Know Sounds

If Two Door Cinema Club had hit the scene with their bopped up brand of indie rock in the mid 2000s, I imagine they would've been quickly forgotten as another "it" band on a now yellowing cover of a pre-glossy NME.

But by 2010, the Wombats had become just another easy listening electro-pop band and Bloc Party had long been forgotten in the shadow of Kele's fist pumping dance/techno singles. Converse shoes and skinny jeans had been traded in for rabens and neon-print-everything, and ironically enough, indie became truly indie again because no one wanted to listen to it anymore.

So when Two Door Cinema Club released their debut Tourist History, I was so excited to hear some guitar in pop music again, the formulaic harmonies and repetitive guitar riffs on the album seemed entirely forgivable. With 10 tracks that catchy, who cared if the songs started to sound exactly the same after a while anyway?

Released earlier this month, Beacon is certainly a more mature offering than Tourist History. Lead singer Alex Trimble's lyrics tell the story of long-distance relationships on the road ("So when I say goodbye/You must do your best to try/And forgive me this weakness") and his vocals are appropriately wistful and nostalgic. 'Next Year' is the clear stand-out single of the album, with the distorted lead guitar solos and keyboard melody adding a little extra sparkle to the band's penchant for plucky guitar riffs and up-beat drum rhythms. Sam Halliday's back up vocals also add nice depth to the band's signature sing-a-long choruses.

But unlike the sharp pop formula applied to Tourist History, Beacon mostly sounds like a lesser variation of the same thing. Songs like 'Handshake' and 'Someday' are driven by the same recycled version of the high pitched electric guitar riff from Tourist History's 'Undercover Martyn' and 'What You Know'. And whilst a few tracks try to break from the Tourist History mold, with sparse arrangements and gradual instrumental climaxes, these arrangements aren't novel enough to grab the attention of the listener. They also aren't as immediately catchy as Tourist History either. For example, 'Sun' starts off promisingly with a slow tempo intro, gradually building up to a horn section playing the scratchy 80s-effect lead guitar riff in the chorus. Whilst this may make for more interesting listening, the grandeur of the horns seem wasted on such a simple riff.

Feel good tracks like 'Wake up' and 'Spring' more successfully break out of the band's stiff verse-chorus-verse-chorus structure. The disjointed, strummed guitar riff in 'Spring' is nicely contrasted with Trimble's sweet vocal harmonies. The funky bass line in 'Wake up' inserts a refreshingly different rhythm into the track. 'Wake up' also develops the band's tired high pitched guitar riff into a coherent melody towards the end, complimented by familiar sounding, yet solid drum rhythms that feature on the whole album (this lack of inventiveness may be due to the band not having a permanent drummer).

Although Beacon isn't as exciting or as gratifying a listen as Tourist History, the album shows the band's attempts at developing a less formulaic, more complex sound. The band's ability to find a large audience still interested in indie rock (albeit a watered down version of the genre) suggests that guitar rock may still be alive and well...and at least for that reason Beacon definitely deserves a listen.

Add Comments

Vote

[ Link ]

September 24th 2012 @ 05:48

Posted By: Anne Widjaja - Category: No Category

Email this Post to a Friend

Verdict: Metric @ The HiFi Bar, Sydney

The last time Metric toured around Australia with Fantasies in 2009, I caught a glimpse of the stunning Emily Haines at Parklife and fell in love. I gleefully danced away to their immediately catchy rendition of 'Gimme Sympathy' and 'Sick Muse' and wished that I hadn't been drawn away by the prospect of seeing 'it' band Empire of the Sun (the only thing that was impressive about that performance was the size of Luke Steele's headdress). News of the band's return for Splendour this year had me very excited about the prospect of renewing my outdated memory of Metric circa 09'.

After finally finding the HiFi Bar in the maze of the Entertainment Quarter (previously called the Forum), I was intrigued to see who would be unveiled as the mysterious 'local support band' billed for the night. A group of 20-something guys dressed in black t-shirts, looking as unremarkable as the roadies, introduced themselves as support act Gold Fields. If the name sounds vaguely familiar, it's because the band secured a spot on Triple J's Hottest 100, way back in 2010. Even though they've laid low over the last few years, they made quite an impression on stage with their wholly derivative (they sound identical to Friendly Fires, bongos, hand claps and all), yet tightly rehearsed, electro dance-pop sound. The band's drumming duo set a high energy, frenetic pace, which was nicely contrasted with the airy vocals of lead singer Robert Fuller.

Although the audience enjoyed a good bop to Gold Fields, once Metric entered the stage to the ambient opener of Synthetica, 'Artificial Nocturne', the crowd instantly stiffened. Tracks like 'Youth without Youth', sounded like the dark cousin of Fantasies, a stomping drum rhythm, discordant, high pitched effects and snarling lyrics ('we played double dutch with a hand grenade'). It appeared that the band's newest album Synthetica would sound as alien to the audience as the artificial shimmer that had been applied to Haines' long pale legs. Unfortunately this evening would be a straight up case of 'we-loved-your-last-album-and -we-don't-know-the-new-stuff' .

Despite the cold response from the audience, the band powered through. The sweet melody of the vocals on 'Lost Kitten' at least worked well to break up the synth driven angst of the first part of the setlist. 'Lost Kitten' also warmed up the crowd for the beautifully paced 'Help I'm Alive', which had the audience cheering at the start of those fateful snatches of the snare roll.

After a few more experimental tracks from Synthetica, 'Dead Disco' from 2003's Old Word Underground ironically revived the audience once again. Haines' seductive 'la la la las' sent the crowd into a frenzy. Although guitarist James Shaw's random guitar solo seemed entirely out of place in the simplicity of the three minute, punk gem, he at least appeared to be obliviously enjoying himself. The band ended on a thrashing rendition of 'Stadium Love' from Fantasies, much to the delight of the crowd.

The three-song encore was perhaps the most disappointing part of the gig. The band tore through two of their biggest hits, 'Monster Hospital' and 'Gold Guns Girls', with a good dose of Haines' dramatic flair. But it was the final acoustic rendition of 'Gimme Sympathy' that was all together sweet, but anti-climactic. These tracks may have made more of an impact if they had been placed earlier in the setlist to break up the blocks of Synthetica tracks.

Despite having mixed feelings about the gig, Haines was clearly the star of the show. Haines' soft, pitch perfect vocals stood out as the feature of all the songs, despite the heavy instrumentals. Although she barely interacted with the audience, there being "too much talk in the world" already, her carefree prances around the stage were mesmerising. Whilst the brooding front man is a sight I'm sure many women have a deep appreciation for, Metric's Emily Haines made me wonder why more women aren't throwing shapes behind the microphone and rocking out. Haines proves that it is possible to be both a waify blonde and a punk at heart.

Add Comments

Vote

[ Link ]

July 31st 2012 @ 09:19

Posted By: Anne Widjaja - Category: No Category

Email this Post to a Friend

Verdict: Suck it and See, Arctic Monkeys

Considering the short lived “myspace” hype surrounding Arctic Monkey's 2006 debut Whatever People Say I am That’s What I’m Not, what’s most remarkable about the Monkeys is that five years on, the band’s music is more intriguing than ever. With three successful, yet progressive and starkly different albums under their belts, the release of their fourth album (mysteriously titled Suck it and See) raised the burning question of where the hell the band would take their sound next.

In true Arctic Monkey’s fashion, singles 'Brick by Brick' and 'Don’t Sit Down ‘Cause I’ve moved Your Chair' revealed little about the band’s direction on their fourth offering. Whether these tracks were Americana-garage ‘rock n roll’ parodies (“run with scissors through a chip pan fire fight”) or a nod to the band’s transatlantic influences, it was at least satisfying to hear frontman Alex Turner return to the dry wit of the band’s first album. But Suck it and See has not been made in jest, rather quite the opposite. The band has abandoned its jungle drumming and reverb heavy guitar rock for…sugary ballads. Opener ‘She’s Thunderstorms’ may begin with a promising enough eerie guitar riff, but as soon as Turner’s sweeter-than-ever vocals come crooning in, it’s clear that the band’s particular style of snappy indie rock has taken a back seat on this album.

The album does feature a few impressive love songs, including the retro charm of ‘The Hellcat Spangled Shalalala’, and the short but sweet ‘Reckless Serenade’, with it’s catchy bass hook and possibly the band’s catchiest sing along line since "now then Mardy Bum".The band also explores new and exciting territory on ‘Piledriver Waltz’, with its heart-renchingly bare lyrics (“I heard the unhappy ending it sort of sounds like you’re leaving”) and a well paced, controlled rhythm and melody which perfectly matches the mood of Turner’s melancholic word play. Although there are hints of more complex guitar work in these tracks and a fine display of Turner’s, as always, intriguingly sharp lyrics (“Her steady hands may well have done the devil’s pedicure”), there’s a touch of uncertainty about the songs that can be heard throughout the entire album…the tentative sound of rock band adjusting to romantic ballads. Although, whilst the heavier tracks ('Library Pictures', 'All My Own Stunts') may feature spatterings of familiar guitar riffs and rhythms circa My Favourite Worst Nightmare, these tracks don’t even thrash as cohesively as we’re used to.

Ultimately, the album’s strengths are also its weaknesses. The slower tracks become more of the same as the album progresses through the 12 track listing, and Turner’s lyrics and his smooth vocals are really the only memorable part. Unlike the band's last attempts to experiment with style, this is the first Monkey’s album which unconvincingly expands the band's own musical boundaries. By the end, the entire album just washes over you with a blurry impression of its charming sentiment, but not much else.

Add Comments

Vote

[ Link ]

July 11th 2011 @ 02:43

Posted By: Anne Widjaja - Category: No Category

Email this Post to a Friend

Verdict: The Wombats @ Enmore Theatre 9/5/11

British music rag NME was pretty harsh when they described The Wombats second album This Modern Glitch as a ‘triumph for mediocrity’. The review certainly confirmed my own fears that the band’s dalliance with bland electronica was an indication of a case of serious ‘second album slump’. During the lead up to the band’s Groove in the Moo sideshow at the Enmore, mixed anticipation consequently ensued...would the band’s new tracks be met with dissatisfied shuffling in the audience?

Luckily, the opposite happened. As the band entered the stage and began playing a blistering version of Modern opener ‘Our Perfect Disease’, the crowd, despite containing a large portion of 30 yr old males, ruptured into a teen girl screaming frenzy. Surprisingly, the new tracks were just as well received as the older pop gems from 2007 debut A Guide to Love, Loss and Desperation – take that music journalism! Single ‘Jump into the Fog’ soared through the audience with the heavily accented vocals and bops of charming front man Matthew Murphy, dressed in an equally impressive dashing white suit

[ Click here to read more ]

Comments (1)

Add Comments

Vote

[ Link ]

May 22nd 2011 @ 07:41

Posted By: Anne Widjaja - Category: No Category

Email this Post to a Friend

The return of The Strokes

Since the release of The Strokes’ third studio album First Impressions of the Earth in 2006, Strokes’ fans everywhere had been dreading the signs of an impending band breakup – 4 of the 5 band members had embarked on successful solo projects, and reuniting for another album was rarely mentioned. On hiatus, Julian Casablancas was also looking cooler than ever. Luckily, we were all saved from any further depressing speculation when The Strokes began touring again in 2010. Rumours of a new album were finally confirmed when fourth album Angles was announced to be released in March.

[ Click here to read more ]

Comments (1)

Add Comments

Vote

[ Link ]

March 26th 2011 @ 05:14

Posted By: Anne Widjaja - Category: No Category

Email this Post to a Friend

Verdict: Two Door Cinema Club, Enmore Theatre, 7/2/2011

I also like sandwiches.

When Two Door Cinema Club lead singer Alex Trimble introduced a song in the set list as “from our old stuff”, the crowd’s rapturous response was cut short by Alex exclaiming “f*** you, we don’t have any old stuff!” It’s all too easy to forget that Irish, indie-guitar-pop hit makers Two Door Cinema Club only released their debut album (Tourist History) in March last year. After playing Splendour in the Grass and a sideshow at Manning Bar in 2010, the band returned to Australia just six months later for the Laneway Festival. Not only did the band upgrade their Laneway sideshow to the Enmore Theatre, but they’ve also gone from upcoming talent to sell out indie pop stars

[ Click here to read more ]

Add Comments

Vote

[ Link ]

February 26th 2011 @ 11:54

Posted By: Anne Widjaja - Category: No Category

Email this Post to a Friend

The Best and Worse of Music in 2010

As I prepare to bring down my fair hand of judgment upon the music of 2010, I can 't help but worry about how future generations will recall the music of the 'noughties'. Between the explosion of oh-so-indie experimental noise, created by men dressed like girls dressed like men; the grinding club hits; and the saints and sinners pop dichotomy, there hasn't been much to keep us seekers of quality satisfied. On that note, there has been quite a few gems, but also some serious losers in 2010.

THE BEST
[ Click here to read more ]

Add Comments

Vote

[ Link ]

December 28th 2010 @ 13:02

Posted By: Anne Widjaja - Category: No Category

Email this Post to a Friend

gallery

[ Click here to read more ]

Add Comments

Vote

[ Link ]

November 2nd 2010 @ 04:45

Posted By: Anne Widjaja - Category: No Category

Email this Post to a Friend

Verdict: Klaxons @ Enmore Theatre 2/11/10

Do you enjoy fluorescent paints, the new NME layout, fast moving shapes and space themed costumes? If you answered yes, then it's likely that you're well aware of the delicate nuances of the allusive "nu rave" genre. It's another recently invented vague indie genre pulled straight out of the collective behinds of the hottest, non-prescription glasses wearing music journos around. Well for those of you asking what this delightful little meme of a word is, slam down a tall drink of disco, hectic rave beats and strobe lighting, and proceed to throw it all right back up into a mixing machine. If you succeeded...congratulations! You've just created you're first nu rave hit, British tweens everywhere are now flailing around with glow sticks to your sick indie trance, madly drawing on their faces with coloured zinc.

Now, let me introduce you to the birth mother of nu rave, the Klaxons. Last seen in the country at Modular's 10th Birthday bash 'Nevereverland' in 2008, the three turned four man band has returned to the country this month to tour their newest offering Surfing The Void. Upon entering the stage of the Enmore theatre to what can only be described as some sort of flute inspired homage to the BBC channel, the members of the band took their places and without skipping a beat, immediately ripped into 'Flashover' from Surfing. The heaviness of the track's colliding synths and guitar riffs, and the shouted ominous lyrics "dimension of time have come undone" did not work too well as a warming introduction to the band. Instead, the gig started with a thick frost over an ever stiffening crowd

[ Click here to read more ]

Add Comments

Vote

[ Link ]

September 3rd 2010 @ 14:19

Posted By: Anne Widjaja - Category: No Category

Email this Post to a Friend

Verdict: We Are Scientists - 'Barbara'

The allure of We Are Scientist's newest album is about as enticing as a sneaky google images search for "Keith Murray" and his stunning mug. Thrilling for about half a second, until you realise that googling is not enough to satisfy your unfulfilled needs, and then you find out about his long time girlfriend and the fantasy is all, completely over.

The biggest problem with Barbara is that the tracks all zoom by at lightening speed. The catchy hooks, ziggy synths and upbeat tempos all blur together like swirling remnants of a messy night you can only half recollect in the morning. And like those morning afters, by the end of Barbara, you'll be thinking that it was all much better than it actually was at the time. Whilst there may be a marked return to the climbing electric guitar riffs and boppy grooves ('I Don't Bite') that were so masterfully crafted on 'With Love and Squalor', through all of Barbara's chirpy shine, the tracks still fall short of momentous

[ Click here to read more ]

Comments (2)

Add Comments

199

Vote

[ Link ]

July 5th 2010 @ 12:27

Posted By: Anne Widjaja - Category: No Category

Email this Post to a Friend

September 2012

1 Posts

July 2012

1 Posts