Old Man
    2. This Old Dog
    3. Baby You’re Out
    4. For the First Time
    5. One Another
    6. Still Beating
    7. Sister
    8. Dreams From Yesterday
    9. A Wolf Who Wears Sheeps Clothes
    10. One More Love Song
    11. On the Level
    12. Moonlight on the River
    13. Watching Him Fade Away

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NEW MUSIC: Father John Misty Announces New LP ‘Pure Comedy’.

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Father John Misty (Josh Tillman) is back with the follow-up to his acclaimed album I Love You, Honeybear. Titled Pure Comedy, the album is due out on April 7th via Sub Pop and Inertia Music and features co-production with Jonathan Wilson, string arrangements by Gavin Bryars and other contributions from Nico Muhly and Thomas Bartlett. The mastering was done by the legendary Bob Ludwig.

Tracklisting:

1. Pure Comedy
2. Total Entertainment Forever
3. Things It Would Have Been Helpful to Know Before The Revolution
4. Ballad of the Dying Man
5. Birdie
6. Leaving LA
7. A Bigger Paper Bag
8. When The God of Love Returns There’ll Be Hell to Pay
9. Smoochie
10. Two Wildly Different Perspectives
11. The Memo
12. So I’m Growing old on Magic Mountain
13. In Twenty Years or So

Pure Comedy is available for pre-order now, in the following formats:

  • A Deluxe 2xLP version on aluminum & copper vinyl, a die-cut customisable jacket with 4 interactive “Background” sleeves (so you can have whatever sky you damn will feel like as the cover), all encased in a clear clipcase. Includes a fold-out poster and an exclusive holographic tarot card by Ed Steed.
  • A 2xLP gatefold version also available in 4 cover variations on black vinyl
  • A CD gatefold digipak with slipcase available in 4 cover variations
  • As digital album

Cover variations for the standard LP and CD will be randomly distributed. Collect them all!

Pre-orders through select retailers will receive a limited 7” single, featuring physical release of fan favourite ‘Real Love Baby’ on the A-side and the as yet unreleased track, ‘Rejected Generic Pop Song, March ‘15#3’ on the B-side (while supplies last).

Tillman and Grant James (‘Funtimes in Babylon’, ‘I Love You, Honeybear’) also co-directed Pure Comedy: The Film.  Pure Comedy is a gorgeously rendered black & white document of the live tracking, as well as a surreal look into Tillman’s writing process.  A six person crew, complete with cranes in the tracking rooms, captured every moment of the recording, giving the viewer intimate audience to actual album takes, including the one and only 2:00am performance of the 13-minute ‘Leaving LA’.  It also features the only known recording of Tillman’s love ballad to his sound engineer Trevor Spencer.

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LIVE REVIEW: Dinosaur Jr

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Dinosaur Jr, Luluc @ Metro Theatre, Sydney 12.01.17

There had been some worrying moments leading up to the start of  Dinosaur Jr’s Australian tour, with news that visa issues for Lou Barlow had meant a delayed flight. It all got sorted but there was more drama to come.

img_8246Luluc had opening honours, as they have for a number of J Mascis solo shows in the USA. Minor technical issues dotted their set but didn’t detract from the duo’s near telepathic interplay. Some may have pegged them as a folky pair but they imbued their songs with just the right amount of grit, drone and frayed guitar sounds to take them closer to a band like Low. In front of a crowd eagerly awaiting the sonic might of Dinosaur Jr, they proved to be an entrancing support act.

As mentioned above, it was a relief to see the shaggy-haired Barlow saunter on-stage but worryingly Dinosaur Jr’s drummer Murph was nowhere to be seen, replaced by Kyle Spence of American band Harvey Milk and the onetime stickman for J Mascis’ The Fog. J Mascis ambled to the mic and mumbled “Your government wouldn’t let Murph into the country so we brought Kyle” *. The mood in the room shifted to unease but as soon as they launched into their first song it was clear the guy had the chops to nail the songs. From there it was down to business with a mix of the old and the new with last year’s Give A Glimpse Of What Yer Not album providing particular highlights in Goin Down and the monstrous Sabbath riffage of I Walk For Miles; showcasing the band’s ability to harness speed, melody and heaviness. Classic cuts peppered the set with The Wagon, Feel The Pain, Freak Scene and Start Choppin’ drawing the biggest crowd response with flailing limbs and nostalgic grins plastered across middle-aged faces. On opposite sides of the stage, Mascis and Barlow were split personalities in their physicality. Mascis the zen-like figure in the eye of a hurricane, extracting paint-pealing solos and buzzsaw chords while Barlow threshed about, a whirling dervish in perpetual motion in total harmony with the dense thrum of his bass. Drummer aside, this was exactly what we’ve come to expect from Dinosaur Jr and their unique brand of self-described “ear-bleeding country”.

Chris Familton