ALBUM REVIEW: East Brunswick All Girls Choir – Teddywaddy

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There’s something undeniably visceral and raw about everything that East Brunswick All Girls Choir do. Exaltation and exorcism are part of their musical modus operandi, such is their commitment to making music that embraces emotion with an unflinching directness.

Teddywaddy, the followup to the acclaimed Seven Drummers, charts a course through coruscating punk-laden peaks and drifting, desolate valleys where the songs are stripped and stretched, allowing singer Marcus Hobbs voice to take centre stage. Though the dynamics and playing are excellent throughout, Hobbs’ voice is the deal breaker here. ‘Exile Spree’ is the centrepiece of the album with his voice going further and further after each breath of air. From a wavering wail to a throat-stripping howl he conveys a bucket load of emotion. It makes the languid, wandering country-folk sound of ‘Never/Never’ that follows even more effective. 

Their ability to use contrast in their songs is never overplayed, a testament to the songwriting and arrangements. Freedom of expression and restraint are both key aspects of why this album works so well, whether it be the pummelling post-punk dirge of ‘Cicada Chirps The Chicane’, the soulful gospel-tinged lament of ‘Old Phil’ that indirectly channels The Drones, or the widescreen warmth of the closing title track, the same wistful spirit runs through all these songs, making for an intense and cathartic listening experience.

Chris Familton

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ALBUM REVIEW: Johnny Marr – Call The Comet

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Johnny Marr has proven himself time and time again. Whether it’s the legacy of The Smiths, his collaborative work with Electronic, The The, Modest Mouse and countless other projects, a fascinating autobiography or just his commitment to always moving forward. He’s now three albums deep into his solo career and Call The Comet finds him settling into his most natural and cohesive sound to date, embracing the best of his past and present. 

The least satisfactory moments on his previous two albums were when he used strident sloganeering and a lack of texture in the music. Call The Comet corrects that wonderfully with trademark lush and chiming guitars that resonate across synths, strings and heavily rhythmic landscapes. ‘Hi Hello’ may be the closest he’s veered towards that iconic Smiths sound, the ghosts of some of their most famous songs such as ‘There Is A Light That Never Goes Out’, drifting through Marr’s minor chords. It’s the finest solo song he’s released. That band isn’t the only reference point from that era with opener ‘Rise’ recalling Disintegration-era Cure and ‘The Chasers’ hinting at a Sisters Of Mercy influence just below its surface. Marr has talked about the album having a loose theme of Earth welcoming a different intelligence from the cosmos to save us from our own plight and though there’s plenty of turmoil and wringing of hands over world issues, there is ultimately a sense of optimism that humanity can still rise above the discord and conflict and find it’s way. 

Marr’s strong point still remains his guitar playing and compositional abilities. The way his playing can paint in colours and create mood from simple patterns of notes or layered, dense arrangements. Bug takes in a certain kind of funk as filtered through the baggy Manchester scene while ‘Actor Attractor’ channels both Suicide and early New Order. and though the highlights are many, some judicious pruning of its weaker moments would have made for stronger album. Johnny Marr may have influenced generations of musicians but on Call The Comet he’s in turn paying homage to those contemporaries that have shaped his musical life.

Chris Familton

ALBUM REVIEW: Stuart A. Staples – Arrhythmia

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For Stuart Staples, he of the silken croon out front of UK moodists Tindersticks, it’s been 13 years since his last solo album, Leaving Songs. That record was comfortably in the same musical orbit as Tindersticks – baroque, jazz-informed and dramatic songs placed somewhere between latter day Talk Talk, Nick Cave and Leonard Cohen. In the intervening years he’s continued to work on film soundtracks which goes some way to to explaining the more cinematic and experimental scope of this new four track album.

‘A New Real’ opens the album with an echo-laden primitive drum machine and a dub bass line before that distinct low and nasally coo of a voice drifts into view, questioning the shape and form of love. Slowly unfurling at a heavy-lidded pace it suddenly blooms into cascading keys and strummed guitar, the mood quickly shifting from desolate melancholy to some kind of cautious optimism.

‘Memories Of Love’ surveys similar subject matter, this time looking at love as nostalgia. It’s in keeping with the album title Arrhythmia, in this case Staples sees irregular heartbeats as being at the mercy of the vagaries of love. The song rides on nothing more than a ride cymbal and sparse, resonant piano chords before bells and other percussive melodies permeate the song in the vein of Bjork’s textural explorations. ‘Step Into the Grey’ goes deep soul on a jazzed-out breakbeat as if the band Spain were playing R&B. Staples seems to be exploring the greyed out feeling of post-relationship despair before a restrained string-led avant freakout intervenes.

‘Music For ‘A Year In Small Paintings’’ is a 30 minute instrumental track that works like a short film as it traverses multiple moods (scenes) borne from the reactions of various musicians to 365 oil paintings of the sky by artist (and his wife) Suzanne Osborne. It takes on modern classical, ambient and jazz forms with wonderfully emotive and immersive results, making this album an intimate and evocative solo release from the enigmatic Staples.

Chris Familton

 

NEW MUSIC: Low Share Three New Songs from ‘Double Negative’.

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Low have a new album called Double Negative coming out via Sub Pop Records on September 14th and today the label has shared a clip featuring videos for three of its songs – ‘Quorum’, ‘Dancing And Blood’ and ‘Fly’.

Working again with producer B.J. Burton, Mimi Parker and Alan Sparhawk and bassist Steve Garrington returned once again to Justin Vernon’s April Base studio in Eau Claire, Wisconsin (where they recorded 2015’s Ones and Sixes). Rather than obsessively write and rehearse at home in Duluth, Minnesota, they would often head southeast to Eau Claire, arriving with sketches and ideas that they would work on for days with Burton. Band and producer became collaborative co-writers, building the pieces up and breaking them down until their purpose and force felt clear.

Tracklisting:
1. Quorum
2. Dancing and Blood
3. Fly
4. Tempest
5. Always Up
6. Always Trying to Work It Out
7. The Son, The Sun
8. Dancing and Fire
9. Poor Sucker
10. Rome (Always in the Dark)
11. Disarray
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NEWS: The Babe Rainbow Announce New LP ‘Double Rainbow’

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The Babe Rainbow, those cats behind last year’s superb single ‘Johnny Says Stay Cool’ and self-titled album are back with a brand new record, Double Rainbow, and its first single and video, ‘Supermoon’. It’s a moorish slice of languid, pastoral psychedelia.

Double Rainbow is released July 13th, 2018 via Flightless Records.

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NEWS: Interpol Announce New Album ‘Marauder’

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Interpol are back with their first album in four years. Marauder is set for release on August 24th on Matador Records / Remote Control Records.

“Marauder is a facet of myself. That’s the guy that fucks up friendships and does crazy shit. He taught me a lot, but it’s representative of a persona that’s best left in song. In a way, this album is like giving him a name and putting him to bed”Paul Banks

Today they’ve also shared the first single ‘The Rover’, an insistent and choppy run through a tale of a figure drawn to disarray.

Below you can also watch the Daniel Kessler, Paul Banks, and Sam Fogarino’s full press conference in Mexico City where they discuss the writing and making of the Dave Fridmann-produced Marauder.

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Interpol – Marauder

1. If You Really Love Nothing
2. The Rover
3. Complications
4. Flight of Fancy
5. Stay in Touch
6. Interlude 1
7. Mountain Child
8. NYSMAW
9. Surveillance
10. Number 10
11. Party’s Over
12. Interlude 2
13. It Probably Matters

ALBUM REVIEW: Ryley Walker – Deafman Glance

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Ryley Walker is a restless musical soul, constantly shapeshifting and looking for new ways to present his avant jazz/folk guitar songs. Over his first three solo albums he travelled from Tim Buckley/Van Morrison/Nick Drake traditional folk to the songs that, three years ago, explored more eclectic and contemporary territory on Golden Sings That Have Been Sung. 

On Deafman Glance he continues that work, taking further influence from the Chicago post-rock sound and draping his songs in synths, brass and tactile percussion. Songs change tempo, jump from meditative to frenetic and dance loosely on instrumental flights of fancy. Opener ‘In Castle Dome’ possesses a languid bluesy shimmer akin to his earlier work, his vocal strangely recalling Eddie Vedder. That thought is quickly eviscerated by the jazz shuffle of 22 Days, sounding like a more organic version of the band I’m Not A Gun. Boundaries are stretched and abstraction increasingly embraced on each song, adding up to a sense of both calm and unease, often within the same track. Lyrically there is little to grasp onto thematically other than a sense of questioning and a desire to find a surer footing in life.

With the album highlights ‘Opposite Middle’ and its gentle Tortoise-like propulsion, the prog and psych qualities of ‘Telluride Speed’ and the gorgeous closer ‘Spoil With The Rest’, Deafman Glance occasionally amounts to a disorientating listen but it never tips over the edge into wilful self-indulgence. It’s the sound of an artist inching closer and closer to realising the wild sounds in his head.

Chris Familton

ALBUM REVIEW: Tropical Fuck Storm – A Laughing Death In Meat Space

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Gareth Liddiard has been the most important Australian songwriter of the last 15 years, certainly within the world of chart-swerving guitar music. His strengths lie in literary lyrical astuteness, willingness to explore the sprawl and corners of his songs and the raw, unhinged and visceral quality of his performances. The Drones always seemed like the cross between Neil Young, Dirty Three and Nick Cave & The Bad Seeds but by the time they hit Feelin Kinda Free (2016) their restless inventiveness had branched out into new experimental territory, the precursor to Tropical Fuck Storm.

With new members around Liddiard and Fiona Kitschin, Tropical Fuck Storm have thrown away any rule book they may have had and taken an ‘anything goes’ approach, embracing dark electronic undercurrents, heavy funk and a wider palette of voices. Liddiard is verbose and incoherently eloquent as ever, this time railing against popular culture, the rise of intelligent machines, the despair of modern politics and the fear and paranoia of modern living with an apocalyptic backdrop. 

‘You Let My Tyres Down’ is pure Drones with it’s quiet/loud dynamic and beautifully weary chorus. ‘Shellfsh Toxin’ is an instrumental comprised of queasy unease, the title track is optimism short-lived, ‘Two Afternoons’ is a coruscating death disco and ‘Rubber Bullies’ suggests Liddiard has been immersing himself in Saharan desert rock. Tropical Fuck Storm are a glorious detour into deconstructed rock music, reflective of societal malaise and unafraid to tell it like it is. Qualities desperately needed in the current musical climate.

Chris Familton