NEW MUSIC: Okkervil River – Don’t Move Back To LA

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Okkervil River continued the momentum they gained from touring their last album, Away (2016) and recorded this new batch of Will Sheff songs for In The Rainbow Rain, due out on Friday, April 27 on ATO Records via [PIAS].

On the album, Sheff has penned songs that present a declaration of hope, exploring the bravery of optimism and the beauty of community.

In The Rainbow Rain is a ten-song collection written by Sheff with contributions from his new band mates, Benjamin Lazar Davis (bass), Will Graefe (guitar), Sarah Pedinotti (keys) and Cully Symington (percussion) – the same iteration of Okkervil River that joined Sheff on the Away tour. “It was my favourite touring experience I’ve had since 2003, the first time we went over to Europe,” recalls Sheff. “I felt like a kid again. I realised how phenomenally lucky I am that I’ve been able to play music for this long.

1. Famous Tracheotomies
2. The Dream And The Light
3. Love Somebody
4. Family Song
5. Pulled Up The Ribbon
6. Don’t Move Back To LA
7. Shelter Song
8. How It Is
9. External Actor
10. Human Being Song

 

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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

LIVE REVIEW: Lambchop @ Factory Theatre, Sydney

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Lambchop, Antonia & The Lazy Susans, Jack R Reilly @ Factory Theatre, Marrickville, Oct 19th, 2017

Early arrivals were privy to opening sets from local acts Jack R Reilly and Antonia & The Lazy Susans. The former showed a fine line in intimate, emotionally open and vocally impressive singer/songwriter fare over sparse and haunting electric guitar. In contrast, Antonia & The Lazy Susans were a confusing choice to open for a band like Lambchop. They delivered emo/indie guitar pop with an overdose of angst. The songs were overwrought and simplistic in form, a total contrast to the act they preceded.

This was a stripped down version of Lambchop – a band who have always had a fluid lineup revolving around frontman Kurt Wagner. On this tour the configuration was bassist Matt Swanson, pianist Tony Crow and Wagner on guitar, laptop and vocal manipulations.

Opening with a trio of songs from last year’s Flotus album they established the sonic palette for the evening where bass-lines formed pulsing, smooth and febrile shapes over beds of digital beats and textural clicks, beeps and washes of sound. Crow’s piano was a revelation of cascading notes that fluttered and danced through melodic passages, light of touch but beautifully melancholic and immersive. Front and centre was Wagner, the conductor and storyteller with his reading light, vocal unit, laptop and guitar. Using autotune, delay, reverb and self-sampling effects he conjured up a playful and endlessly fascinating take on the role of the lead vocalist. Older songs such as The Decline of Country And Western Civilisation and 2B2 were recast in the Flotus mold without losing any of their grace and poetic weight – an example of how, even though this was a new iteration of Lambchop and quite a distance for their country soul origins, it was still uniquely identifiable as the same band.

As the set progressed the players seemed to relax into their roles, particular Crow with his often hilarious quips, such as setting his phone to vibrate in his pocket at various moments during the show, to keep himself awake. It was certainly a show that traded on a minimalist sound that recalled Brian Eno but at the same time it embraced and reinterpreted various influences such as the textural and melodic inventiveness of Arthur Russell and the lush R&B of D’Angelo. In keeping with that they concluded with a uniquely Lambchop take on Prince’s When You Were Mine. This was post-modern soul music at its most compelling.

Chris Familton

ALBUM REVIEW: Steve Gunn – Eyes On The Lines

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Rating8At the forefront of the loose scene of guitar adventurists that include Cian Nugent, Ryley Walker and Chris Forsyth, Steve Gunn is another who has figured out how to expand his sound to a full band and incorporate his lazy psych-rock vocals. The touchstones of Richard Lloyd and Tom Verlaine (Television) are obvious in the sparkling, spiralling guitar phrasings while on tracks such as Nature Driver Gunn finds an organic seam that echoes rural England more than downtown New York. Those divergent paths make for a rewardingly immersive and freewheeling guitar rock record that continues to reveal itself on repeated listens.

Chris Familton

ALBUM REVIEW: Matt Malone – S .I. X

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Rating7Victorian songwriter Matt Malone deals in dark, heavy and sombre music on his debut album. The pace is leaden, his voice a gothic, stentorian and preacher-like baritone. There are obvious touchstones like Nick Cave, Jeffrey Lee Pierce and Johnny Cash who he absorbs into his death blues soundtrack of rattling strings, ghostly sounds and strummed wasteland ballads. “Now I caress your throat with the lips of a traitor’s embrace” is typical of the doomed poetry and murder ballad sensibility across the album and though it is devoid of light relief and the gloomy pallor rarely lifts from the songs, Malone has created an often captivating and stylistically hypnotic debut album.

Chris Familton

LIVE REVIEW: Mercury Rev @ OAF

MERCURY REV, JAMES DELA CRUZ (DJ SET) @ Oxford Art Factory, 07 December 2015

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Eschewing the usual opening band, the warm-up honours went to James Dela Cruz (The Avalanches) who played an eclectic hour long DJ set that stretched from Neil Young to warm techno flows and some fine turntablism skills.

FEPX1684Mercury Rev hold a fairly unique position in music with their fantastical, dramatic sound that hits both the extremes of shoegaze and the fragile beauty of Catskill Mountains Americana. This was quite possibly the smallest venue the band have played in Australia so it was a chance for fans to experience them in full flight in relatively intimate surrounds. From a sea of dry ice pierced by dreamy washes of blue light emerged Jonathan Donahue, Grasshopper and their bassist, drummer and keyboardist/flautist. What followed was the full Mercury Rev experience that was in no way downsized or compromised for the club venue. Their recently released album The Light In You got a fair showing in the setlist but they know that their audience peaked with the seminal Deserters Songs album. Early fans were treated to Frittering from Yerself Is Steam (1991) but it was tracks from the aforementioned album that drew the biggest cheers from the enthusiastic crowd. Holes, Goddess On A Hiway and Opus 40 were exquisite in their delivery with Donahue commanding the centre of the stage with conductor flourishes and grand gestures like a magician conjuring up some dramatic illusion. Opus 40 rounded out the main set with an extended and accelerated surge into sheets of distortion with a sonic dizziness that seemed to spin the room on its axis.

Mercury Rev were art rock in dazzling glory, almost too grandiose for the small setting but they never overcooked it. The mystery in their music had the audience immersing themselves in its dark romance while at the same time trying to figure out just how they create such an ornate and wonderful sound from their standard rock band format.

Chris Familton