NEW MUSIC: David Kilgour & The Heavy Eights – Smoke You Right Out Of Here

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David Kilgour (The Clean, The Great Unwashed) returns with a brand new single with his long serving band The Heavy Eights. The meditative, acoustic, shuffle and strum of ‘Smoke You Right Out Of Here’ comes from their new album Bobbie’s a girl, his first in five years, which will be out September 20th via Merge Records.

Preorder the album HERE

David Kilgour on tour:
Oct 24 Queenstown, NZ – Sherwood
Oct 25 Dunedin, NZ – The Cook
Oct 26 Christchurch, NZ – Blue Smoke
Oct 31 Wellington, NZ – San Fran
Nov 02 Auckland, NZ – Whammy Bar
Nov 03 Auckland, NZ – Whammy Bar

 

ALBUM REVIEW: Big Thief – U.F.O.F

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Big Thief
U.F.O.F.
4AD

What started with a debut album in 2016, that introduced a fragile and poetic songwriter and her band, has blossomed into a fascinating and quickly evolving career for Adrienne Lenker and the rest of Big Thief. They’ve been touring relentlessly, Lenker even having time to record a well received solo record last year. From Masterpiece to Capacity and now U.F.O.F, the quartet have gently worked away at the canvas of folk and knotty guitar music that draws on both conventional song structures and avant garde curiosity.

This album continues the mystery and beauty of their previous releases while adding even more depth and textural minutiae. There are drone-like textures,  found sounds – like the rolling effect at the start of ‘From’, and fascinating percussive elements that rise and fall in the mix. There’s a feeling of perpetual motion in many of the songs due to the looseness of the arrangements and the playing which makes the music sound both improvised and highly arranged. ‘Jenni’ imagines a Cat Power-fronted Tortoise in the way they use organic instrumentation and allow volume and tone to fluctuate as the song slowly unfurls.

The straightest moment comes right at the start of the album with opener ‘Betsy’ and its sparkling acoustic guitar, gently shuffling drums and Lenker singing in a lower-than-normal register. It’s intimate and affecting and pulls the listener right into the album from the get-go. ‘Contact’ is dreamy and meditative until, as if waking in terror, the guitars gain sharp edges and Lenker emits piercing screams.

If they didn’t already, now Big Thief unequivocally have your attention. Lovers of inventive music would be foolish not to join them on their post-folk journey.

Chris Familton

NEW MUSIC: Velvet Starlings – Kids In Droves

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Here’s a great slice of authentic garage psych rock from Los Angeles band Velvet Starlings, fronted by Christian Gisborne. ‘Kids In Droves’ cuts a fine balance between 60s UK mods sounds, a tough Britpop angle and US garage rock circa Nuggets. The single follows their self-titled EP of last year which has seen them generate some major radio attention and a US and UK tour dates.

NEW MUSIC: Rhian Sheehan – Last Time We Spoke

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New Zealand musician and ambient/electronic composer Rhian Sheehan has built a name for himself with nearly a dozen releases plus a wealth of soundtrack work and appearances on numerous compilations.

Fans of Nils Frahm will appreciate the nuance and blending of organic and synthetic elements in this piece. The way it pushes and pulls with it’s drifting piano melodies and mechanically-inclined rhythmic pulse.

‘Last Time We Spoke’ comes from Sheehan’s most recent album A Quiet Divide. He’s also composed the original score for the just-released Capcom Go!: The Apollo Story, an immersive 3D Planetarium Dome show documentary that showcases the historical achievements of the Apollo program and what it took to put the first human on the Moon.

ALBUM REVIEW: Lambchop – This (is what I wanted to tell you)

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Lambchop
This (Is What I Wanted To Tell You)
Merge Records

The band Lambchop is a very different beast these days, compared to a decade ago when they numbered up to 12 members with more of a conventional country soul sound. Now Lambchop is essentially Kurt Wagner with a small coterie of collaborators – a much more intimate proposition yet still possessing the gorgeous and hypnotic Lambchop qualities that have always been at the heart of their deeply soulful, emotive and intellectual music.

With compadres Matt Swanson (bass), Tony Crow (bass) and Matthew McCaughan (of Bon Iver and Hiss Golden Messenger) who co-wrote and produced the album, the band further refine the sound that first took shape on Mr. M (2016) and then blossomed into new eclectic pastures on the synth and auto-tune affected FLOTUS in 2016. Those new explorations are still embedded in the music on this record but there’s a leanness and a barer framework to these songs. You can hear the trademark melancholy via Wagner’s voice and the generally downbeat tone of the music but the songs are filtered through jazz, hip hop, future soul and the kind of avant-pop sounds that people like Scritti Politti, David Sylvian and Mark Hollis of Talk Talk developed.

Wagner’s way with words still shines through these lush textures, his devastating way of making seemingly simple phrases carry additional weight. It’s in his somnambulant delivery, the heavy use of effects on his voice but most importantly it’s the words themselves that carry the greatest weight and air of curiosity. “I’m in a Mexican restaurant bar, watching surfing and it’s amazing” he sings on ‘The Air Is Heavy And I Should Be listening To You’ and on ‘The You Isn’t So New Anymore’ he simply states “Michael Jackson just informed me that Santa Claus is coming to town”.

Wagner is firmly in his post-country phase, maybe he’s really always been there. Regardless, he’s a relentlessly inventive songwriter who is as devoted to sound, texture and atmosphere as he is to the lyrical possibilities of his poetry.

Chris Familton

 

NEW MUSIC: David Ellis – Eyes To The Sky

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T-Rex, Devendra Banhart, freewheeling melodies soaring over folk and acoustic psych boogie sounds – those the are the elements at play on this delightful track from English songwriter David Ellis. ‘Eyes To The Sky’ breezes along on a warm, spring current of air with a bucolic and organic vibe that perfectly balances wide-eyed innocence and some serious songwriting craft.

‘Eyes To The Sky’ comes from his new LP Misty Heights album, due out on August 15th.

LIVE REVIEW: Beastwars @ Crowbar, Sydney

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Beastwars with Witchskull, Potion
Crowbar, Sydney
July 11th, 2019

Crowbar is quickly establishing itself as the home of Sydney’s metal and hard rock scene and tonight it hosted New Zealand’s finest metal band, Beastwars. They’ve just chalked up their first number one album, in the wake of breaking up, singer Matthew Hyde’s diagnosis and treatment of cancer, a reformation and the recording the devastating new album IV. In our review we described it as “a blistering, pummelling, cathartic battle cry of a record,” and the expectations were for a similarly brutal live performance.

Potion are a psych/stoner metal trio that know their way around mystical bedrock heavy riffing grooves. Song titles like ‘Dead Mountain’ give you an idea of the territory they inhabit. They do heavy and slow, fast and chugging with equal aplomb, getting the heads a shakin’ early.

Witchskull dialled back the clock to a more classic rock and metal sound. Sonically it was Ozzy fronting Motorhead with many of the songs pulled from their album of last year, Coven’s Will. A bassist that looked like a lumbering, menacing Rick Rubin and a guitarist/singer with the stature of Ronnie Dio owned the front of the stage, laying down tight, paint-peeling solos and rolling, monolithic bass lines. It was an impressive set that balanced and progressed old and newer styles as one.

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Beastwars are now four albums deep so they’ve got plenty to choose from when it comes to an hour-long setlist. They drew from all of their albums, giving a holistic overview of their churning, emotive and visceral metal and hard rock. What they do so well is channel everyone from The Melvins and Soundgarden through Kyuss and Neurosis and onto contemporaries such as Pallbearer. There’s an industrial sheen to their sound but at its core there’s a primitive and primal human howl.

C9F7B23D-7FB0-49AD-9350-E067D63C03ACFrontman Matthew Hyde is hard to take your eyes off. He’s in slow motion as he sways, conducts and conjures up spirits and demons with raised hands. He’s essentially in the eye of a sonic storm, that calm spot at the core, as the fury rages around him. All his energy, no doubt dented and damaged from everything he’s been through in recent times, is channeled through his lungs and larynx. Meditative, brooding, tension-building verses invariably open up like an arriving hurricane into choruses of lacerating, throat-shredding howls that scream desperation and vindication in equal amounts. Highlights of the set included ‘Mihi’, ‘Raise The Sword’, ‘Rivermen’ and more. At times some songs blended into a morass of sludge riffing and dense rhythms but the peaks were more plentiful than the valleys across their set. When the dynamics fell into place with the rock solid rhythm section and Clayton Anderson’s clinical yet full-blooded guitar playing, Hyde seemed to channel something otherworldly and intensely personal – and the power and impact was immense. 

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Beastwars proved they’re a band who know how to convert emotion into music with intensity and gravity, hitting the hearts and bodies of the generous crowd who bowed down before them.

Chris Familton

NEW MUSIC: PCM – Ma

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Some hypnotic ambient composition to round out the week on Doubtful Sounds. PCM is an Italian ambient trio comprised of musicians Francesco Perra (P), Matteo Cantaluppi (C), Matteo Milea (M). They’ve come together to record this non-album single ‘Ma’, ahead of a full-length release. It shimmers and drifts, it’s aqueous and cloud-like in the way it moves and transitions gently across nearly eight hypnotic minutes.

Matteo Cantaluppi probably most known for his independent pop production duties has released, as a musician, a symphonic-ambient album with Baffo Banfi (“Biglietto per l’Inferno” founding member and Klaus Schulze’s collaborator) called “Frontera.” Francesco Perra is an ambient musician who often utilizes the guitar for his rich soundscapes. He’s published 3 albums, Music to Disappear (Idealmusik), The Neptune Sessions (Clubland Records), and Soundscape Box 1 (Tranquillo Records) under the name of Perry Frank. Matteo Milea is a sound engineer and sound designer who is also responsible for the trio’s art direction, giving visual representation to PCM’s liquid sounds.