NEW MUSIC: Karyme – خونمون

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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.

 

INTERVIEW: Nils Frahm

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photo by Alexander Schneider

WHEN MUSIC & ELECTRICITY COLLIDE

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 – additional music 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.

LIVE REVIEW: Power Trip @ Bald Faced Stag, Sydney

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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.

 Chris Familton

NEW MUSIC: Silent Feature – Stiffs And The Saints

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A recently released single from Brisbane band Silent Feature. ‘Stiff And The Saints’ careens along on pop’ish hooks and some fine indie rock guitar. They’re a tougher take on the sound of The Shins, echoes of country rock bouncing off their walls… power pop too, particularly 90s glam sound that Redd Kross were mining.

 

ALBUM REVIEW: Roadhouses – Roadhouses

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They say that it is harder to play music slowly than it is to play it fast. Things fall apart and momentum is lost. In the case of Sydney trio Roadhouses, sedated rock music is their calling card. They deal in drifting, alt-country-imbued, slowcore torch songs where heartache is just a tear away. If you got Lucinda Williams to front Spain, at the Twin Peaks Roadhouse – you’d have a pretty accurate summation of the sound and aesthetic of this album.

Skirts as short as sin, drinks that don’t touch the side – you get the picture of where Yvonne Moxham takes her songs. Late night bars, heartbreak and yearning populate her songs of burgeoning and fracturing relationships. First you’ll be mesmerised by the band’s haunting, atmospheric sound, then drawn in by Moxham’s lyrics that hang heavy in the air. Drummer Cec Condon (Mess Hall) throws inventive rhythms and accents into the mix, like a slow motion Jim White. 

‘Black Lights’ throws a subtle curveball into proceedings with its melancholic synths and trip hop drumming that brings to mind Everything But The Girl jamming with Cowboy Junkies. Elsewhere, ‘Heartless’ recalls the haunting minimalism of Low and in ‘Drinkin’’ they conjure up a wonderfully lush, swoon and swell of a sound. Sadness, pain and bruised romance never sounded as good as it does on this excellent debut album.

Chris Familton

 

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: Machine Translations – Oh

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J Walker returns with his first album in four years and it finds him in an eclectic yet economical mood. The Bright Door (2007) possessed polish and an ornate sheen while Oh replaces that with rougher edges and a subtle shift toward a lower-fi aesthetic.

The opening track Made A Friend sounds like Beck in his melancholic balladeer mode before the first single Parliament Of Spiders (and later, the title-track) veers off into skewed art-pop mode akin to Spoon. It highlights the stronger focus on rhythm and melodies that jump from the speakers with more immediacy. Sola gets even more primal with a Sonic Youth meets Sparklehorse guitar skronk and driving urgency.

Walker has a way of vocally inhabiting his songs in a range of styles, from slacker dispatches to warm songwriter crooning. It shows his magpie approach to writing but even though the styles vary the sonic palette he utilises is cleverly controlled and its elements blended in service to the song, never for the sake of obtuse musical eccentricity. The instrumental Room 17 particularly stands out with its delicate phrasings and Dirty Three-indebted European gypsy sway.

Oh is an endlessly fascinating album, still built on multi-layered creativity but presented in concise and vibrant form.

Chris Familton