The Adelaide lads have turned things around pretty quickly following the long awaited release of Dogs At Bay last year. They’ve again worked with producer Mark Optiz and engineer Colin Wynne in their Melbourne studio, recording their upcoming sophomore release.
The first track to come from the new album is the single ‘Mob Rule’ which hits a big gonzo chant of a chorus, sonically taking the piss out of some of the dumb-arse, narrow-minded and ignorant, pack mentality sub-cultures in Australian society. They take a well-aimed swing at bra boys, hashtag heroes, sports clubs and more while Alex Cameron lays down chugging verses and a lacerating solo. Rhythmically it’s one of the heaviest, solid and swinging tracks they’ve laid down.
Bad//Dreems Mob Rule December 2016 Tour
Sat 3 Dec Howler (18+)
Tickets available here
Sat 10 Dec Oxford Art Factory (18+)
Tickets available here
Fri 16 Dec Fat Controller (18+)
Tickets available here
Sat 17 Dec The Foundry (18+)
Tickets available here
ALSO PLAYING AT
Fri 30 Dec Lost Paradise Festival
Glenworth Valley, NSW
Sat 7 Jan 2017 Supporting The Avalanches
Theabarton Theatre (18+)
Scotsman Kenny Anderson has long dwelled on the fringes of indie and experimental pop music, releasing over forty albums that traverse a large expanse of creative terrain. His latest finds him exploring graceful and emotive music, drawing on electronic and organic instrumentation and positioned between the terrestrial and ethereal. The results are often moving and transportive, the unifying element being Anderson’s rich Scottish burr of a voice. This is an album that necessitates repeat listens with a myriad of details and nuances –lyrically and musically – revealing themselves each time. Astronaut Meets Appleman is sophisticated and literate music, devoid of pretension.
Covering another artist can be either be an exercise in slavish re-creation of their music, an attempt to replicate it as accurately as possible, or an insightful reinterpretation of their songs, adding a new shade, a new flavour to the music. This night was a tribute to The Smiths, in honour of the 30th anniversary of the band’s album The Queen Is Dead and we got both those approaches with differing results.
Early on Panic Syndrome added a goth-rock sense of drama with ‘Shoplifters of the World Unite’ being a standout in their set. It highlighted the scope of The Smiths catalogue from rockist anthems such as this, right through to the introspective and moodier moments that would follow. Another band that played it pretty close to the chest but with a real sense of energy and enthusiasm were Mr Blonde. They perhaps best nailed the celebratory aspect of the night.
JMS Harrison and Cabin Inn took the atmospheric approach with an extended keyboard intro of ‘Oscillate Wildly’ and Harrison nailing the lonesome melancholy of ‘Asleep’, one of the highlights of the evening. Sonically they worked interesting textures into the songs, putting their own stamp on the music.
The Maladies tackled one of The Smiths’ most famous songs in ‘This Charming Man’ with Dan Marando putting his devilish and theatrical take on the song, adding intensity and tension to it. That was ratcheted up a notch with ‘Sweet and Tender Hooligan’ before they introduced Lisa Caruso who transformed ‘I Know It’s Over’ into a beautiful and sultry Mazzy Star-styled torch-song , dialling into the core of Morrissey’s swooning and tragic romanticism.
It was up to The Salford Lads (feat. members of Charlie Horse, Died Pretty and Panic Syndrome) who provided excellent backing for singers Christine Jane and The Church’s Steve Kilbey. Opening with instrumental ‘The Draize Train’ they proved immediately that they had a handle on the taut rock and groove-based elements of The Smiths’ sound. Jane showed she knows how to work an audience, urging participation and bridging the gap between stage and audience, something that most other acts didn’t really do. Vocally she was a bit hit and miss, enthusiasm trumping her service to the songs as she sang ‘Bigmouth Strikes Again’ and ‘Boy With A Thorn In His Side’.
From then on the night took a turn into the weird and awkward world of Steve Kilbey and his mix of interpretive dance, yoga poses and stage messiah gesturing. It was as if he was in a rush to get it all out, missing lines, singing wrong lyrics, sacrificing singing for unbridled emotive vocal outpourings. It felt like a pending train-wreck and it was only the well-oiled band that kept their set on the tracks. ‘The Queen Is Dead’, b-side ‘Jeane’ and ‘How Soon Is Now’ were given widescreen guitar heavy treatment yet Kilbey went for the grandiose when he needed restraint and spent far too much time on cardio vs audio. The audience visibly thinned during the closing set and were left with a single encore of, bizarrely, a cover of the only non-Smiths song for the night – Gloria.
In all there were some fine performances with only the end of night detracting from the overall success of the evening. Perhaps next time one house band with guest players and singers may have better suited the tribute format.
Music documentaries often follow one of a few common narratives, whether documenting the rise (and often) fall of a band or musician, or following the making of an album or tour. Once More With Feeling fills a couple of different roles in that it acts as a preview and scene-setter for Nick Cave & The Bad Seeds’ new album Skeleton Tree, released the day after the worldwide screening of the film, as well as a raw and intimate insight into negotiating the cycles of grief and how real-life tragedy can inform creativity.
Filmed on exquisite black and white (and in 3D), Andrew Dominik takes a layered approach of performance, voiceover, evocative and inventive establishing shots and straight interview footage. The result is a documentary of a documentary. He’s produced a film that looks magnificent and most importantly, conveys the range of emotion when Cave’s family unit is fractured by the accidental death of his son Arthur who fell from a cliff in 2015. Cave is confused and frustrated, seesawing between self-doubt and resilience while he and wife Susie immerse themselves in their work as one way of dealing with the trauma.
Warren Ellis is portrayed as a loyal and steadfast friend and musical partner and there is a strong sense that their music – and the physical process of making it – is a critical way forward, a beacon through the darkness. Cave comes out of the film as an utterly human figure, creatively paralysed by his loss but knowing that the music and his family are also his saving grace.
Kim Gordon has kept pretty busy in the last couple of post-Sonic Youth years. She’s continued to work on visual art, collaborated with in Body/Head, released her acclaimed Girl In A Band autobiography and now, with little buildup, she’s released her first single under her own name. Murdered Out was recorded with producer Justin Raisen and is built on a huge lurching drum beat courtesy of Warpaint’s Stella Mozgawa and plenty of distortion and general audio chaos in an industrial/trashy garage-rock/post-punk style.
The single is out now via Matador Records.
“Black matte spray.
When I moved back to LA I noticed more and more cars painted with black matte spray, tinted windows, blackened logos, and black wheels. This was something I had occasionally seen in the past, part of low-rider car culture. A reclaiming of a corporate symbol of American success, The Car, from an outsider’s point of view. A statement-making rejection of the shiny brand new look, the idea of a new start, the promise of power, and the freedom on the open road. Like an option on a voting ballot, “none of the above.”
“Murdered Out,” as a look, is now creeping into mainstream culture as a design trend. A coffee brand. A clothing line. A nail polish color.
Black-on-black matte is the ultimate expression in digging out, getting rid of, purging the soul. Like a black hole, the supreme inward look, a culture collapsing in on itself, the outsider as an unwilling participant as the “It” look.”
The minimal electronic punk duo Sleaford Mods have a new single/video out for the title track from their forthcoming EP TCR, due out on Oct 14th via Rough Trade Records. It finds them unleashing the same sarcastic, ranting critiques on modern culture over an 80s-indebted bleeping melody, robotic bass-line and incessant primitive drum machine.