EP Review - Venom

VENOM

by Ella Hooper (out now)

Ella Hooper's debut solo album In Tongues marked a turning point in the career of one of Australia's greatest musical talents. Reborn an indie-chanteuse of the highest order, the LP offered a slew of sophisticated pop and rock gems that were anchored by the fiery power her fans have celebrated for over fifteen years. Less than a year later Hooper returns with the Venom EP, a collection of tracks that showcase the most vulnerable side of her we've seen yet. These are songs to break and make your heart, songs that many of us will relate to and maybe even find a sense of catharsis from that I can only imagine (and hope) Hooper achieved in the recording process. Venom is the painful journey from confused heartache to the eventual release that comes with accepting something you can't change. It's a terribly effecting piece of work that lovers of the sad musics will hold dear to their heart, but it's not all doom and gloom. Let's take a closer look at the tracks and you'll see what I mean...      

Singing to the rats in the park... after dark

Wonder if you don't have the guts... or the heart

To tell me the whole story I wanted to know for so long

- 'Rats'


A vivid image of Hooper's world is painted on 'Rats', a song rich with melancholy and full of all of those questions you can't fight from popping into your head when you find yourself at your lowest. As will always be the case with tales of this nature, it feels like you've been invited to join in on a very private moment. The narrator's heart and mind locked in battle. Will they break down completely or find the inner strength to get them through the night? A more restricted use of instrumentation than we're used to wisely puts the focus on the lyrics and Hooper's defeated performance. With the constant shaker percussion highlighting the internal conflict and loss of reason, the question of, "is this something I deserve?" becomes, "this is something I deserve." The pain felt in that moment becomes paramount and the image of Hooper, a friend or even yourself sitting alone in that park at night with only your thoughts to keep you company stays in your mind long after the track has finished.     

There'll always be someone willing to be

A complicit part in your duplicity

- 'Sarah Sarah Laura'


Have you ever broken up with someone (who was a dick) and gone on a bit of a bender? You might have come to your senses in some low-lit bar at an unsavoury hour with a lounge singer morosely working their way through their issues and you have a moment of clarity where you're like... "you know what, [insert name of choice] was a dick!" And in that moment, even if it's just for a moment, you stop thinking you're to blame. Then you regret that last whiskey. That's happened to you right? Maybe not... but that's what 'Sarah Sarah Laura' feels like. "No shortage of bitches, with Daddy issues, to make you feel special, to tell you they miss you." The Sarah, the other Sarah, the Laura, the not so mysterious other in what you thought was a real relationship. It might take two to tango, but the blame finds itself directed in the right place here; [insert name of choice] aka the dick.  

Waiting for a sign

Your hand on the wheel

Not in mine

Not in mine

- 'Rapeseed'


I did some research on rapeseed and by research I mean Google searches, Wikipedia etc. because journalism. The yellow flowering vegetable also goes by the name of canola, which seems to be grown a fair bit around Violet Town aka the home of Ella Hooper. I'm not known for agricultural knowledge, but I hopefully get the story of 'Rapeseed', which features a numb Hooper returning to her roots and leading directly into the next song, 'Good Wagon'. A long introduction that calls to mind organ music you might hear at a funeral is suddenly interrupted by trip-hop like electronic beats that would make Portishead nod their heads in approval. A cigarette likely hanging from Beth Gibbons' mouth as she nods her head slowly and precisely, ash falling beautifully to the ground. She's kinda magical. So is Ella Hooper and the atmosphere she creates on this song. 

I had to go home to make it

Like it had never happened

- 'Good Wagon'


You're likely more 'with it' than I am, but it was with 'Good Wagon' I understood Venom was following a narrative and we had arrived at the penultimate chapter. It's also at this point we can see some true healing beginning. There's a fuller sound to 'Good Wagon' and a newfound strength in the featured vocals. If there was a song that would be at home on In Tongues, this would be it. A fantastic slice of alt-country that reworks the old adage to be something more like your heart is where your home is.  

I gave you so many chances, baby

I gave you all I got

Maybe you don't remember that way

But I gave it the fucking lot

- 'Couldn't Have Loved You More' 

Can a song be uplifting and heartbreaking at the same time? Of course it can. 'Couldn't Have Loved You More' certainly is. But if it leans towards one over the other, the final Venom track is the uplifting closure you're wanting. It might not be a cinematic happy ending, but it's full of acceptance and hope. The home stretch is the light to the dark that's come before and it will make you feel all of the feels like only the very best music can. Nothing sucks more than being made to feel like you're crazy for having high hopes and dreams for the future, especially when it comes to a relationship. "Spent time being blind thinking I was crazy, but at least I know now I am not, I won't ever do that to myself again, I'd laugh about it if I could." Love makes you do the wacky. A powerful end to Venom sends you off on a high... maybe even a low high.


What becomes of the brokenhearted? Venom has your answers. I like that line about it being music to break and make your heart. That's exactly what it is. A story that follows a beginning, middle and end timeline that's really a story about an ending becoming a new beginning. It's an already strong storyteller at her strongest and an established music maker finding strength in unfamiliar sounds. Venom might seem like it's for lovers of the sad musics, but I think everyone will be able to find themselves relating to at least one if not all of the EP tracks. And, hey, keep in mind that Ella plans to release a follow up EP called New Magic later in the year or next year that promises to be just the pick me up you'll need to brighten your day. Personally, I'm a big fan of the sad songs. And I'm a big fan of Ella Hooper, which makes rating the Venom EP all too easy...

Matt Bond gives the Venom EP five red, red wine emoji out of five...

EP Review - Spirit Down

Spirit Down

by: Our Man In Berlin (available now)

It started with the name, Our Man In Berlin, because how could I not fall in love with a band whose name contained one of my favourite places in all the world? Those four words a few years ago now were only the beginning of what has become a long term long distance relationship; because with each song I have heard I have loved them a little more and with the release of their second EP Spirit Down, let’s say the adoration has been completely and totally confirmed.

‘Bones’ opens proceedings, but this one is much more than merely bare bones, the mid-tempo should not be confused for simplicity; the sounds complex, layer upon layer of reverberations and voices are a stunning way to start and in the first three minutes OMIB prove their talent, the 90s guitar riffs somewhat comforting, hidden in amongst the synths and sounds of layered vocals. Following is what was my first taste of this EP in ‘Moliere’, and it’s just as magnificent now as it was four months ago, the organised chaos is as thought and movement provoking now as it was then, it’s collection of bits and pieces nerve rackingly delightful.

Title track ‘Spirit Down’ is perfectly placed mid-way through, the somehow downhearted nature of that rapid fire percussion is everything, while singer Hadyn’s voice hits all the highs I’ve come to adore, but it’s not until we get to ‘Seperate’ that it can really be appreciated, the sparse instrumentation that begins is inviting, the bass line subtly intense and all the clicks and buzzes and tones and beats are a perfect match to Trevor Shotam's awesome skills on guitar.

Final track ‘Muster’ arrives far too quickly but what an absolutely beautiful way to end; sparse, slightly spooky, soothing and subtly spectacular, it is exactly everything this little band from Perth have proven themselves to be - an experience, not just a band and their sophomore offering is a journey, not just an EP. Our Man In Berlin’s understated confidence remains as it has since day one, their ability to know when to pull the sounds back and when to smother their tales with noises is rare and admirable and Spirit Down is confirmation that confidence remains and where confidence walks, adoration follows. Looks like this little fan's long term long distance relationship will be continuing for sometime yet; here's hoping to a full album sometime soon. Until then, they are on a national Spirit Down EP tour. Head over to our gig guide to see when Our Man In Berlin are playing near you. 

Jo Michelmore gives Spirit Down four Siouxsie Sioux heads out of five...

EP Review - The Empty Glimmer

The Empty Glimmer 

by Crazy Old Maurice (available 21/11/14 on bandcamp)

The constant great thing about music is its ability to take it's listener away from wherever it is they find themselves on say, a dull afternoon and place them somewhere else. Well, I guess not literally, after all, when I'm listening to Taylor Swift in my PJ's, I'm not really on a dance floor somewhere, because my PJ's wouldn't necessarily be the correct attire for a dance floor, depending on the night, I suppose, but you know what I mean. So this means when I'm sitting at my laptop listening to an independent Australian artist I didn't know before last month, I'm not actually sitting at a darkened bar somewhere, playing the piano to three drunk patrons in the corner, but it sure feels like I could be.


And so here I am, not in front of my laptop, but in front of that piano. I think I'm wearing a really elaborate dress, it probably has sequins of some description and in my hand is a glass, with liquor, some kind of tasty liquor (this could be part of the laptop reality). I'm not sad, just a little bit desperate (this could also be part of the laptop reality), I'm wonderfully desperate and so begins my journey into the world of Crazy Old Maurice. The first and title track from their debut EP is a perfect trip to somewhere dark, cosy and uncomfortably nice and only the beginning of the walk into the minds of Caitlin O'Reilly, Tim Evans and Mike Collins.


It's not far into The Empty Glimmer that I realise the filthy piano bar isn't the only place I'm going to visit with this three piece from Newcastle. I'm not sure if 'This Broken Town' is referring to their hometown, after all, I've only been a couple of times, but I'm not sure I saw the spots that are as pretty as the sounds they've created with some mesmerising keys on that second track. 'Sacred Ground' is a trip to all sorts of crazy; a club in the 80s, some massive hair and a guitar solo three and a half minutes in makes for an interesting visit to a couple of decades ago and it's a talented band that can take their listeners from a piano bar to a town in NSW to the hedonistic 80s all in one EP.





It's also a talented band that understand the journey they are taking their listeners on and know how quickly they take them from one place to the next is as important as the destinations themselves. The perfectly positioned track three; 'Another Day' is their example of that, it's sinister sounds marvellously tense, uncomfortable, a little bit fabulous and if I'm honest, probably the track that keeps dragging me back to the play button at the start of this whole EP. It's followed by a ride to somewhere I didn't expect to end up, but felt safe upon arrival.  


'Lullaby Of Light And Shade' with it's horn section, sweet vocals and swinging tempo doesn't just belong on an EP; this is the middle of a musical, this is a collection of characters and drama and a story bigger than one little song can hold. It couldn't possibly have been named better, the title describing it's three and a half minute adventure perfectly. I'm a sucker for the lullaby and this one could be one of my faves for the year.


Which brings us to the final track on this delightful little journey that is The Empty Glimmer and this one takes us to somewhere a little bit special. I could say I was on top of a mountain, I could say I was driving a highway, I could say I was staring at the ocean, I could say I was right back at that filthy and beautiful piano bar, but all of those places would be lies. This one took me to somewhere I only like to visit every now and then and sometimes it's a fabulous journey and sometimes it's more distressing than not, but it's somewhere I'm comfortable with either way and that place is my own story, my own memories and thoughts.


"I can't deny love's a strange and bitter fruit..." indeed it is Maurice, you Crazy Old character, whoever you are, you took me on a journey far away and right back home with this EP and it's one I think I'll happily take again and again and again.

Jo Michelmore gives The Empty Glimmer three and a half Sarah Blasko heads out of five...

EP Review - Millar Jukes and The Bandits

MILLAR JUKES AND THE BANDITS EP

by Millar Jukes and The Bandits

We were first introduced to the music of Millar Jukes in February when our good friend Lou did a review of the track 'Maryanne'. Lou loved the vintage party starting vibes and the, "sexy guitar and thumping drums." Now, I'm not the blues-iest of fellows, but I was definitely digging Jukes' voice and the music The Bandits as a whole were selling so when we were informed of the release of the Millar Jukes and The Bandits EP, I was keen to see what else this talented group of musicians could come up with. 

"I can't feel this heart of mine, left me reeling when you left me behind. I couldn't believe that you could do me wrong, I couldn't believe that you could up and gone." Let's start at the end, the last track 'You Ain't Mine.' This is one mighty fine alt-country ballad that provides the perfect showcase for the vocal talents of Scottish-born/now Melbourne's own, Millar Jukes. The story is suitably heartbreaking, a requirement for country music since it's the music of pain. While it might not exactly cover any new territory (love lost, love is now with another dude dang nabbit), Jukes' emotional performance, the subtle accompaniment and flashes of Jasmin Fiske's voice on back up makes 'You Ain't Mine' a song you won't soon forget. This would have to be a standout moment at one of the band's live shows. It's certainly the standout moment on the EP. 

It's not all about the ballad though. We've got four upbeat, energetic tracks on Millar Jukes and The Bandits as well; 'Love Me All Night', 'Maryanne', 'Be Mine' and 'Out of Time'. There's harmonica breakdowns courtesy of Jukes, some truly excellent guitar work from Matt Sandilands and there's just a whole lot of fun. Lou was completely right in describing Millar Jukes and The Bandits' music as exactly what you'd want playing when you're surrounded by a group of friends and a bottle or five of whiskey. I've adapted that, slightly, but you're picking up what I'm putting down.

Let's apply the five songs on the Millar Jukes and The Bandits EP to those five whiskey bottles at the party, shall we? 'Love Me All Night' is the excitement of the night beginning. Everyone arriving, first drinks poured and all the catch up conversations getting done and dusted early. Whiskey bottles consumed... 1. 'Maryanne' is when the music gets cranked up a whole lot louder and this means there will be dancing. It's all about the fun. Whiskey bottles consumed... 2. 'Be Mine' is when the very best of friends start reminiscing about all the good times from days gone by. There's a cute couple slow dancing because this is a pretty cute love song. Most of the group is sitting down and getting comfortable because they're beyond tipsy. Whiskey bottles consumed... 3. 'Out Of Time' is getting that second wind. Your house is suddenly hosting a hoedown. The dancing might be terrible, but no one cares. You're having too much fun again. Whiskey bottles consumed... 4. 'You Ain't Mine.' You're drunk. Go home. Your friends have heard your sad stories way too many times. No more whiskey for you. Whiskey bottles consumed... 5. 

Of course, you can't compress a whole night into 25 minutes. Nor should you and a small-ish group of friends drink five bottles of whiskey in such a short time. That's crazy talk. What you should do though, is give the Millar Jukes and The Bandits EP a listen. That's what we call not crazy talk. And you get to enjoy some great music too. 

Matt Bond gives Millar Jukes and The Bandits four Beatles heads out of five... 

EP Review - Little May

LITTLE MAY EP

by Little May (out now)

The team here at It’s My Kind of Scene all have vastly different tastes in music. So when we all agree that an act is (for lack of a more dazzling term) totally 100% amazeballs, you can bet your bottom dollar that act is something special. The music from Sydney’s Little May is definitely something special. Since the release of ‘Boardwalks’ and ‘Hide’ in 2013, the excitement for the release of their debut EP has been building and building. Anticipation couldn’t be any higher than after the release of this year’s single ‘Dust’ and now, the Little May EP is out there in the world. There’s no doubt about it and no use beating around the bush… Liz Drummond, Annie Hamilton and Hannah Field have delivered an exceptional work of music that’s more than worthy of their status as one of Australia’s most buzzed about new acts.


Did you see them featured on billboard.com? I sure did. Billboard called them “buzzing Australian trio Little May.” No big deal, yeah? It’s a MASSIVE deal, especially when they are being compared in North America to Fleetwood Mac. This came with the announcement that ze ladies had signed with Capitol Record in the US. And they’re just casually heading over to perform a showcase at the CMJ Music Marathon in New York. But before they get to that there’s some debut shows in old London town. Not too shabby. Now, what about the music on the EP? Like I said, it’s exceptional work. Five tracks that make an immediate impact in their own way and five tracks that will have a lot of staying power in the hearts and minds of listeners. “What are these tracks?” you ask. Let me break them down for you, track-by-track style.

DUST

There's something fascinating to me about placing a song that feels like saying goodbye and letting go at the start. 'Dust' is a stunning introduction to Little May for those that might be unfamiliar. It opens with a light introduction that makes you wish you were sitting by the water and watching the sun rise. Alright, the first time I heard 'Dust' I was sitting on the pebble beach in Brighton watching the sun rise, but that's neither here nor there. Drummond takes vocal lead, with Field providing some beautiful harmonies. You can't help but feel that we're being told a deeply personal story full of highs and lows, both heartbreaking and heart-warming. Little May are really quite excellent at taking you on an emotional roller-coaster on their tracks, so you might as well get used to it right from the start. "I watched you shake, I watched you break, I watched this place take away, all we had, and I'm sinking into something that I, wished I hadn't found." There's something about those lines and the delivery of them that floors me each and every time I hear them.

HIDE

When you get addicted to a song, and I mean addicted to a song, you go through a period of time where you must listen to that song whenever you can. The problem with this is, usually after that intense time has passed, you'll never really listen to the track anymore. Sure, you'll love it forever and when it comes on you'll remember how you could not stop listening to it, but you won't go out of your way to play it. This did not happen with 'Hide'. Towards the end of last year, I could not stop listening to it. Fast forward almost twelve months... I still can't get enough of it. A witchy vibe, a drum-heavy chorus and a theme of betrayal. What's not to love?  "Can you see me count to three? No I won't play your hide and seek." World class in every single way. To steal some terminology from my fellow blogger Jo, 'Hide' is a song that has secured a place in the soundtrack of my life. It's really that good. 

MIDNIGHT HOUR

'Ghost Folk'. I've seen the term in press releases used to describe Little May's sound. What I thought was a pretty cool and quirky term for indie/folk is actually the perfect fit for 'Midnight Hour', a track that steers into alt-country territory. Unsurprisingly, the trio slide comfortably into this territory which utilises those knockout harmonies to great effect. We even get a little do-si-do breakdown. That just means I don't know the technical term for the instrumental-bridge-bit-thing, but when you hear it you'll want to get some haunted do-si-do action started. Perfect for all your hipster Halloween parties this one is. 

BONES

In terms of surprises, 'Bones' would have to be the Little May EP's biggest. And best. 'Bones' is as close to 'pop' as you're going to get with Little May and, set your status to swoon, this is like 90s singer-songwriter pop. The best kind! I'm excited just thinking about it. This is what you want in an EP; versatility. A debut EP should show off all the best sides of an act. Moving slightly away from the sound we've now come to expect from Little May was the perfect move. Exploring their pop-rockier tendencies further in the future could prove very interesting because 'Bones' is delicious. Make sure you read that right, I'm not saying bones are delicious. The song's amazing pop music, alright? Vocally, this could be the EP's standout track with all the layers and competing lines. Give it five years, we'll probably be discussing how 'Bones' is the EP's standout track overall. And I'll still be listening to 'Hide'. 

BOARDWALKS

Our last track is Little May's first. How did we feel when we first heard it? We might have made some outlandish statements like...

"These girls know how to make great music... I have a feeling that this band is destined for huge things." (Lou Endicott)

"Liz Drummond, Hannah Field and Annie Hamilton are already being called the 'next big thing' by so many music blog peeps we love and we couldn't agree more." (Matt Bond)

"This is the type of talent that cannot go unnoticed and I'm going to be so happy for them when we've said all we can say about them and the only thing left to do is press play." (Jo Michelmore)

What's great though is, those weren't even a little outlandish. Little May have come such a long way since the release of 'Boardwalks' in such a short time. We can't wait to see just how far this talented trio will continue to rise. "Somebody told me you were leaving town, I swear I never thought you'd be the one who'd let me down." Those opening lines from their very first song will hook you in right away. Little May might be heading out of town on the next step of their journey, but you can rest assured their music isn't going to be letting us down. Get this EP right now, feel all the feels, fall in love with Little May and watch the rest of the world fall in love with them too. This is the very best in music.

Matt Bond gives the Little May EP five Amanda Palmer heads out of five...

EP Review - Drip Dry

Drip Dry 

by JP Klipspringer (out now!) 

You know those times when something awesome comes along just when you need it, like life was looking at you and said “you’ve done alright today, you deserve this” and then a little present is dropped right into your hands? Like those times when you already know how much you like coffee, but then you stumble across a barista that brews those beans with so much passion that suddenly coffee on a midweek morning becomes a not-so-secret new love affair with caffeine? You know those little presents? I got one of those little life presents recently except it wasn’t in the form of caffeine, but I already know the addiction is just as intense.

 
I knew I liked JP Klipspringer a few months ago when I first heard the layered vocals and the beautiful keys on ‘Bury Me’, the first single from his new EP, Drip Dry, and I kind of had a feeling someone who could come up with those sounds was surely a talent to be recognised, someone who was bound to become one of my favourites with each new song I heard, but I didn’t really expect to become this addicted, this quickly to his magical sounds.


The first track and the first I heard, ‘Bury Me’, is still now, three months after first listen, everything I said it was then; “the keys, the beats, the voice, they all meld so beautifully into each other and become such a sense of comfort I don't know whether to dance or cry when it starts”. It's sense of loneliness is still so comforting and it's haunting keys are simultaneously calming and lonely which lead perfectly into ‘Anastasia’, with its childlike lullaby rhythm, the immediate sense of innocence is not all as it seems with Jack Poulson’s lyrics leading somewhere darker than the sweet melody suggests. What is it about Anastasia that can’t be loved might never be known, but that’s exactly what makes it so fabulous. I could listen to these three and a half minutes for weeks on end and wonder about what Anastasia has become…in fact, I’ve already done that and the answers are no clearer but the question has become more and more enjoyable with every listen.


By the time the beats and sounds of the third track 'Phat Controller' begin, the world of JP Klipspringer becomes more and more desperately attractive and the JPK mystery deepens, I'm not sure what it is that is making this all sound so good. Is it the gentle beats or the soft harmonies and layered vocals that make the world surrounding me disappear with each listen or is it the subtle yet all encompassing keys on each track that I can't get enough of? It could be any of these things or it could be the lyrics, the lyrics each time sung so sweetly and gently but hiding a character I know I would love to know and love to love as much as love to hate should they really be a person. None more so intriguing than those in the last track 'Bring You Home'...


As blind as night that finds us all 
I'll cut you to pieces and bring you home
Now the sun has come and gone
Oh, to be with you alone


...they describe exactly how I feel about these sounds, what I think of what is to become one of my favourite EP's this year. A little obsession, oh to be alone with four simple tracks that are more powerful in their subtlety than most artists take a lifetime to acheive and four tracks that have been the most fabulous little musical present exactly when I wanted them.


You know those times when something awesome comes along just when you need it, like life was looking at you and said “you’ve done alright today, you deserve this” and a then little present is dropped right into your hands? I already know how much I love music, even more than a good cup of coffee, but then something like JP Klipspringer comes along and the love becomes a little deeper, a little more addictive than I could ever imagine it could get. This little Drip Dry present wasn't caffeine, but the high is better than one cup of coffee could ever give a caffeine addict like me anyway, and if this is what Jack Poulosn, aka JP Klipspringer, is capable of so early in his career, then we have a long, lovely addictive relationship ahead of us. This is only the beginning.

Jo Michelmore gives Drip Dry four and a half Thom Yorke heads out of five...

EP Review - is it right?

is it right?

by Our Man In Berlin (out now!)

Music means all sorts of things to all sorts of people. To some it is that stuff you hear in the background at the supermarket, to some it is the stuff you dance to in the dark after a few beverages, to some it is an advertisement, to some it is that racket the kids listen to, to some it’s not the same as it used to be and to some it is distraction and escape. To me it is a friend, it’s happy to hang out with me in the supermarket and the club, but it’s also a comfort and a celebration, it's essentially a long relationship we have but sometimes the greatest thing about music is meeting my newest best friend.


So let me introduce you to my newest friend, the long awaited EP from Perth’s Our Man In Berlin. Six tracks I have waited a lifetime (at least a year) for, six tracks I have fallen quickly in love with and six tracks I didn’t know I needed until I heard them, each and every one as amazing as the last, each one as strong as the next but all of them together an eclectic mix of emotions and sounds, each their own story but flowing together as one beautiful story.


The first track; ‘Spilt Milk’ is the perfect introduction to what is bound to become an intense friendship, it’s urgent beats tempered with the ethereal keys and sounds wafting over the top, comforting and equally alarming, the combination incredibly addictive. ‘Airhead’ today is exactly as I described it the first time I heard it all those months ago now, mesmerising and wistful, the goose bump inducing voice of vocalist Haydn Mansell just as dramatic now as it was with first listen, something I just can’t seem to get enough of.


‘Cirrhosis’ is as addictive as the condition that causes it in real life, the pleasant dream pop sounds begging to be heard again and again. Guitarist Trevor Shotams’ skills are shown off wonderfully, perfectly positioned in a tale that needs to be heard, the band’s ability to balance light and dark seems effortless, the crescendo of sound leaving me wanting more and more with every listen. ‘Is it right?’ earns its place as title track a little over midway through this twenty-one minute adventure and proves again something this five piece are so comfortable with and so many have yet to learn, the talent to know that every now and then less is more and sometimes more is less is shown off to its full potential in this, the shortest song on the EP. The keys by Justin Martins are charming, offset by the almost harsh sounds the rest of the band creates, and yet again, Haydyn’s voice a gentle yet incredibly strong force, pushing its way through the track and demanding attention.





‘Flight’ is the track that confirmed for me just how much I adored this band when I first heard it a couple of months ago now. It shocked me, made me realise how much I liked a band that were so comfortable with their sounds that they were already willing to experiment a little so early in their (hopefully long) career, without leaving their listeners alienated. It creates the same feeling on this EP, but now it is really nice a reminder of the diversity of sounds that they can create.


Probably my favourite track, the one I have left to speak of last and it's the one Our Man In Berlin have done the same; ‘Lonely Arms’ is the final track and is an absolute true delight. While the entire EP is a journey of emotions in itself, ‘Lonely Arms’; a combination of keys and beats and sounds and voice is like a subdued punch in the face, it's the heart breaker, the one that leaves me feeling completely satisfied and completely empty, the combination bittersweet and beautiful and like all my favourite music does.


It’s this feeling that I can’t live without, the feeling that makes me keep listening, pressing play again and again and desperately wanting to experience this all live. The enchanting sounds on is it right? are more than I would ever expect from a stadium filling band with a lifetime of years behind them. These sounds are as important as any created, they are the type that only a few are lucky enough to be able to create and thankfully a whole lot of us get to experience. These are the sounds that make music mean as much as it does, the ones I described in the beginning, comforting and celebratory, the sounds that make music my best friend and thankfully Our Man In Berlin have helped me meet my latest. Six songs bound to become the latest in a long list of friends. Welcome to my gang, is it right?, you’ve joined a long and varied list of sounds and you are definitely one of the best musical friends this year is bound to bring.

Jo Michelmore gives 'is it right?' four and a half  Michael Hutchence heads out of five...

EP Review - To Your Arms I'd Run

To Your Arms I'd Run

by King's Justice (out now)

Game of Thrones fans will be familiar with the moniker of this band. In the fantasy books, ‘King’s Justice’ refers to the official title of the royal executioner. King’s Justice in this case refers to the four piece soft rock indie outfit that hail from Freemantle, Perth. No deaths here, but this band apparently took their title from the books/TV show. With their first EP To Your Arms I'd Run, members Jack Young (guitar/ vocals),Matt Ryder (drums/vocals),Tim Arnott (keys/vocals) and Declan Sinnott (bass) have created an energetic and fun debut little journey that had me bopping along with each song.

The EP opens with the title track. It’s soft and sweet harmonies lulled me in with their smoothness and catchy melodies. I love when the drums and infectious guitar hook kicks in. I was reminded of earlier music by The Cure with the simple yet dreamy and lush pop sensibilities. A nice and easy way to start an enjoyable little EP. The song finishes very abruptly – so much so I thought my speakers had come unplugged. Perhaps this was a way to shake up the listener to be ready for the gear shift that the second song provides. Either way, I was left wanting a little more.

This next track ‘Keep Swimmimg’ is an upbeat almost beachy summery sound with a bright and tight chorus and lyrics to sing along too: “So darling please come home because I just can’t wait much longer, and my love it burns stronger, this is tearing me apart...this is tearing me apart, this is tearing…” There is a little call and response section that I am sure would be fun to hear live if the band worked this with an audience. I imagined this song being played at a beach party with lots of dancing on the dunes.

Track three opens with a twangy surfy sounding guitar that reminded me of Brisbane bands Cub Sport and Hungry Kids of Hungry pop/rock tunes. Fun, youthful energy reign supreme here. The groovy vocal hook “ooh la la, ooh la la it’s you…” made this my favourite track of the EP – that and the hand claps at the start and the end of the song. Because I love participation in music!

The last song ‘Summer Prospects’ is mellower in mood with some softer guitar picking and sentimental romantic lyrics. There is a second shift in the song that gives it a bit more grunt without taking the romance away. “Take me back to the summer, far from all my fears, take me back to the summer, to those golden years” King’s Justice sing out - again, hitting the summer notes. There is a lovely little outro this EP which loops vocals over dreamy guitar. I would have liked this to go on even longer to let the band really show what they can create as a unit.

This EP is a nice introduction to King’s Justice. I look forward to seeing how their sound grows and where their journey will take them in the future.

Lou Endicott gives 'To Your Arms I'd Run' three Jack White heads out of five...

EP Review - Linger

Linger EP

by Midnight Pool Party (out now)

When I was a younger, I had these crazy-not-so-crazy ideas of what life would be like once I was old enough to earn some sweet cash, drive myself places, hang out with the hundreds of friends I was bound to have, drink fancy coloured cocktails in tall glasses and wear incredibly awesome dresses accessorised by the most impressive jewels this side of...ok, you get the picture. I had some imagination, because while some of those things happened (I do have an impressive dress collection, it can't be denied) the hundreds of friends turned out to be some really, really good friends with a bunch of acquaintances and the drinking cocktails in fancy glasses didn't necessarily go hand in hand with the driving part, thankfully.


Why the reminiscing? 'Cause that little teenage fantasy is exactly where my mind went when I hit play on the latest EP/single from Sydney's fabulously disco duo, Midnight Pool Party. It's all about the party, it's all about the clothes, the dancing, the fun fun fun on any given night. Three different slightly different versions of the same night, each like the same awesome party in a slightly different venue (with a different fabulous dress each time of course).


The first track, the original 'Linger' is exactly the party that must have inspired this Sydney based duo's name, it's a midnight pool party anthem, with such a strog bass line to pull you through the midnight hour, dancing like you'll never stop. The second version and third track, 'Linger (Luke Million Remix)' is destined for somewhere in a cheesy nightclub in the 70s, all light up floors and gold lame flares, while the fourth track, 'Linger (Sondrio Remix)' is the party post 3am, in someones amazing venue, with a lot of strange dance movements that only make sense to those making them, a lot of tall glass fancy coloured cocktails and probably only the people who showed up after 2am anyway, because they all had somewhere else much less cool to be before that. Stick the cute little second track 'Disco Delight' in there, make it all strobe lights and hands in the air and you got yourself a party with a pretty impressive four song soundtrack or Midnight Pool Party's little EP.  Both are good.


The disco in this can't be denied, it's disco, it's funk, even the remixes are proud to be both, it's awesome and it's every party I ever wished I went to. In fact, it is some parties I've been to and that reminds me of all those fabulous dresses I own and that makes me smile.

Jo Michelmore gives Linger three Roison Murphy heads out of five...

EP Review - Gilded Pleasures

Gilded Pleasures

by The Growlers

available now

How funny that I decided Sunday afternoon was the right time to write some words about the latest EP from our current Artist Of The Month, The Growlers, because Sunday afternoon is almost exactly what Gilded Pleasures sounds like it was made for. 

Opening with 'Dogheart II' and the strange lyrics "little girls don't last forever, enjoy them while you can" it doesn't take long to realise this is a band that won't hold back and aren't concerned about what you think of them, they're just here to play some tunes and have some fun, man. Isn't that how all stoner surfers speak? I don't really know, I'm not a stoner surfer and I don't really know if The Growlers are either, but they've made an album EP that certainly sounds like it and one that let's me pretend I like the beach and other things for a few minutes on a Sunday afternoon and lets me appreciate some music that sounds like it was made for California, a beach and a cold beverage. 

Second track 'Hiding Under Covers' increases the tempo slightly, with the keys taking it somewhere back to the 70s, while the single, 'Humdrum Blues' has a driving bass sound with a nod to some 90s Cali sounds, an almost happy sound for a song with such a depressing title, but it's the lyrics that reminds you who you're listening to "she's so tired of the humdrum and I understand, she wants something tangible like a ring on her pretty little hand". Yes, this is The Growlers.


'Tell It How It Is' is as close as you're going to get to a ballad on Gilded Pleasures, with Brooks Nielsen's vocals as strong as they get, his unusual style is a little addictive in this track, but it's the sound of 'Change In Your Veins' that really sounds interesting, almost Jim Morrison and Doors-esque in it's delivery. That's not to say this sounds dated, there's a little Porno For Pyros Perry Farrell-ish-ness that sneaks in there toward the end and I'm going to be honest and say I could never complain about a little Perry Farrell influence anywhere.

It's an EP that remains cohesive throughout, each track leading perfectly into the next without leaps and bounds that shock you into a sense of questioning, exactly as a Sunday afternoon surfer chilled EP should sound. It's not going to change the world, but then, not every song and not every album should. Some songs are just songs and that might be my Sunday afternoon brain talking, but then, that's the best kind of chilled thought process to have when visiting beach side California with a beverage in your mind on a weekend afternoon.

Jo Michelmore gives 'Gilded Pleasures' three Michael Hutchence heads out of five...

EP Review - I Remember When This Was All Trees

I Remember When This Was All Trees

by My Private Dinosaur

(out now!)

A week or so ago I was booked in to see My Private Dinosaur play their new EP live. Unfortunately due to sickness I didn’t attend. So instead here is a review of their new EP I Remember When This Was All Trees.


But first a little about this relatively new outfit. My Private Dinosaur is the brainchild of singer songwriter Dave Havea. Joining him in this project is pianist Josh Cohen. To complete the sound is Yiorgo Sgourakis on bass and Selwyn Cozens on drums. The EP was recorded in 2013 with producer Colin Leadbetter (who has worked with quite a few top quality artists such as Ester Holt and Whitely in recent times). The end result is an EP that is easy to listen to, laid back with sparks of beauty and much heart.


The title track opens the EP, 'I Remember When This Was All Trees'. Gorgeous 60s inspired keys lead the song and feature throughout as a cradle for the smooth vocal styling’s that Havea brings. Here is a taste of the opening beautiful lyrics: “Remember when this was all trees? The grass grew so higher it swayed in the breeze and nothing could be said for sure when time knocks so softly on some distant door, now long ago so far gone I wallow in memories I wait til the dawn, and pray for a dream to begin, escape from the nightmare that we’re living in”. The lyrics are moody with the kind of mystery I want to unpack with more than a couple of listens. The keys are expertly featured in this song – never overshadowing the vocals – yet somehow shining just as bright. This track was a nice start to the EP.


‘Nothing Left to Lose’ is the second track in. It’s another ballad – this time with the addition of some gentle guitar lead and simple yet effective drums. The intensity behind the song itself here is a gentle yet rousing one. There are some gentle harmonies peppered throughout that add another layer of depth to the sound. The keys have a few moments to hit the high notes in a sweet little ray of light - as does the guitar. This track reminded in its journey of the more acoustic music of Ben Harper with Havea’s voice possessing a similar quality of intimacy in its delivery and tone.





I would suggest turning the lights down low for the third track when you listen to it. ‘Song for a Lover’ is the kind of track you slip on after you’ve slipped into something more comfortable and move on in closer to the one you love. This song is one of my favourites on the EP with its sweet and playful intent to make that special someone in your life understand how much you care. The elements really flow together well in this song – the harmonies, the build halfway through, the heart in the lyrics and the soar of Havea’s pipes. It all really hit the right spots. In the 90s I was a bit of a Lenny Kravitz fan – mostly for his slower smoother tracks as opposed to his faster rock tunes. This song has the same affect on me. I was left wanting to hit the replay button on as it left me feeling so good.


The last track on the EP is a hopeful, optimistic and upbeat song called ‘All the Better’. There is something familiar about this song that I can’t quite place. But perhaps it’s just the sweet softness I feel listening to it that really lights my heart. There is a throwback feel with the percussive jazz turn a rounds played on the piano and the groove that gentle rocks the body. Easy listening music can easily enter the waters of tackiness if not handled with careful skill, but with this track I had no worries of any sense of cheese entering the picture. This is smooth and easy listening music at its best – expertly laid for our listening pleasure.


The sound that My Private Dinosaur creates had me thinking of 60s music – in particular motown ballads. Havea has a distinct quality to his voice that reminds me of a mix between legends Al Green and Bill Withers. Not a bad combination to be reminded of! This music is reflective and poetically driven with interpretation up to the listener. And it’s the voice of Havea that glues it all together.


I would say that this album is a top choice for a dinner party, late night conversations or perhaps a quiet Sunday afternoon. I really look forward to hearing more from My Private Dinosaur in the future.

Lou Endicott gives 'I Remember When This Was All Trees' four Michael Hutchence heads out of five....

EP Review - Oh Hunter

Oh Hunter 

by Hayden Calnin (out now)

Last year I had the pleasure of watching Hayden Calnin support Asta at The Northcote Social Club in Melbourne. This week I have the pleasure of reviewing his brand new EP Oh Hunter  – which I would label as an alchemy of electro ambient folk.

The EP opens with the song ‘Coward’. This track starts with a beautiful subdued intro, with keys holding the ground firmly before Hayden’s smooth and emotive voice comes in providing just the right amount of contrasting texture. For me, Calnin’s voice is one of those that moved into my heart immediately with his soft-almost-whisper-singing in your ear and incredible range. With this recording, its apparent almost immediately that this music is best listened to through either a superior set of speakers or quality head phones. The mixing here is part of the art of this music. You don’t want to miss out on the delicacy of sound. ‘Coward’ - with its gorgeous layering of voice and a serendipitous dynamic shift of beats, grabbed me by the heart. The glockenspiel hits add the right amount of dream-like longing here. ‘Coward’ sets the tone of the EP; an almost wistful ride of drama contrasting with softness and sweet contemplation.

‘Comatose’ follows as the next track and gives Calnin a chance to really showcase his vocal ability. His ability to hold the emotion of an old and wizened soul without any pretention or unnecessary flair had me thinking of Justin Vernon (Bon Iver’s) pipes. But there is something altogether unique in Calnin’s voice that gives him a whole other stand out quality; it’s haunting and almost of another world, yet it’s still very accessible.

The pensive mood of the EP continues into the third track with ‘I Corrupt’. Falsetto vocals rise above a simple almost melancholic soundscape. Like gulls majestically rising over a grey ocean, it is again the voice of Calnin that reels me in with lush harmonies balancing out the sadness with beauty. Unassuming little synth sounds add another element that creates a full and interesting sound – perhaps a little like Bjork’s early pieces.

The beautiful brood is continued with ‘Not Good for Me’. This song was a stand out for me when I saw Calnin play it live last year. And again, listening to the EP I fell in love with these lyrics “There’s a girl next to me she feels like rain, crying her eyes out all the time, speak a little louder, I could help you out if you want, but you are not good for me”. The idea of being attracted to what we don’t need is an old but relevant story. The letting go of what is no longer serving you is a hard lesson to learn. This song delivers its message clearly and with much heart and conviction. ‘Not Good for Me’ is an intimate revelation yet remains refined and elegant in its delivery. Again, the mixing here is done so well with vocal harmonies (at times manipulated digitally), stripped back sections, gentle ebbs and flows and dreamy guitar. Be sure to turn this one up.

The last song of the EP is ‘Forever A Traveller’. It opens with simple guitar strums and gentle hums and holds its power with simple yet striking lyrics; “I’m forever travelling, a hunter for stars, I’m forever travelling, a hunter for stars….” This lament weaves its magic with a layer of harmonies and lyrics that repeat over and over. This song reminded me of the poem ‘The Rime of the Ancient Mariner’ with its use of repetition, themes of danger and its timeless ethereal feel. It was a beautiful way to end a beautiful EP.

I thoroughly enjoyed Oh Hunter. Although it’s an introspective and wistful journey I was not left feeling empty or sad. There is a sense of hope conveyed in this EP that makes me want to listen again and again and I highly recommend seeing Hayden Calnin live if you get the chance. His star is definitely rising. Be a hunter yourself and go snare the EP as soon as you can. 

Lou Endicott gives Oh Hunter five Nick Cave heads out of five...