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Verdict: The Wombats @ The Enmore

August 11th 2008 14:27
If your deep, indie snobbery can not bear the thought of taking a band named after a slow moving marsupial seriously than ha! that's exactly what they wanted, so go wear some ray bans and poke out the lenses to redeem your I-am-the-original-scenester sense of self. It is rare that the critics actually praise a pop band whose emotional depth is probably at it's height in a song about falling in love with a stripper, so I'm going to jump right on the band wagon and say: The Wombats are the greatest thing to happen to indie pop. In the midst of an increasingly image obsessed music scene, it is so so refreshing to see a successful band that really don't give a sh*t and don't take themselves too seriously. Observe: your average indie/rock band dress up like they just left the set of Micheal Jackson's Thriller video, but make their entrance on stage in a manner not unlike an entrance into the local 7/11. But then it takes about 3 seconds for them to turn into rock stars, Rocky Balboa style, hands up in the air, leaping around the equipment - to the horror of the techies, encouraging the screaming crowd to let their lungs practically fall out of their mouths before they pick up their instruments. The Wombats on the other hand saunter on stage to Queen's Bicycle, wearing all the colours you would find in an exciting crayon box, frontman Matthey Murphy rock popping it up on a baby blue guitar covered in tiny flowers. They are a genuinely weird trio of Liverpudlian kids who derived their band name from 'wombo the wombat', a fictional character who they made up and referred to in daily conversations. They're unbelievably, not even cringe worthily, FUN.





After an exhausting list of tour dates and with a relatively small on album repertoire the band have become a well oiled live gigging machine, playing out every repeated bridge of harmonised oohs and ahhs to the delight of their predominately female, hook hungry crowd. Opening with the first single Kill the Director, they extend the beginning bars of the song just to send the crowd over the edge with anticipation (not that they needed it). And, as soon as those first lyrics are sing-spoken by Murphy, the first rows in the standing area begin to pulsate with ecstatic energy. 'This is no Bridget Jones' is left to the audience to sing, well rather shout, with surprisingly aggressive conviction after Murphy himself is drowned out. The band seamlessly rip through each song from their debut album A Guide to Love, Loss and Desperation to perfection; every note, every guitar riff, every chorus is spot on. But just to keep things interesting the set is cohesively bridged together by a jam consisting of a couple of notes from the end of songs, building up the 'ooh what song are they playing now' excitement. Just when I though I would get a moment to breath for the only 'quiet' moment on the album Here Comes the Anxiety , the crowd, visibly beginning to tire after all the relentless bopping, relays the lyrics with enthusiasm and swaying hand action that matches the reception of the faster songs, crooning lyrics 'I think I'll just be honest' and later Little Miss Pipedream's 'I'd cheat a priest just to get to you' with an empathy for Murphy's lyrics that are the key to The Wombats popularity. Catchy lyrics that aren't drawled or mumbled, catchy hooks and riffs, fast paced cymbal heavy drum beats and an easy sing along line in every song, are a perfect formula for digestible guitar pop in its purest form. The highlight of the evening, Let's Dance to Joy Division invokes a literal meaning to the phrase 'jumping beans' as the crowd attempts to jump/dance/jig/whatever around in time to the frenetically paced drums and guitar riffs, yelling every lyric louder and louder with the increasing deafness of each punter. And just as you think the band couldn't be any more likable Murphy mentions the 'Harold Bishop Appreciation Society' (about three times) between songs and decides to wear a giant green and gold sombrero for a little while until he looks as if he is about to drown in his own sweat. The epic closer, My First Wedding brings out the angry, jealous ex in everyone in the crowd especially with the chorus 'She's not that beautiful!' yelled like a mantra for the first wive's club. The Wombats certainly are the little band that could...and judging from the new song they previewed (only ever officially played live for the 2nd time) the best is yet to come.
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Internet file sharing is the best thing to ever happen for the music industry. There is not an easier/cheaper way to hype up a band, or get a song out there, than through the internet. The popularity of a genre like indie is completely built up on this very premise - one day that band featured on myspace were just a bunch of extremely young looking, messy haired teens and the next thing you know the band is hand picked to support acts like the Arctic Monkeys and the lead singer is on the cover of the Good Weekend. The record industry however, is the titanic, except we don't really feel sorry for the Captain who instead of going down with dignity, is making his crew walk the plank and stealing their salaries. I imagine he would also be hoarding Rose's picassos, which in this version look remarkably like 'long lost' Beatles vinyls, before comfortably sailing away from the crash in a luminous white getaway jet named the iboat which lights up when you hold the engine.

Anyway, Kings of Leon is the latest band to jump on the lets give singles away for free and stick it to Sony BMG, bandwagon. Their new single 'Crawl' is contemporary blues rock at its best, and Kings of Leon should be praised for their ability to turn a very old genre into timeless, alternative rock genius. Caleb Followill's perfectly raspy rock god voice makes an angry lyric strangely relaxed and croony, and never fear a killer guitar solo is included. Simple guitar riffs burst intermittently between sprawling, lingering, dragging vocals by Caleb - 'they want to see us crawl'. Enjoy it - it's free!
Download 'Crawl'
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I like music. This may come as a shock to you all, but I really do. So I try to give all genres a try. Mostly so I don't get caught out when I say I hate a certain genre or song and when someone challenges me with 'well have you listened to name drop well known single?' I can say 'yes and I still hate it/them'. Anyway Bloc Party was one of those bands I didn't initially like, but I still hadn't given them a proper chance and so my insulting the band was based on nothing really. I thought maybe I had not made enough of an informed decision and everyone who had 'good' taste was always saying how good they were, so I got Silent Alarm and I admit it did change my mind completely. Kele's vocals always bugged me, but when I got used to them, I realised how great his deep, hollow voice set songs like Banquet and A Weekend In The City's The Prayer apart from the other indie bands that were straying into the mainstream. They made Bloc Party, well, Bloc Party. I also respected the way the band could create rythms with electric guitar riffs and hectic drum beats in a way that made them very dance floor friendly, yet still respectable in the indie rock world.

So when I kept hearing them ramble about how excited they were about the revival of dance music and the emergence of genres such as 'nu-rave' (see music of the Klaxons for more information) and also simultaneously preparing their fans for what they were going to do next, which was was to do what their hearts desired and make dance music. SO, Flux happened. At first I was intrigued to see them make some decent dance music. That is music which sounds like it required more effort than pressing the prerecorded back track record on those twenty dollar keyboards they sell in the toy section at Target. Flux is decent. Although I can not stand it when bands put those HORRIBLE robot like voice affecting filters on their lead vocals, especially on a voice like Kele's, but at least it isn't too noticeable. If you skip the first half of the track it still resembles a Bloc Party song. But then they released Mercury and I lost all hope of this dance thing just being a faze. After listening to the track a couple of times, I must admit it's a good dance track, especially the experimenting with strings, brass and bongo drums (always GREAT drumming with Bloc Party) in the latter part of the song. But then I went to my faithful itunes and listened to This Modern Love and I felt sad, a sense of grief if you like, realising that that Bloc Party has long gone. My problem with dance/electro/trance- is I find it hard to connect to - it has no soul! (cue large choir with large African women praising Jesus!).The old Bloc Party has long exited the building or rather traded it in for crossing over to the dimly lit, 'shuffle' dancing side. I love going to rock concerts seeing punters moved, you know that cheesy moment with the simultaneous fist punching and beer spilling during the acoustic songs. Mosh pits may be gross but at least people join together and move in a communal, admittedly violent/drunk direction. How can the music be that phenomenal when the most genuine, excited fans of the genre show their appreciation in a 'shuffle'?

Anyhoo, make up your own mind and listen to their new single MERCURY at: www.myspace.com/blocparty
www.blocparty.com
(Atleast their new video clips on their website are trippy)
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Indie-itus: A diagnosis

June 28th 2008 00:40
Do not let the above statement become a reality. Do not be a victim to your disease!

Do you have indie-itus? Answer YES or NO to the following questions for a comprehensive diagnosis:

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Hail to the converse shoe for making comfortable sneakers cool! My feet would be so mangled without them, as there is a serious lack of comfortable and trendy ladies footwear available to the overly enthused/fashionably aware gig-goer, that is, prior to the comeback of the beloved converse shoe. It's comeback was probably concocted by a marketing team who sought to target trendoids like myself, who knew that those who have suffered as I have would buy canvas sneakers which probably cost 50C to make, at $50 (damn/praise them!) Well in the new alternative/indie/scenester market who better to sing the praises of the converse shoe in celebration of it's birthday, than three ingenious musicians who are how cool? Ice cold, mofos! - Julian Casablancas of the Strokes, Pharrell Williams and Santogold. Coined the 'converse mix' of Pharrell Williams' ''My Drive Thru' if you've ever wondered what the hell hip-pop is or if Julian Casablancas' vocals can transcend the holiness of The Strokes than this track will give you all the answers. Now, don't expect a song which literally refers to the awesomeness of the converse shoe, which I did, and was sorely disappointed. But no, in all seriousness it's a great tune despite the title of the track which reminds me of a certain scene in a certain movie that involves the repetition of the phrase 'and theeen?'.

So what does it sound like? It has that same big band beat as other songs which relate to cars e.g. 'Carwash' but the rythm is set by a rough electro guitar reverb and the occasional organ chord, true to Pharrell's usual innovative style. The song starts off loud and proud, with bells and whistles (almost literally) with a pulsing guitar rythm and tick tacking drums, which vibe well with Pharrell's Micheal Jackson-y high vocals/intermittent 'ooh!'s. Then Casablancas takes over, interchangeably with Santogold, and the song suddenly becomes indie/electro/pop gold.Casablanca's vocals hit a high that you've never heard on any Strokes song, sounding even grander against the organ chords, proving that his voice certainly makes any song/genre/anything involving sound waves feel effortlessly cool and original - he is Julian freaking Casablancas after all. But just to remind you that it is Pharrell's song he sings Ooh! in the background once in a while, especially during Casablancas' singing - (probably in a fit of jealousy), and it's also the last thing you hear on the track (which makes you think that maybe his ooh!s form some kind of subliminal message


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If you're thinking of dabbling in the ambiguously murky world of indie pop, Death Cab for Cutie (DCFC) is the best place to start. Witty lyrics, Check. Featured on the OC, Check. Hates their new, larger mainstream, pseudo 'alternative' fan base? Check. At least one member of the band sports a side fringe/cool plastic square rimmed glasses? Check, check, check


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Anti Violence eh?
In light of the tragic suicide of Hannah Bond, coroner Roger Sykes suggested that the suicide may have been linked to the 'disturbing' overtones of 'emo' music ie. the very pioneers of the 'emo' genre: My Chemical Romance (MCR or 'my chem' to the emo savvy). Even though the band deny this label, the two terms have an undeniably symbiotic relationship. Let me demonstrate. Name three things that you associate 'emo' with...and it doesn't count if you didn't say MCR just because you preempted where I was going with this. Anyway, the band posted the following message on their website:

"We have recently learned of the suicide and tragic loss of Hannah Bond. We'd like to send our condolences to her family during this time of mourning. Our hearts and thoughts are with them. My Chemical Romance are and always have been vocally anti-violence and anti-suicide. As a band, we have always made it one of our missions through our actions to provide comfort, support, and solace to our fans..."
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She's been to rehab
He's been to rehab
She's written a song about not going to rehab


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The success of X and Y confused me. You know it’s bad when the band, well really just front man Chris Martin, admits an album is not their finest work. Yet, it sold millions worldwide. Its success showed that the band had established themselves as ‘big’ ie. any album they release will sell, as long as it had a few stadium friendly anthems with choruses that you can wave your hands about to. Coldplay became the dreaded ‘m’ word. Mainstream. It seemed like the band would eventually fade away, releasing singles that would only reach the half listening ears of those who used their albums as background music. But Alas! They did the honourable thing and chose to prove that they were not going to accept being a band only ever referenced in conversations as that band you can never remember the name of. You know the one that had that song about a colour.

Fast forward three years and the buzz surrounding their new album has put them back on the righteous path of a band that could be interesting but not interesting enough to be radio unfriendly. This was largely due to the fantastic PR work done on behalf of EMI. Brian Eno produces! Free shows! Free single download! Free cool vintage vinyl with NME! Hand scrawled messages on their website, signed Prospekt?! Chris Martin hasn’t mentioned Free Trade in a while! – Goodness could Coldplay actually be attempting something original? Could the new Coldplay album actually have songs that sound different from one another


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If you like
a) indie
b) alternative


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