ALBUM REVIEW: Harmony – Double Negative

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Melbourne’s Harmony have had a four year break between albums but that time has clearly been well spent with Double Negative the strongest culmination of their soulful, ragged and cathartic sound.

 Carpetbombing (2014) was a sprawling collection of songs that often sounded brittle and impenetrable, the core of the songs sonically buried beneath the surface. It still impressed but the good news is that on Double Negative they’ve tightened their arrangements and collated an economical 40 minute record that blossoms courtesy of a warm and open production sound. 

The key tenets of Harmony are the full-throated bellows and raw exaltations of singer Tom Lyngcoln and the contrasting beauty of the female-voiced avant-choir. Combined with the post-punk meets Neil Young and Dirty Three musical backdrop, it all makes for a constantly fascinating and emotionally visceral album. 

Stripping the songs of extraneous noise has provided a focal point for Lyngcoln’s songs and lyrics, where his words are carried aloft on his delivery, not relegated to just sounds and vowels. Opener ‘I Love You’ sets a high, almost attainable, bar but they consistently get close, right across the album. ‘Fatal Flaw’ has a wonderfully infectious, maudlin quality while ‘It Hurts’ is a primitive collision of astral guitar and hammering drums. 

Constantly exploring the possibilities of their sound – from minimalism to angst-ridden, inner city confessional howls, it all makes glorious sense in the hands of Lyngcoln and his existential choir.

Chris Familton

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ALBUM REVIEW: Money For Rope – Picture Us

 

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Back in 2012, Money For Rope came out of the gates with a real buzz about their live shows and their debut, self-titled album. They hit the road and apparently kept touring across Europe and the US. Thankfully they eventually got back in the studio and documented those years on the new album Picture Us.

As with that debut, the band again mix and blend genres and styles. They jam musical ingredients into a blender and end up with a sound that is familiar but never falls into a retrograde rehashing of other bands’ past glories. You can hear the ghosts of bands like Supergrass, Inspiral Carpets and Happy Mondays filtered through the kind of gothic-tinged garage and psych rock that the likes of The Scare and Witch Hats have dragged across these lands. Earl Grey stands out as a razor sharp example of mood and teetering energy as it shifts from a low-slung, snaking groove to frenetic sonic shakedown. Trashtown engages a wonderfully ramshackle and bluesy tone while Look lumbers along with a speaker-blowing sound akin to The Black Keys on steroids. As an example of the range of music Money For Rope explore on the album, listen to the title track. Its lo-fi, jangly quality and twists and turns suggests an affinity for the avant guitar pop of bands like Pavement and Sparklehorse. 

Picture Us casts a wide net, yet for all its variety there’s an overriding feeling of adventure and shared experiences that emanates from the restless colours and shapes of its songs.

Chris Familton

NEW MUSIC: White Denim Announce New LP ‘Performance’

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Those crazy TX psychedelicists White Denim are back with a new album Performance which will be released on Friday, August 24 via City Slang Records and Inertia Music. The band have shared the album’s first single, ‘Magazin’.

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WG-WD_Front_300dpiPerformance was mainly recorded over eight weeks at the band’s new downtown Austin studio, Radio Milk. Once an old general store constructed in 1902, it is now respectfully restored and sandwiched in between bars and modern condominiums. Two new players were key in what Petralli describes as “a super-collaborative record:” keyboardist Michael Hunter, a “young, humble genius with endless potential” and Conrad Choucroun, a “ridiculously solid” drummer with a long stint with NRBQ on his resume. “If you take nothing else from this at least take some time to listen to NRBQ, rock & roll scholars who shared members with the Sun Ra Arkestra” advises Petralli. It makes sense that White Denim would develop a kinship with a player from their circle. In many ways, they are a continuation of that sort of group. One that will never stop pushing and taking every opportunity to shine a light on and exemplify what is truly good about Rock & Roll music.

Categorically speaking, White Denim is still impossible to narrowly pin down. There’s the glam-rock strut of ‘Magazin’ and ‘It Might Get Dark’, the duelling guitars on the low-slung blues prog of ‘Moves On’, and the sideways jazz of ‘Sky Beaming’. There are plenty of pleasingly unexpected musical moments on the title track and the easy-rolling closer ‘Good News’, along with some seriously distorted guitar. In the title track, Petralli sings, “Flashing light in a tunnel, You’re indicating a change.” In many ways, White Denim is the flashing light in a dark and crowded tunnel of showbiz glop. Quietly and fiercely finding themselves — and us — through their work.

LIVE REVIEW: Protomartyr @ Oxford Art Factory, Sydney

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PROTOMARTYR – photo by Chris Familton

Protomartyr, Mere Women, Angie @ Oxford At Factory, Sydney Australia. February 16th, 2018

The best gigs are the ones where the creative quality and intensity builds evenly, seemingly at a symbiotic pace with the gathering audience. Angie set the scene with a low key and hypnotic opening set. This was another iteration of her solo incarnation, now fleshed out with drummer and acoustic guitarist. Previously she’s played on her own (Steve Gunn support) and with a full band (Chain & The Gang support). This configuration felt the most suited to her drone infused piano compositions and haunting vocal intonements.

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ANGIE – photo by Chris Familton

Mere Women mixed a brand new song with tracks from last year’s Big Skies album and a glance back to their 2012 album with Amends. Intense and dramatic sum up the band, with each member locked into their own musical corner, sculpting their own personality and sound. Guitarist Flyn Mckinnirey cut physical shapes with his playing, coaxing out nagging riffs and coruscating wasteland distortion while Amy Wilson pleaded, remonstrated and chanted dark, gothic sounding lyrics over his guitar and the inventive rhythm section.

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MERE WOMEN – photo by Chris Familton

With tongue in cheek, Protomartyr had said in their interview with The Music that if they didn’t make it to Australia soon that’d be it for the band. With their future now thankfully intact they made sure the audience were well and truly satiated with a set of 18 songs, mostly taken from their last three albums.

Singer Joe Casey is an enigma on stage, looking like a dowdy small-town insurance salesman and sipping from cans of Coors beer he was the perfect irascible foil for the remarkably tight band around him. Drummer Alex Leonard studiously beat out a tapestry of inventive rhythms, Bassist Scott Davidson was in constant motion, bouncing on his toes while flurried fingers urged post-punk and dance grooves from his fretboard. Guitarist Greg Ahee, much like McKinnirey from Mere Women was masterly at shifting between catchy melancholic riffs and scorched-earth punk screes.

Back to Casey though, the star of the show in sound and vision, the perfect balance of belligerent ambivalence and intellectual dissertation. Barking out free-form wordplay one minute, nailing down repeated phrases like “Never gonna lose it” in the encore’s Why Does It Shake? He channelled the ghost of Mark E. Smith and the glorious disdain of David Yow but he’s uniquely his own poet and performer. For those that like their post-punk laced with danceability, wit and wisdom this was an impeccable example of just that.

CHRIS FAMILTON

ALBUM REVIEW: Kyle Craft – Full Circle Nightmare

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This is Kyle Craft’s second album; his first set a high bar with its songs of underground heroes and misfits and now he’s taken that momentum and set one dizzying and rambunctious musical snowball in motion.

Craft is still mining the same stories he relishes and excels at, singing of junkies and angels, late night bars, existential crises and the overwhelming worlds of love and lust. He packs a plethora of words into his songs like a pop-up jack-in-the-box, rhyming couplets and lyrics tumbling out with unabashed emotion and enthusiasm as he swings from sweet crooning to bluesy howls. The deal breaker is his voice which serves as the perfect delivery method for his voluminous tales. There’s more than a touch of Dylan-esque fantastical imagery, stream of consciousness and kaleidoscopic word association that allows his rock ’n’ roll songs to embrace psych-pop and country soul – like Syd Barrett dancing with The Band.

Heartbreak Junky finds the best balance between frantic musical rush and measured poeticism while Belmont (One Trick Pony) comes off as a cross between Jack White and Jet. “Stranded down on Silver St, just throwing bottles at the Delta Queen” is one of many fine lines on Slick & Delta Queen as Craft paints his compelling vignettes. It sums up the wild streak of creativity that Craft is riding for all its worth on Full Circle Nightmare.

Chris Familton

40 FAVOURITE ALBUMS OF 2017

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If anything, their music inhabits even darker territory, the songs collapsing in on themselves as they chug and career along – The Terminals, Antiseptic

In this day and age of accessibility and cultural saturation, it can be hard to unearth music you like, and at the same time discover new music outside the mainstream or the most prominent online access points. Digging through the detritus and overload, I’ve found that more and more I lock onto albums that give a little extra. They create their own world of music for the 30-60 minutes you spend with them. They make you wonder how the artists wrote the songs, how they composed the music. I was drawn to imperfect performances, atmosphere over precision (though The War On Drugs manage to exemplify both), melody, energy, intelligence and rhythm.

My favourite album of the year probably won’t feature on any other list you read (though hopefully it does). The Terminals, from NZ, released a record that mainlines a sense of musical nostalgia in my synapses, harkening back to the music of my teens and early 20’s in the NZ underground. The legacy of Flying Nun, alternative rock and darkly emotive music from a couple of islands at the end of the Earth. In my review I said “The Terminals have never been creatively stronger than they are on Antiseptic. It’s their finest album and the sound of musicians digging deep and exploring a lifetime of musical influences and experiences without concession to anything outside of their own ideas and instruments.”

Elsewhere you’ll find all manner of musical styles, from eccentric folk to kraut-tronica, country to ragged suburban punk rock, gothic 80s synth to skronking saxophone. Dig deep and enjoy.

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1. The Terminals – Antiseptic REVIEW

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2. Aldous Harding – Party REVIEW

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3. Kevin Morby – City Music

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4. Thurston Moore – Rock N Roll Consciousness REVIEW

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5. The Tall Grass – Down The Unmarked Road REVIEW

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6. Protomartyr – Relatives In Descent REVIEW

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7. Jep and Dep – They’veBeenCalled REVIEW

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8. Underground Lovers – Staring At You, Staring At Me REVIEW

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9. The War On Drugs – A Deeper Understanding REVIEW

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10. Suicide Swans – Augusta

11. Hurray For The Riff Raff – The Navigator

12. Ryan Adams – Prisoner REVIEW

13. Chris Forsyth & The Solar Motel Band – Dreaming In The Non-Dream

14. Jen Cloher – Jen Cloher REVIEW

15. Omni – Multi-Task

16. David Rawlings – Poor David’s Almanack

17. Traveller – Western Movies

18. Daniel Romano – Modern Pressure

19. The Texas Gentlemen – TX Jelly

20. LCD Soundsystem – American Dream

21. Bed Wettin’ Bad Boys – Rot

22. Hollow Everdaze – Cartoons REVIEW

23. Feral Ohms – Feral Ohms

24. Mogwai – Every Country’s Sun

25. Pissed Jeans – Why Love Now REVIEW

26. Colin Stetson – All This I Do For Glory

27. Laura Marling – Semper Femina

28. Trevor Sensor – Andy Warhol’s Dream

29. The Singing Skies – Head In The Trees, Heart On The Ground REVIEW

30. Mount Kimbie – Love What Survives

31. Chomper – Medicine Mountain

32. Ricardo Villalobos – Empirical House

33. The Afghan Whigs – In Spades REVIEW

34. Marty Stuart – Way Out West REVIEW

35. Chain And The Gang – Best Of Crime Rock REVIEW

36. Karl Blau – Out Her Space REVIEW

37. Chris Robinson Brotherhood – Barefoot In The Head REVIEW

38. Destroyer – ken REVIEW

39. John Maus – Screen Memories

40. Gold Class – Drum REVIEW

ALBUM REVIEW: Beaches – Second Of Spring

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Beaches go into overdrive on their new seventeen track album. It’s their magnum opus of sorts, taking everything they’ve explored on the first two albums and synthesising it into one kaleidoscopic take on all things psychedelic.

The album opens with two relentlessly churning tracks that set the stage for what is to follow. It signals their intent to push further out into the sonic aether, bridging the gap between melodic noisy pop hooks and hypnotic guitar-drenched head trips. Void is a brighter, headlong take on Wooden Shjips, psych-Kraut interstellar explorations while on track four they ease up on the gas and introduce chiming guitars, a post-punk interlude and a back half that sounds like The Primitives jamming with Look Blue Go Purple. Calendar sounds like a lost Pixies outtake with its mix of raw grind and dreamy vocals while Wine dives and shimmers like Crazy Horse doing shoegaze.

Arrow is the headiest pop rush the quintet have conjured up, the perfect nugget for the approaching warmer months and it feels like the apex of Second Of Spring. In the back third Bronze Age Babies adds a surprise with a recorder voicing the main melody before Grey Colours takes a gloriously melancholic wander that Robert Smith would be proud of. There’s a lot to take in but it’s an endlessly rewarding and freewheeling album for a band who are the equal sum of their parts and eager to explore all musical possibilities.

Chris Familton