LIVE REVIEW: Ride @ Enmore Theatre, Sydney 2019

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Ride @ Enmore Theatre, Sydney NSW Sept 6th 2019

It’s been a long time between drinks for Australian fans of English band Ride but the timing felt just right with the band re-established for a couple of years now and with two solid new albums under its belt.

It’s most likely that the members of openers Shiva & The Hazards were probably not even born when Ride first emerged from Oxford in 1988. Listening to their music with that in mind casts their sound in an interesting light given how in thrall they are to bands such as Verve, Oasis and The Stone Roses. Unfortunately they were given the demoralising support band treatment with flaccid lighting and a sound mix that imagined a rock band without bass guitar and a lead guitarist whose tone sounded like it was being transmitted through a portable AM radio. They persevered unperturbed and seemed to be enjoying the thrill of a big stage gig. A song of theirs such as recent single ‘Angkor Wat’ is a strong release in it’s recorded form, ticking all the boxes of psychedelic English indie rock albeit 20+ years past its heyday, but on the Enmore stage it all sounded too disconnected and lacking warmth and depth. That said there was generous applause from those early arrivals hugging the stage barrier.

Ride have always had the ability to sound both intimate and widescreen on their albums but in the live realm they’ve made the decision to focus firmly on the latter, employing colourful stadium lighting and maximum projection, mainly from Mark Gardener. You got the sense that the newer songs they played were written with that in mind. Big riffs, repeated and pushed out into the room with emphasis on dynamics over texture. Of those new ones the two that resonated most strongly were the Primal Scream’ish ‘Kiill Switch’ and ‘Future Love’, an absolute gem of a song, easily the equal of the best in their catalogue. Live, its jangling riffs and near perfect vocal harmonies lit up the room and provided relief from the more overwrought moments on the setlist.

Of course nearly everyone was there to hear songs that thrillingly illuminated a particular corner of their musical youth nearly 30 years ago. Songs from the seminal Nowhere album and its follow-up Going Blank Again. The dense and agile baggy noise of ‘Seagull’, the chiming perfection of ‘Vapour Trail’, the cascading heavy-lidded hypnotism of ‘Dreams Burn Down’ and the interstellar gospel psychedelia of ‘Polar Bear’ from their debut album all gloriously lived up to expectations, as did ‘Leave Them All Behind’ and the dystopian light-headedness of ‘Chrome Waves’ from Going Blank Again. ‘Twisterella’ from the same album was great to hear but it hasn’t aged as well as their other songs, sounding timestamped and with a whiff of nostalgia about it.

As a band they were firing on all cylinders, tight and in the pocket. It was overwhelmingly evident that they’re the sum of their parts, even if Mark Gardener takes on the frontman role, clearly relishing his position as interlocutor for the band. Listen closely though and it quickly became clear how essential Andy Bell’s guitar playing is. Those riffs that define the golden moments in the songs, the twists and turns that add the colour and sheen that made Ride the great band they were (and still are). Steve Queralt (bass) and Loz Colbert are an underrated rhythm section too. The former with feet planted and rooted to the spot, playing it straight for the most part, occasionally delivering defining bass lines such as the central hook of ‘Seagull’. Colbert too is essential, the anchor and the engine in perpetual rhythm and motion.

Ride in 2019 are a band who have navigated the reunion process better than most. They’ve reignited the creative spark of their songwriting and recording and put together a show that pleases fans new and old. They remain vital and energised, and even though they at times overcooked the ‘rock show’ aspect of the gig, the songs and sounds they built their audience and acclaim on remain intact, and gloriously so.

Chris Familton

NEW MUSIC: The Laurels – Sound System

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The Laurels are back with a new single/video, ‘Sound System’, their first with new member Kat Harley (Mezko) on bass and vocals.

As usual they’re working that hazy and fascinating space between genres that they’ve always navigated so well. Indie rock with art-pop melodies filtered through shoegaze and psych. This time round the song has a distinctly futuristic sheen to it, in keeping with its subject matter.

“High rise apartments and rent prices loom large over this paean to a future dystopian city, the inhabitants of which are doomed to a lifetime of evenings spent in queues waiting to eat at fine dining restaurants after a round of putt putt golf.” He continues “Sound System finds this group of part-time disc jockeys loading up their van with generators and loud speakers as they seek to reignite the street party.”
– Luke O’Farrell

The Laurels have Sydney and Melbourne shows happening soon:

The Lansdowne, Sydney
Saturday, July 20th
TICKETS

The Gasometer, Melbourne
Saturday, July 27th
TICKETS

NEW MUSIC: Blain Cunneen – Feelin’ Kinda Fragile

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Here’s the debut single from Sydney singer-songwriter (and guitarist for Julia Jacklin), Blain Cunneen. ‘Feelin’ Kinda Fragile’ comes from his four track EP The Prizes We Demand which is due out later this year and finds him crafting a fine line in art-pop that reminds us of Beck, Sparklehorse and dEUS .

The song’s melodic hooks are draped over some wonderful angular and interwoven instrumentation, where a light psychedelia is built on simplicity and strong musical ideas rather than being oversaturated in effects or weirdness for weird’s sake. We’re looking forward to hearing the rest of the EP later in 2019.

EP REVIEW: Body Type – EP2

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Inertia Music / Partisan

The Sydney quartet are releasing this, their second EP, on the eve of a UK tour, another sign of the band’s rising star status on the international stage. Of course, they’ve been the local talk of the town for a couple of years, building a solid following via their own shows and some fine support slots. 

If EP was their calling card, their first real statement of intent beyond a couple of earlier singles, then EP2 is another step forward. It solidifies their reputation as incisive songwriters and fine players. They’ve got an ear to the ground but a widescreen songwriting vision.

Opener and first single ”Stingray bursts from the gates with a spray of guitar notes, sparkling and cascading over the nimble rhythm section. It’s a great example of the rush of energy they can invest in their songs, the retention of the rough edges to the music and the economy of their songs. Pop in structure but noisy and damn catchy by nature.

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‘Free To Air’ initially dials things back to a wistful and melancholic slice of dream pop before choppy drums and their swirling jangly guitars take flight. It’s a song apparently inspired by an old neighbour of Annabel Blackman’s and his life as witnessed remotely from her bedroom. Musically the song captures that mood of both intimacy and disassociated observation. ‘Insomnia’ inhabits a similar atmospheric place, the highlight being Blackman’s vocal melody which is heavy-lidded and drowsy yet still irresistibly catchy.

‘Sad Wax’ weaves more of the same snake charmer guitar lines into the song’s DNA but it lacks the same impact and physicality of the other songs on the EP. It’s a pleasant enough track but it sounds under-formed as it repeatedly circles the same musical idea without building or elaborating on it. The final track ‘UMA’ gets things back on track with a different sonic palette. The bass comes to the fore, leading the song into grungier territory akin to Pixies with a dash of Hole. It works wonderfully, all tension and quirks courtesy of shrieks and sneered, gang vocals, capping off an impressive batch of songs from a band that just keep getting better and better.

Chris Familton

NEW MUSIC: Benefits – Strains

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Benefits is the musical project of Sydney songwriter Mason Lewtas plus Ben Cauduro (Keys), Matthew Bilic (bass), and Jordan Quilty (drums). Based on the indie rock hooks of ‘Strains’ he’s got a good thing going on in the songwriting dept. Guitars sparkle and charm over a relaxed vocal melody and a melodic set of finely balanced riffs that swing and hang in the air with tough nuance. This looks to be his second single after last year’s similarly catchy ‘Waste My Time’.

 

SONIC KICKS: Wahoo Ghost

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Sydney trio Wahoo Ghost have just released their debut album The Eighth Door and the brand new single She Wolf’ (check out the video below). The album is high on atmospheric psychedelia that swirls around the dark poetry of Charli Rainford. Space and texture is paramount, whether it’s raw and bluesy or grainy and dream-laden.

The Eighth Door is available now on Spotify, Apple Music and CD Baby.

Guitarist Rob Crow took the time to take our Sonic Kicks Q&A to give us a taste of some of the albums that have shaped his musical life.

Wahoo Ghost are Charli Rainford (vocals, guitar), Rob Crow (lead guitar), and Jarvis Woolley (percussion).

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The first album I bought.

The Goodies – Greatest Hits.

Well I was only nine, what did you expect, Iggy & The Stooges?

Black Angels

An album that soundtracked a relationship.

The Black Angels – Phosphene Dream.

I used to have a neighbour whose dog would howl every time I put this album on. As soon as the guitar riff in ‘Bad Vibrations’ started, that set him off, then he’d howl over the fence for the entire album. After a while we became friends. His name was Boris. Wait, you didn’t mean a romantic relationship did you?

Hawkwind

An album that inspired me to form a band.

Hawkwind – In Search of Space.

Space music doesn’t have to mean songs about other planets, but music that uses space – sparseness, atmosphere and strange whooshing effects, to take you to your own inner zone-out space. We try to create atmosphere and space in our music too. Have I used the word “space” enough yet?

The Fall

An album that reminds me of my high school years.

The Fall – This Nation’s Saving Grace.

I was the weirdo at school who didn’t really fit in. So I used to travel on the tube up to central London to see bands, to escape the humdrum suburban life. The Fall were one of the best. Sarcastic, angular, awkward and repetitive. A bit like me as a teenager.

Spiritualized

An album I’d love to hear live and played in full.

Spiritualized – Pure Phase.

Epic, soulful, emotional, soaring, beautiful. Spiritualized are another band who are masters of using space in their music. Some moments in this album feel like time is frozen, and you are transported to another world.

Kraftwerk

My favourite album cover art.

Kraftwerk – Computer World.

This album cover is what the future looked used to look like, in the past. Oh, and they also kickstarted the whole movement of electronic music. Geniuses.

 

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A guilty pleasure album.

A Flock of Seagulls – A Flock of Seagulls.

I don’t really feel guilty about any music that I genuinely like. But once you can get past the haircuts, this is actually a pretty good album. And now that 1982 is the new black, they’re kind of cool again, aren’t they?

Grouper

The last album I bought.

Grouper – Grid of Points.

This is the ultimate in atmospheric music, very introspective, reminiscent of early Portishead. Liz Harris’ voice is run through reverbs and delays, along with sparse instrumentation, creating dense layers of sound. Don’t put this on at a party.

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The next album I want to buy.

Syntax Error – Message.

You absolutely should put this on at a party. One of the best bands in Sydney right now. Hypnotic rhythms, swirling swooping space effects, and a theremin, the only instrument you play without actually touching it. 

 

NEW MUSIC: 100 – Just Us

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Crawling out of the Sydney underbelly is 100, a tension-laden quartet with a brand new song to follow-up their EP Cortisone and a split 7″ with Nick Nuisance & The Delinquents.

‘Just Us’ lurches and staggers across the speakers with the creeping malevolence of Jesus Lizard and Nirvana. It’s unhinged yet the band are in full control as they delivered these monolithic crashing post-punk chords that hang suspended in the air before dropping like free-falling asteroids.