Post-rock is a genre that in its finest moments has boundless possibilities, multiple genres instrumentally intertwined to create moods and atmospheres that range from the intimate to the widescreen. Pinball are a France-based group comprised of Australian expats Melissa Cox (violin) and Alex Stuart (guitar), and French musicians Benjamin Body (bass) and Simon Clavel (drums).
‘Skies’ is a track that builds evocatively over four minutes, Cox’s violin making it impossible to avoid comparisons with fellow countryman Warren Ellis of the Dirty Three. The quartet employ a wonderful sway and gently propulsive motion, gradually lifting the music into a headier place without ever overplaying their hand. Lovely stuff.
Their debut album, recorded live in the studio in one afternoon, is due out March 27th.
We’ve dug everything we’ve heard from Quivers and this single, released toward the end of 2019 is no exception. That blend of jangly/chiming guitars, melancholy and effortless momentum. It’s like a road trip soundtracked by The Byrds and The Bats. Lovely stuff.
Quivers is the lyric-driven guitar-pop project of Tasmanian Sam J Nicholson. Having moved to Melbourne, the band is rounded-out by Bella Quinlan (bass), Holly Thomas (drums) and Michael Panton (lead guitar).
The smooth sailing prince of low-slung synth pop and disco funk is back with a new single Second Dinner’. It’s another winning slice of coy 80s electronic pop with shades of Bryan Ferry fronting a sultry disco house band with Giorgio Moroder producing.
Amyl & The Sniffers Amyl & The Sniffers Flightless Records
Roaring out of the gates like an amalgam of Motorhead, AC/DC and The Datsuns, Amyl & The Sniffers know the power of simplicity, attitude and abandon on their debut self-titled album. It’s a lean 11 songs that capture the spirit and verve of their live shows surprisingly well due to an avoidance of unnecessary studio sheen.
‘Gacked On Anger’ is the first smile-and-nod moment on the record, where the dots connect and Amy Taylor’s brattish, sneering yelps bring the visceral, yet basic, garage punk and rock riffage to life. She’s a force of nature right across the record, always sounding urgent and impassioned. The distorted bass riff that opens ‘GFY’ (an acronym for Go Fuck Yourself) is a momentary reprieve from the onslaught before the hurricane of fast chords and four-to-the-floor drumming resumes.
One can hear the historic traces of Australian, UK ‘(Some Mutts (Can’t Be Muzzled)‘ is reminiscent of The Damned’s ‘New Rose’) and US punk in the the sound of The Sniffers and their blend of melody and primitive rock ’n’ roll means they’re clearly the latest local gem in the lineage of The Angels, The Saints and AC/DC. Taylor is clearly the star, the front person balancing unhinged mania with some astute nutshell observations on love, lust and self empowerment. Her two finest moments on the album are ‘Got You’, with verses that sound like a spiky Courtney Barnett and a tearing chorus that begs for mass sing-alongs at high volume. ‘Angel’ has a brilliant vocal hook in its chorus and guitars that sing and move like the best moments of The Sunnyboys.
Even though this is the kind of inner city punk rock that has echoed from pubs for nearly half a century, it’s still refreshing to hear primitive, raw and febrile rock ’n’ roll bottled so appealingly and urgently as it is here.
More wacky spellings but more great psychedelically-infused music from Australia. Dan Lean and Liam Eaton are the pair behind The Frownsss and ‘Zanatras’ (their second single) is a loping, loose limbed creature (or robot) of a song that has a twist of Link Wray guitar thrown into the mix.
This pulsing, kinetic instrumental track from Australian producer Karyme caught our ear this week. Elements of jazz, trip hop and downbeat electronica combine on a track that sounds like it’s in constant motion. A playful bass-line keeps things anchored as drums push and pull and synth pads provide melodic beds of texture and sonic bliss.
خونمون [kho͞onamo͞on] the first single from Karyme’s full length release, Full Cream.
The last decade has seen a rise in the popularity of modern classical music and its influence on other genres, particularly electronic music. One of the leading lights in the scene is German composer Nils Frahm and in a revealing conversation with Chris Familton he discusses his musical beginnings, his future and the constant flux of his live shows.
It’s 1:30am on an autumn morning in Berlin and Nils Frahm is ensconced in Saal 3, his studio in the iconic, Funkhaus, a 1950s building that previously housed world-class recording facilities and was home to GDR state radio. “I’m always a professional, always working when I’m not sleeping,” he laughs. “I like the night, it’s perfect for musicians. It’s quiet and inspiring. I’ve been in the studio for four hours and I’ve already unlearned how to speak and so it is civilising to talk a little bit.”
It’s been a big year for Frahm, with a heavy touring schedule on the back of his acclaimed All Melody album, He’s about to return to Australia for the first time in four years but don’t expect to immediately recognise songs from the album when he plays them on stage. “All the songs have changed already. I can’t go back to where I started them,” he says, with a note of satisfaction in his voice. “I deconstruct the compositions all the time and build them in a different way. I feel like the songs are ongoing compositions and when the task is to play them again, no-one could ask me to play them the same every time. I need to destroy what I did yesterday and redo it today. It needs to be a little bit different each time,” Frahm emphasises.
A hallmark of Frahm’s music is his ability to seamlessly blend electronic and acoustic instruments and still retain an organic, tactile and emotionally resonant quality in his work. “It doesn’t matter how something is played, just listen to the music,” Frahm responds, before tracing his fascination with both musical worlds back to the lounge room of his childhood home. “For me it was a natural connection to electronic music because it was always connected to my father’s hi-fi system. It was highly electronic so that connection between music and electricity was always there for me and wasn’t a separate thing. I was aware that a piano didn’t have a plug and other things did, but I thought a vinyl record player was as exciting as a piano. I liked anything that played music to my ears and made me feel amazing,” says Frahm.
“I was always curious about music and I like when I don’t really know how something is made. It can be made by an orchestra, it can be made by a synthesiser or even an algorithm. If it sounds good to my ears, and it all comes out of speakers in the end, I don’t worry. Here in my studio I’m looking at my patch bay and cables one to eight are all microphones and nine to 16 are all synthesisers. They are all the same cables. Even the acoustic piano goes through the same cable as my synthesiser and they come out of the same speakers,” explains Frahm, surveying the array of keyboards, pianos and synthesisers around him.
The conversation leads to where Frahm first had a strong emotional response to music. Not just hearing it as background music on the radio or in the endless hours of practising scales in piano lessons. “There were some songs that amazed me. ECM released John Surman, the saxophone player who played along to synthesisers and loops. It was something that burnt into my heart,” he recalls passionately. “I was crying to that song when I was a kid, and it had no lyrics or anything. It was just a harmonic motif and the timbre of the synthesiser, together with the saxophone. A truly amazing combination of a real instrument and something alien that I couldn’t understand. I heard many good examples of tasteful blends of those two worlds, even before I recorded anything, so I was very confident that it could be done and I was standing on the shoulders of heroes.”
Frahm still has All Melody tour dates stretching into 2019, but what then? He recently released Encores 1 – additionalmusic from the same album sessions, and he hints at but doesn’t confirm that there will be more in that series. For Frahm it seems like his future is something of a mystery at the moment. “I don’t tend to plan too far ahead. I just want to survive next year and then in 2020 who knows what I’m feeling like doing then. It’s a crazy time in life and I’m meeting a lot of people around me who talk about inspiration and what they want to do in life. I hope by 2020 I’ll be smarter and can imagine something a little wiser than what I’m doing now – being the pop icon who is traveling around the world with tons of equipment and lots of people and playing these silly festivals around each corner.”
It’s a revealing and remarkably candid insight into the decisions an artist has to make – the form, timing and responsibility of presenting their art. “I’m totally open for all of this to end, to be honest. I don’t want to be the person who just stops and takes something away from people. I can’t say I’m excited to just finish a tour in two years and then do the next album and then do a huge tour. I don’t know how many years we can go on like this. It’s really crazy man. I’m not dark about the future, I’m excited… but I’m absolutely puzzled.” says Frahm, before returning to the solitude of the early hours, the empty Funkhaus hallways and the cables and synths of his studio.
Power Trip, Flaming Wrekage, Shackles
Bald Faced Stag, Leichhardt NSW, Australia
September 22nd, 2018
As legends of the thrash scene such as Slayer, play farewell tours, attention starts to shift to who will lead the next wave of metal. On the back of their acclaimed Nightmare Logic album, Power Trip are widely considered the reigning princes of a new breed of thrash. Accordingly it was no surprise to see sold out signs at their debut Sydney show.
Locals Flaming Wrekage took to the task of opening the evening with vigour and enthusiasm. They’ve been carving out a niche for close to decade now and that experience showed in the balance of pure thrash and more melodic leanings, as they shifted between the two effortlessly.
Shackles took things into a different level with songs that barely hit two minutes. Played at a lower speed they’d probably be standard length but such is the intensity and top gear approach by the band, they literally hurtle through rapid-fire grind-core riffs with a drummer that was more machine precision than human metronome. The death/punk vocal approach was a blistered blast of a growl that would have been more effective if it had been better placed in the mix.
If the night had been stepping up in quality with each act, it took a quantum leap forward when Power Trip hit the stage. The clarity and tightness of their playing was on display from the opening pummelling chug and their high velocity intensity. Looking at the band you could pinpoint the various influences of their sound, the hardcore punk of vocalist Riley Gale, the classic metal hinted at by bassist Chris Whetzel’s Judas Priest t-shirt, the 80s thrash vibe of lead guitarist Blake Ibanez. You get all that and more when Power Trip lay waste to a stage and by song two they’d incited a circle pit behind the flailing limbs and stray boots of surfing punters. Crowd favourite Executioner’s Tax (Swing Of The Axe) got an early airing and was a high point of the night, Gale leaning out into the throng, grinning maniacally and leading the anthemic and macabre chorus before making an appeal for weed to help ease the pain of a rolled ankle the previous night in Brisbane.
Divine Apprehension, from their recent retrospective release, was pure thrash chug with wailing cyber solos. Rhythm guitarist Nicky Stewart eyed off the crowed with a menacing raised fist, bared teeth and theatrical intensity when he wasn’t laying down slabs of artillery riffs, the solid base between the rhythm section and Ibanez’s pyrotechnics. Returning for the encore and one final round of chaos, they pulled out Crossbreaker from their debut album before leaving the heaving masses satiated and promising to return to Australia sooner rather than later. Power Trip had prevailed, cementing themselves as the new bastions of hybridised metal.