Album Review - twelvefour

TWELVEFOUR

by The Paper Kites (out now)

Two years after the release of the soul-stirring debut States, Melbourne music makers The Paper Kites return with the equally moving twelvefour. I know, it's been out for a couple of weeks... but I've had it on a list. Yes, there is a list. There's a lot of excellent music going around, yeah. And if there was an album I wanted to take the time to listen to properly, absorb the atmosphere and fall in love with (as if there was any doubt I wouldn't), it was going to be this one. twelvefour is made for those that want an album that will let them completely disappear as you lose yourself in the music. From the moment 'Electric Indigo' begins, you can comfortably fall into the world of The Paper Kites right until the final guitar notes of closing track 'Too Late' leave you wanting more. 

'Electric Indigo' could be the band at their most confident. Sam Bentley's voice seems smoother, maybe even a little dreamier and completely deserving of delivering lines to match like, "cause you've got something that I need, something I can't find." As primarily a folk-leaning indie act, twelvefour finds The Paper Kites expanding their sound, taking them in some interesting rock-y direction. 'Revelator Eyes' is incredibly catchy and guaranteed to put a bit of a spring in your step. I didn't think it was possible for someone to make a song that makes you want to get up and dance and chill right out at the same time. Maybe I'm just too lazy to get up, but I think it's more the fine balancing acts The Paper Kites are capable of carrying out in their music. Take 'A Silent Cause' for example, it's a track that makes you feel like your heart is breaking but at the same time you can't stop yourself from smiling. A relatively simple arrangement that puts the focus on warm guitar and the harmonies of Bentley and Christina Lacy, it took me about ten listens before I could move onto the next track. I'm going to keep on coming back to this one, it's really beautiful work from a band known for their beautiful music. "You say all the people you know, all are slowly dying from a silent cause, from their quiet desperations, I walk you home in the rain, pass by the yellow line train, thought that I was different when you looked at me, but this quiet desperation is killing me too, killing me too." Lyric game, beyond strong. To smile or cry? This will probably happen at first...

For those that originally fell for The Paper Kites and the beautiful banjo that took us into 'St. Clarity', you'll find more than enough to love about twelvefour, which builds upon the sounds of States as opposed to moving away from them completely. Yes, you'll hear David Powys' banjo throughout and yes, it's still awesome. There's also some bluesy elements that are pulled off very nicely, like the guitar work in the definitively heartbreaking 'Too Late'. "You're always in my head, branding your fire on my lips, but this still won't work no, no, love you have come too late." Stop dragging this heart around, but don't stop dragging this heart around. It's like the relationship that begins in 'Electric Indigo' was doomed from the start and you'll just find yourself back at the start after 'Too Late' finishes anyway, so get ready to experience it all over again. It's all kinds of awesome. And another stellar addition to the discography of one of our favourite Australian acts. Or just acts in music. The Paper Kites are really that good. And so is this album. My words don't do it justice. The Paper Kites' do though. Go and listen to them.

Matt Bond gives twelvefour four and a half guitar emoji out of five...

 

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...

Video Review - Overwinter

 

OVERWINTER

by Dear Plastic

 

 

 

We were thrilled to see that Dear Plastic would be releasing a clip for 'Overwinter', the fourth and final single from their exceptional debut album The Thieves Are Babes. It's just one of many songs from the LP that show off their fascinating sound that calls to mind the likes of Bjork, Portishead and all the very best alternative electronic music makers. I was a huge fan of their last clip for 'Epic Delay', you might remember Jo and Nayt offering up opposing views for 'Buck Up and Pay The Reaper' and 'Everything's Coming Up Roses' was gorgeous and scored points for being filmed in a fish tank. Dear Plastic's videos have been the cause of much debate amongst the It's My Kind of Scene team and that's a good thing. A creative music video that breaks from the norm and sparks conversation is better than the alternative, right?

 

 

I'm pretty confident when I say the video for 'Overwinter' is only going to get a whole lot of love from everyone around here. Scarlette Baccini throws on a hibernation suit and checks out for the winter. Meanwhile the lads of the group and Mumma Baccini check in on her throughout the long sleep. It's such a simple and brilliant idea and leaves you wondering why no one has thought of this before. I can't think of any video with the same concept, which is incredibly rare. But the concept goes hand in hand with the song. It's perfect. And the more you think about it, if you're into your overthinking, the sadder it becomes. We've all had those moments when you wish you could hide away until some feelings pass. Someone should really get onto making those hibernation suits for reals, they'd be a money making machine. Did you see how happy Scarlette was when she came out of her sleep? We could all be that happy! Yep. A beautiful song with a quality video to match.    

 

 

Matt Bond gives the video for 'Overwinter' four PJ Harvey heads out of five...

 

 

And don't forget y'all, Dear Plastic will be heading out on the 'Overwinter' tour this month! You can catch them in Melbourne (July 10), Adelaide (July 11) and their first Sydney show (July 16). See our Gig Guide for venues!




Album Review - The Bones of Us

THE BONES OF US

by Eliza Hull (out now)

It's a game

It's a win, it's a lose

It's a game of chance

It's a game

Back and forth, up and down

It's a game of chance.

It's no secret we've had a lot of love for the music of Melbourne's Eliza Hull over the past couple of years. That it only took one listen to love her debut album The Bones of Us was no surprise. With her previous releases, including the stunning EP The Ghosts You Never Catch, Hull has proven herself an artist that will confidently deliver the musical goods each and every time. Along with longtime collaborator and producer, Hayden Calnin and with Dylan Hill providing the beats, she creates the most perfectly dreamy atmospheres that can build you up just as easily as they can break you down. While a track like 'Walk Away' is built on sparse beats that feel cold and isolating, Hull's voice adds an appreciated warmth that's missing from much of today's electronic pop. The heartfelt performances and the stories of each track will keep bringing you back for more and more of The Bones of Us.


Positioning 'Caught' alongside 'Christoper' creates a beautiful 1-2 punch. We've spent a lot of time with these tracks over the past year (or two, in the case of the latter track) and they've "aged" incredibly well. I guess they're like fine wine. That gets better and better with age, right? At least that's what I've heard... I'm sort of on a boxed wine budget. 'Caught' and 'Christopher' both hold stories about having to get away, to run, but they're approached in two very different ways. 'Caught' is the most anthemic number on The Bones of Us. If I was at an Eliza Hull show, I'd have the urge to get a lighter out and wave it in the air when 'Caught' was played. On the other hand, 'Christopher' would probably have me pretending I had something in my eye, so no one could see the manly tears I wouldn't be crying. It's a complex track. A chorus that promises our narrator will be there for the song's title character. Verses that show our narrator is really on her way out the door and it's likely she won't be looking back. It's rare that I get to describe a performance as hauntingly beautiful these days, because I promised I'd only use that for Eliza Hull a long time ago when I first heard 'Christopher'.

Eliza Hull has always had a way with words and that songwriting game is strong throughout The Bones of Us. The lines at the top are from 'Skeleton' and completely grab your attention as soon as you hear them. I don't want to spoil all of the goodness for you, but here's some of my favourite lyrics from the album.

"And you know I wouldn't change it, all of our lies and the dark is all that we need." - 'Satellite'

"I've been wrestling in my sleep, I touch you in my dreams, now I don't want to wake up, do you... dream of me too?" - 'Dreamer'

"Oh, life with your head above water... sink with me." - 'Head Above Water'


I'd sink with Eliza Hull anytime. 'Head Above Water' closes out The Bones of Us. You might think a track asking you to 'sink' would be a downer, but you'd be wrong. Way wrong. 'Head Above Water' builds to a stunning finish, ending the album on the highest of highs. Don't think of it as sinking, think of it as taking a plunge that pays off spectacularly. It's a risk, but taking the risk can lead to the greatest of rewards. Which you could say about the music of Eliza Hull. Take the plunge and give this a chance. You'll love the payoff.

Matt Bond gives The Bones of Us four Roisin Murphy heads out of five...         

Song Review - Right Now

RIGHT NOW

by Hopium

‘Cause baby I’m a dick,
But you’re no saint either.


One of Melbourne’s finest/sneakiest electronic duos returns this week with their third track, ‘Right Now’, continuing the hot streak they started last year with ‘Cut’ and the Hottest 100 smash ‘Dreamers’. Each new release shows a different side of… well, whoever they are. They’re mysterious don’t cha know? Whereas ‘Cut’ spectacularly redefined obsessive love and ‘Dreamers’ lived up to the nature of its title despite lyrics that made many of us question our general slackness, ‘Right Now’ sees Hopium with a bit more fire in their belly, so to speak. They’re kinda pissed about a doomed relationship, questioning everything that’s going on… maybe wanting to fight for it to work. Our leading male figure can totally see it working right now (right now… he just doesn’t know how!), despite running through quite a substantial list of why it’s probably not going to.


The vocal delivery in ‘Cut’ was almost devoid of emotion, which created a beautiful contrast with the lyrics. ‘Dreamers’ held that dreamy quality, and we’ll stop talking about how oh so dreamy it was, I promise. We get a much more passionate vocal display in ‘Right Now’, almost 80s pop level of emotions. Which somehow manages to fit in perfectly with the modern electronic beats, co-produced with M-Phazes who is building up a stellar body of work, and lyrics that read like the dude equivalent of those you’d get from late 90s/early 2000s (justifiably) angry R 'n B babes. An example… “Tell your friends I held you back, I fucked around behind your back, tell everyone I lied to you, when they’re the ones you’re lying to.” Don’t you want to just scream along and then throw in a, “THAT’S MY JAM!” at the end for good measure? Shhh. Just say yes. There’s a whole lot to love, once again, from these up and coming tastemakers.

Matt Bond gives ‘Right Now’ four Presets heads out of five...

Album Review - Know Your Destiny

KNOW YOUR DESTINY

by Chris Cavill and The Prospectors (out now)

Stand upon the broken lines,

Do we retreat,

Or do we go... 

 - 'Across The Border'

Do you like surprises? When it comes to music, I'm a big fan of listening to albums that take turns in some unexpected directions. Know Your Destiny, the debut album from Melbourne's Chris Cavill and The Prospectors is one of the nicest surprises I've been treated to in some time. It's a very personal album comprised of music jam packed with genuine emotion and stories of life, love and loss that we're all likely to have experienced at some point in our lives. But far from being the expected folky-Australian collection you might think you're stumbling into from the beginning with the instrumental 'Cooktown Sunrise', Know Your Destiny expands into territory that makes it largely unidentifiable as a single genre. It makes for a highly enjoyable listening experience as Cavill and principal Prospectors, Michael Maguire and Dave Cafarella, embrace elements of folk, country, reggae, rock and blues and roots. There's a lot of hats being worn here, but they're all stylishly pulled off and it makes for a timeless assembly of tracks you'll find yourself wanting to hear more and more.


While you wouldn't call Know Your Destiny easy-listening (which is apparently code for 'oldies' these days), the album is definitely easy to listen to. 'Across The Border' is enough to leave you completely relaxed. There's smooth harmonies in the vocal lines, driving percussion that finds the right balance to not be overbearing and strong lyricism in lines like, "all that we know is what keeps us alive." Cavill's skills as a songwriter are one of the album's major strengths throughout. You'll also find yourself loving the ukulele and harmonica more than you thought you were ever going to. This revelation will occur on the third track, 'Midnight Train' which features Ben Smith. Coming across as so much more than just a typical ballad, Melbourne itself becomes one of the song's leads, seedy lanes and all, on one of the Know Your Destiny highlights.


'Loretta' brings the bluesy guitars to the fore, as Cavill gets his croon on with the promise that, "most of all, yeah, I will be here 'til the end." If the Loretta in question is Cavill's wife, he's doing the whole husband thing better than you. We move from romance to straight up rock and roll with 'Out On the Water' and 'Lov'Em Til You Die'. These two would have to be major crowd-pleasers at a Prospectors live show, with that classic sounding guitar rock that you can't help but move to. Saving the best for last, we get two songs that are equally fantastic, but really couldn't be more different. At least in terms of story content. 'My Morning Grace' is from the perspective of someone so content, happy with their lot in life and of course it's happy... there's so much ukulele going on again. Cavill's literally singing about how all he sees is love and you? You're just going to have a big smile on your face and be happy for him, alright?


Compare that to 'San Diego', which is the low to the high of 'My Morning Grace'. "I'm only lost 'til I'm found, and right now seems so impossible, no one's going to find me now." Things do not seem to be going quite well, but it sure does make for a beautiful song. Top marks for the melody, lyrics and vocal performance. I say this a lot, I know, but the best way to end an album is with a memorable ballad and Chris Cavill and The Prospectors deliver that in spectacular fashion with 'San Diego'. For my money, it's the album's standout track. You're hearing someone pour their heart and soul into a track and you can actually feel that. There's a lot of debates about what makes 'real' music, but there's no doubt that this is real music. The same can be said about all of the tracks that make up Know Your Destiny.


Chris Cavill and The Prospectors left me more than pleasantly surprised with Know Your Destiny. It's a showcase for a group of talented artists that really know how to make that thing we all love (which is why you're here, right?), music. A highly recommended listen and I'll be looking forward to hearing more from the band and hopefully get a chance to see them live too. Go and give Know Your Destiny a listen.

Matt Bond gives Know Your Destiny four Beatles heads out of five...      

 

Song Review - The Ocean Is My Cathedral

The Ocean Is My Cathedral

by Arctic Maps

Why yes, we would like to hear some chilled out goodness to make an otherwise dull Tuesday a whole lot better. That chilled out goodness is coming to you from Melbourne's Arctic Maps, a new project from singer-songwriter Freya Bennett and music/beats maker NPOWA aka Nathan Power. The duo's name reminds me of the Arctic Monkeys and the Yeah Yeah Yeahs' song 'Maps', so I like these guys already. Even if their name has nothing to do with them and has everything to do with actual maps of the Arctic. 'The Ocean Is My Cathedral' is the first of what we hope will be many Arctic Maps tracks released in 2015 (it's their first track released ever together) and we can't get enough of Bennett's smooth vocals against NPOWA's sparse yet inviting production. Arctic Maps draw on influences from the likes of London Grammar and Daughter and like both of those acts, Arctic Maps features engaging, unique female vocals amongst a lush electronic environment. 

'The Ocean Is My Cathedral' is a nice and welcome introduction to what Bennett and Power offer, just as perfect for a quiet moment of reflection as it is for those playlists you pull out for a night in with friends on the vino. And it's post Christmas/New Year's so I'm sure you've got a lot of things to quietly reflect on. Not that I'm judging your life choices or anything. "I saw my silence fill the air, there's nothing left of me, got nothing to share." Bennett's lyrics deal with the end of a friendship and inspiration for the track came from a photo taken by Connie McDonald. This one...

  

I wouldn't have come up with nice lyrics to a song like Arctic Maps did after looking at a photo. But I'm not a songwriter. Bennett is though and she's really quite good at it. Just give 'The Ocean Is My Cathedral' a listen and find out for yourself. 

Matt Bond gives 'The Ocean Is My Cathedral' three and a half Ellie Goulding heads out of five...
 

Living Music's "Meeting Ground" Preview

Music makes the people come together. You've heard it before, but it's true. Music can bring communities together and lead to positive change in so many lives. It's pretty powerful stuff, our old friend music. The good people at Living Music believe this and have been running an initiative directed at Australian youth that aims to focus and channel their struggles and strengths into music, such as 'Fatherhood' by KingLOCHBOLO. The track is the lead single from Living Music's compilation album, Meeting Ground, which will be showcased this Sunday (16/11/14) at the Revolt Art Space in Kensington, Melbourne. To preview the event, Joel Martin provided us with an interview with artist mentor, Julez to talk about the program and the upcoming showcase.

LIVING MUSIC ARTIST MENTOR: MC JULEZ

Interview by Joel Martin

Living Music’s compilation album ‘Meeting Ground’ contains works from youths involved in the Juvenile Justice System throughout Victoria. The community group is launching the album on Sunday, and to take us through his experience of helping create the album, we talk to program mentor, MC Julez.

How did you get involved with Living Music and the programs that they run?

Julez: I began working with living music in 2007 as a mentor for the underground loop project. From there I began to work as an in house producer and workshop facilitator.

Living Music’s work with youths from difficult backgrounds seems like a tough gig. What is it like being a mentor to these kids?

Julez: It’s a rewarding experience. Especially when the kids invest in the process. Watching them change in terms of their confidence and self-awareness is the most exciting aspect of the program.

Photo by Chasca Summerville

Working with these youths must be a different process to making music for yourself. How do you go about making tracks with the participants?

Julez: It’s like any collaboration. You have to get to know the young person you’re working with and find their interests, discuss their life experiences and perspective on life. Usually it takes a few sessions to find a good collaborative relationship. The process is different for each participant. For this reason it’s important to be flexible and quick to adapt.

What can listeners expect from the ‘Meeting Ground’ record?

Julez: The compilation is mostly hip-hop but within that there is a lot of variety. We had a lot of female participants this year, which was great. In previous years it’s been mostly males. The subject matter is very thought provoking and self-reflective. The mentors were all really effective in appealing to that aspect of the participants personalities.

The album launch is this Sunday, how are the nerves of everyone involved and what is happening on the day?

Julez: Nerves are high but there’s a lot of excitement as well. We have a huge number of participants performing so it will be a jam-packed 3 hours. This is the first year we’ve extended the mentor program to regional Victoria. We have a crew from Wodonga making the voyage down to showcase the music they’ve created with local mentors Josh and Jeremy.

What records are you listening to at the moment?

Julez: A bizarre mix of Joey Bada$$, Thriftworks, Debussy, and Pharoahe Monch at the moment!

The ‘Meeting Ground’ album launch is this Sunday at Revolt Artspace in Kensington, entry is free and it goes from 2pm-5pm.

Album Review - The Thieves Are Babes

THE THIEVES ARE BABES

by Dear Plastic (out now)

"If you're gonna take a side, take mine." Music lovers who like to take a walk down darker electronic avenues are going to find it incredibly easy to jump right in and lose themselves in The Thieves Are Babes, the debut album from Melbourne 5-piece, Dear Plastic. We've been keeping up to date on the goings on of the group since the release of their Everything's Coming Up Roses EP last year and in that time Scarlette Baccini, Josh Moult, Danny Cox, Cory Mollison and Nathan Clark have done a most excellent job of establishing themselves as Australia's best kept alternative secret. I use alternative loosely because their music transcends many genres and fancy labels, but when you find yourself garnering comparisons to the likes of Bjork and Portishead, alternative kinda fits. And that whole best kept secret thing? Halfway through 'Memo', the first The Thieves Are Babes track, I was wondering how a group with a sound this unique to the current Australian music landscape could be kept a secret for long. The opener feels dangerous and sexy, with Baccini making an immediate impact with her entrace around the thirteen second mark on a performance Beth Gibbons would be proud of. 'Memo' provides that feeling you can only get from trip hop legends like Massive Attack, Tricky and the previously mentioned Portishead. The atmosphere the band creates with the music is both inviting and isolating and this is really exciting because it feels like something that's been lost for a long time in music is suddenly back. 

While you can throw out a lot of comparative or similar artists, Dear Plastic establish their own identity over the course of The Thieves Are Babes. A song like 'Antimatter' perfectly represents their quirky yet engaging style of storytelling. "And in that dark matter, no one could see it happen. Ah, but ever since then, I seem to have lost my nerve. My antimatter, my counterpart, do you think we'll ever fall in love." Fantastic sci-fi tale presented in the form of dark avant garde pop. Yes. A million times yes. Current single, 'Epic Delay', is one of the best songs of the year. Baccini's vocal performance is heartbreaking in the absolute defeat that's present throughout. The simple guitar line in the verses against the explosion of sound for the chorus when Baccini lets loose provides an outstanding contrast that sells the pain. "Where do we go? I won't fall asleep because there's no way to know." triple J... why y'all not all over this? 'Buck Up And The Reaper' steers Dear Plastic towards a more grungey alt-rock sound and there's a whole lot of spite and rage, both reserved and not-so-much-reserved. If there's a track that establishes who Scarlette Baccini is as a vocalist, this is it. We get to see her high and lows, guttural grows, wails and towards the end, an unrestrained force of nature. Not once do I find myself thinking... she sound so much like (insert random name to compare artist to here). Brilliant. 

There are two vocal-free interludes between the track 'Little Seeds', 'I' and 'II' that appear. Breathers to collect yourself perhaps? 'Dead Husband' is really fucking bleak. "I reach out, touch your face, find another man there instead. I don't know what he wants with me, but he isn't you and he doesn't love me. I see through the floor, I'm sorry I'm not here anymore." More compelling storytelling for sure, just super bleak. I feel I just had an Edgar Allen Poe story sung to me. Never fear, 'Bell Jar' and it's surprisingly funky brass-iness will prop you right back up. An electro-brass jam. That's certainly different and also very good. The Thieves Are Babes is closed out by 'Everything's Coming Up Roses', a track we've been loving for some time now and it looks like we'll be loving it for a lot longer. More of an electro-pop number than what has come before, it ends things on a endearingly positive note. After 'Dead Husband' it's nice to know that everything's coming up roses. Give it a listen, you'll understand. And seriously, give this album a listen. And then buy it. Dear Plastic have carved out their own space in the music world and if you're down with what they're selling, go and join them there... it's a nice place to hang out. If you're gonna take a side, take Dear Plastic's. They're amazing. 

Matt Bond gives The Thieves Are Babes four Shirley Manson heads out of five...

Gig Review - Angus and Julia Stone w/ Vancouver Sleep Clinic

ANGUS AND JULIA STONE

Supported by: Vancouver Sleep Clinic

Live @ The Palais Theatre, St Kilda (26 September, 2014)

Review by Lou Endicott

On Friday night I was fortunate enough to see Vancouver Sleep Clinic and Angus and Julia Stone play live at my favourite Melbourne concert venue – The Palais Theatre in St Kilda.

We walked in a few minutes late (after grabbing some quick dinner on the run) and were greeted by the thumping ethereal dream rock of Vancouver Sleep Clinic who had already taken to the stage. A beautiful male falsetto voice soared out into the room with vibrancy and passion as we took to our seats. For those not in the know, this band have been making big waves on the indy dream pop scene and were handpicked by Angus and Julia Stone not to just support them in the bands hometown of Brisbane but to accompany them on their complete Australian tour. For such a relatively young band (the keyboard player Aaron is the youngest at 17) this outfit has indeed gotten some big breaks. But it was easy to see why as I sat in my seat and let the dream ambience float over me. The music sits comfortably in the same field as other indy dream rock artists such as Asgeir, Dustin Tebbutt, Hayden Calnin, The Paper Kites and MTNS (the latter actually includes members of Vancouver Sleep Clinic). I am a huge fan of this style of music with its gentle heart, its sweeping builds, electronic soundscapes and soothing vocals.


The next song featured keys and a gorgeous vocal intro creating a very Asgeir-like sound. A rhythmic clap click track joined in with the gorgeous melody before the big heart of the drums captured the essence of something quite majestic. Like Icelandic band Sigur Ros (with their music holding an underlying feeling of drama, adventure and release) Vancouver Sleep Clinic could easily soundtrack an epic adventure film. As the set moved on, I let myself take in the beautiful mixing of the sound and enjoyed how it reverberated joyfully off the classic architecture of this grand old theatre.


The lead singer Tim gave a quick intro to the band next before leading us into the next song. Little drum crashes and swirling picks on guitar sliced with crystal percussive bright keys gently lead us into the sweet and softly placed vocals. It’s almost hard to believe this sound comes from the tropical heat. There is a wintery glow that shines like ice crystals hanging off a fir tree in the music of Vancouver Sleep Clinic. Perhaps because of my adoration of Icelandic musician Asgeir and Vancouver Sleep Clinic’s similarity in style and approach, I couldn’t shake this wintery image. The sound glowed in my ears and whisper with hopefulness.

A highlight of this set was bringing fellow musician Wafia on stage to sing a song. The vocalist Tim took to the keys for this number. The poetry of this song (a collaboration between Wafia and VSC) was beautiful – “I drown in the oceans that keep us apart…” Wafia’s sweet, soft and breathy voice clearly hit the notes and the emotion in this ballad and the audience were spellbound. I was reminded of Cinematic Orchestra’s 'To Build a Home' in the key arrangements of this lovely song as well as that bitter sweet sadness in its mood. The song featured a gorgeous three part harmony between Wafia, Tim and Aaron – which left me with goosebumps.


The band played a couple of new songs to end their set. I was drawn by their ability to capture a chilled vibe while still creating something quite dramatic and big. Lovely strong keys somehow managed to mesh with the grounding of the almost orchestral drums, the rumbling synthy bass and the ethereal guitar. With the addidtion of the light twinkly synth and Tim’s signature high pitched dreamy vocals I realised as I listened that I had indeed become a fan of this outfit. The moments of stillness and moments of intensity that Vancouver Sleep Clinic create build a soundscape that is both a ghostly and magical plain.

I have to admit that I haven’t followed the journey of Angus and Julia Stone in recent years. Years back I was taken by their initial album release “A Book Like This” and played it over and over. Since then however I somehow have been out of the loop with their new projects and new sounds (yes, sometimes I live under a rock). So I was happy to be suddenly be gifted a ticket to see them play and didn’t have any expectations about what I was to experience.


From the moments the lights went down you could feel the support in the room from the audience. Clearly I was on the minority of those who hadn’t kept up with the musical adventures of this brother sister duo. A blue light sliced across the stage as a catchy groove carried us into the concert with some “ooh and ahh” harmonies. A perfectly placed bright guitar solo added to the ambient groove of this first song.


Second song in there was a guitar swap and a mood change as some fine finger picking featured with some very tight and very sultry drums. The talented band backing Angus and Julia included bass, drums, lap slide guitar and keys. And Angus and Julia themselves played several instruments throughout this enjoyable set.

Julia then took to the mic as lead vocalist and revealed the roots of the next song which was written for an ex boyfriend in a hotel room in Perth (and then recorded in a garage). She emailed the love song to him hoping that there would be some redemption of their relationship. He emailed her back saying it was a cool song. He also attached to the email his own recording – which was a death metal song. The audience got a giggle out of this story and settled in for the acoustic guitar song which included plenty of pretty, delicate finger picking. I was again reminded of those years ago listening to Julia’s distinct singing voice. I remember thinking I wasn’t sure if her singing voice was the same as her speaking voice. Julia’s singing voice has a distinct girly sound that sits in the upper part of her resonators. It’s in a category of its own. A lot of Australian female singers I think have tried to emulate this sound – because in a way, her vocal styling is her own musical character, and it’s a lovable charater. But back to the set. I enjoyed the lyrics: "Here I go. I tell you what you already know. If I go. I tell I what you already know. If you love me with all of your heart. If you love me I will make you a star in my own universe." This delicate song eventually erupted into a somewhat epic almost Fleetwood Mac sounding song with drums and full band. During this section of the song each band member had their own lighting special that consisted of single columns of light shining onto each person from above. The keys player added some beautiful deep harmonies to pull all the vocal threads together.


Angus introduced the next song – a new song called 'Crash and Burn'. A dirty, bluesy guitar with tremolo had me thinking of exploring back urban streets and alleyways on a summer’s day. The sound created that shimmer that lifts off the cobblestones on a sweltering Melbourne day (very desirable on a cold Melbourne evening!). White lights, silhouettes and yellow diamonds painted the stage in a blanket of dry ice. As the song built up Julia reached for the tambourine and added to intensity to the build instrumental break.


A starlit backdrop snapped in next with red and yellow pinpoints of light and cool slices of blue. Touches of Chrissy Amphlett in both sound and vocal style featured in the next track which contained an almost reggae up beat rhythm. A highlight of this song was when Julia pulled out a trumpet solo infusing the song with a distinct Mexican mariachi twist. The theatrics of this sound in the mix was a pure delight and a highlight of the set.


After this song Julia had a wardrobe malfunction and giggled as she confessed that she was very embarrassed about the situation. Her sense of fun and humour however entertained us and kept us all relaxed in the knowledge that this was no biggie. She asked Angus to sing a song while she left the stage to get her outfit sorted.


A Theremin sounding solo over a lovely steady and mellow beat led us into the hit 'Big Jet Plane' that I was very familiar with from the duo’s earlier days. Julia re-entered the stage for the harmonies – with the audience cheering her on. It was such a pleasure to listen to this song live and reminisce.
Julia next took up the guitar and stood in a single spotlight. What followed was a superb rendition of the Grease song 'You’re the One that I Want'. The song also contained a little audience participation as Julia sang, "You better shape up” then encouraged us all respond back with the “Ooh ooh ohh…” The full band eventually came into the song turning the number from a quiet acoustic love ballad to a big open-air blues rock tune. Julia really let her vocal talent shine here as she pulled deep to hit the big notes.


Another anecdote led us into the following song. Julia turned to Angus and said, “Tell us a story Angus. Don’t lie.” Angus answered back saying, “Julia and I snuck into Kmart and stole some lights”. Much laughter ensued here. Julia then said “They could arrest us now”. Angus came back with “But don’t steal. It’s a gateway drug.” Gotta love a little clowning (and shop lifting confession) onstage. The song that followed was a mellow mix up of sweet and gentle lyrics and melody before mashing up the song with lines from Cyndi Lauper’s 'Girls Just Wanna Have Fun' in the outro.

The next song along was my favourite of the night. Julia wrote a song for a friends wedding several years ago – aptly named 'The Wedding Song'. Last year one of my long time best friends asked me to sing this song at her own wedding. I fell in love with the song on the first listen and was honoured to do a rendition for her special day. Personal connection aside, this live rendition was delivered with such heart and clarity that I couldn’t help but get goosebumps as I listened.


A few new songs followed 'The Wedding Song'. The first was another Angus driven bluesy upbeat hopeful song. I really enjoyed the guts and drive behind this – though still keeping a gentle and soothing sound as well. The next along was a song that was recorded the day Angus and Julia almost had a fatal car accident involving a drunken driver. The song explored the theme of death and the defying of it. There were peaks and valleys in this song that created a soft engaging intimacy as well as a contrasted feel of drama and danger.


The last official song was one that Angus and Julia firstly wrote for the new album. 'Heart Beats Slow'. This single I had previously heard and really enjoyed. The crowd also loved it and cheered when it started.


An encore is almost mandatory in the Palais Theatre. And we weren’t disappointed here at all. We were treated to not one but two encores. The first introduced the audience to the band. The band members came from three separate continents for our musical delights: Australia, Asia and America. After the intros we were treated to a cover of The National's 'I Left My Shirt Off' (to the utter delight of my friend I was sitting next to who is a huge fan).


The second and final encore of the evening was just Angus and Julia sans band. I loved the stripped back ending to the evening (both just on guitars and vocals). The song 'Santa Monica Dream' is a sweet, sad, suburban lullaby.


I really enjoyed this evening of music and melody and stepped out into the night feeling that all was right in the world as long as music keeps being made and shared. Angus and Julia Stone’s music continues to grow and mature as a team (and as individuals). Next time they perform in Melbourne I will make sure I am not out of the loop!


The incredible, amazing, lovely, amazing, brilliant, amazing Lou Endicott has been a superstar as It's My Kind of Scene's Melbourne contributor and this gig review will be her last contribution to the old bloggins for now. Lou will be channeling her creativity in some new directions and you can stay up to date with what's going on in her world over at the Lou Endicott Illustrations page! A huge thanks to Lou for all her hard work over the past couple of years and all the best for everything in the future, with love from Jo, Katie, Nayt and Matt. 

That's Lou. We love Lou! (And Vancouver Sleep Clinic and Wafia, by association)

Song Review - Caught

CAUGHT

by Eliza Hull

Album: The Bones of Us (TBA)

Time stood still
Silence in a room of people
Mouths gone dry my heart beats fast... 


Eliza Hull returns with 'Caught' the first new material since her ethereal 2013 EP, The Ghosts You Never Catch. Previewing her upcoming album, The Bones of Us, we're treated to another dazzling listening experience from one of our fave Melbourne songstresses, which sees her teaming up once more with Hayden Calnin on production duties. Theirs is the partnership that keeps on giving and Hull's voice along with the sounds and beats that make up 'Caught' could very well be their most effective creation yet, further positioning Hull as an artist that you must keep an eye on.


'Caught' is as dreamy as Eliza has ever sounded. Really though, it's absolutely the dreamiest Eliza has sounded. Her voice is full of warmth and sincerity which is extra impressive given the song's subject matter and the smattering of beats that come with the electronic territory. "I keep running into you, have I met you before?" I'm going back and forth between the narrator being "caught" in the same destructive relationship OR she seeks out the same type of destructive relationship. Have I ever told you that I generally find myself way off base when interpreting songs? "All of the stories, all of the fights, all of the running, the lonely nights... it's like it's happened before." Are you picking up what I'm putting down? Either way, Hull's talents as a lyricist and storyteller remain as strong as ever. 


"Then the lights went out." Shades of Björk in the vocals in this blink and you'll miss it moment followed by clapping beats will catch you by surprise. It's a segment of 'Caught' that's over in a flash, but each time I hear it I find myself holding my breath and thinking, "damn this is gooood." That's not the first time Eliza Hull has managed to make me do that. I doubt it will be the last. We've only got our first taste, but I think that's all we're going to need to say The Bones of Us is going to be one knockout of an album. 

Matt Bond gives 'Caught' four Presets heads out of five...


And if you're lucky enough to be in Melbs on Saturday September 20, you should be heading on down to The Toff In Town to see Eliza Hull launching 'Caught' live! Joining her on the night will be Texture Like Sun and Lanks. Boom! Get 'yo tix right here!  

Song Review - Born To Love You

BORN TO LOVE YOU

by Elodie Adams

from the inSUBORDINATE EP (August 29, 2014)

We're always going on about how great it is to hear music from Aussie acts on big television shows and movies, but there is another area of the entertainment industry that has a huge audience for budding stars to reach. No, not porn. I'm talking about video games. Gaming has gone down a much more cinematic path since all these fandangled contraptions next-generation consoles came out, with epic trailers to promote the games and the use of popular songs within the games during the most buzzed about sequences. Remarkably, Elodie Adams was able to secure a place for her track 'Born To Love You' as the main theme for Oddworld: New 'n' Tasty by contacting the games developers via their Facebook page. Adams' soaring and melodic vocals against the simmering darkness in the heavy music backing her go hand in hand with the nature of the Oddworld stories. Anyone else remember playing Abe's Oddysee back in 1997? Those were good times.

But enough about games, Elodie Adams is definitely an intriguing new prospect on the music scene. 'Born To Love You' isn't the type of song you hear all that often anymore, which is a shame. Back in the mid-2000s you had acts like Evanescence and Lacuna Coil kicking butt as female fronted pop-metal acts, with Evanescence dominating radio for a good couple of years there. It's been all quiet on that front lately, but then along comes someone like Elodie Adams and you wonder why we're not hearing more acts like this; all dark, sexy and mysterious... completely rock and roll, but just that little bit more dangerous. It might not sit with what's going on in radio land right now, but there's still a huge commercial market for artists that deal in this wheelhouse, particularly with teens/young adults that rock a lot of black clothing. A song like 'Born To Love You' would be right up their alley. Trust me, I used to wear a lot of black. Teen me would have been all over this. Funnily enough, not-so-young adult me is too.


Does Australia have a new Goth Rock Queen on its hands? If we get more tracks like 'Born To Love You' from Elodie Adams, I don't see why not. It's about time too!

Matt Bond gives 'Born To Love You' three Karen O heads out of five...

It's My Kind Of Interview - Ella Hooper for MMB

If you're an emerging (or even not so emerging) music act from the great southern state of Victoria, you're going to want to know about the Melbourne Music Bank competition. It's just this little competition put on by the good people from the Bank of Melbourne in which the winner can win some amazing prizes like a film clip and recording time in the swank Sing Sing studios and PR advice your song featured in a TV advertisement and bears, oh my! Well, no bears. But that other stuff is sweet as!


All you gotta do is come up with an original piece of music that's inspired by Melbs. This year, the event has one mighty fine ambassador... ELLA HOOPER!!! Ella has a keen eye for Australian talent and brings a wealth of music industry experience to the role. The lovely Melbourne Music Bank Ambassador took the time to have a chat with us about this amazing opportunity and Matt even managed to sneak in a Q about when we can expect to hear the much anticipated debut solo album, In Tongues. Enjoy!

MELBOURNE MUSIC BANK AMBASSADOR

ELLA HOOPER

Interview by Matt Bond

Ella Hooper, welcome back to It's My Kind of Scene! How are you on this fine day?

Ella Hooper: Well I'm just dandy.. Thanks for asking. Always happy to be chatting to my favourite blog!

It's great to have you back for a chat, this time in your role as ambassador for the Melbourne Music Bank! Can you tell us a little bit about this fantastic opportunity for Victorian music acts and what drew you to it?

Ella: I'm always up for promoting and supporting other musicians, especially aspiring ones, and especially when they're from my own back yard! So when I was asked to be ambassador I checked out the comp and after finding out how bloody good it was I said yes straight away.. and had a little cry that I couldn't enter it myself! (haha)

There are some huge prizes for the winner here including session time at the iconic Sing Sing studios, a Wilk created music video, song placement in a Bank of Melbourne advertisement and even marketing and PR assistance from the amazing team at On the Map PR. Does it get better than this? What could this mean for an emerging artist trying to get their first real break in the industry?

Ella: It's a ridiculously hefty prize package, and it's not just the AMOUNT of opportunities - it's the QUALITY of them that's outstanding. I mean, Wilk, Sing Sing, On The Map.. they're all first class leaders in their fields! An emerging artist ready to take these connections and opportunities with both hands and run with them is going to receive such a massive career boost! It was a free recording session that kick started my career many many moons ago, so take it from me, these things can take you a lonnnnnng way. I can't wait to witness it.

"The music piece should be an affirmative ode demonstrating your fondness for Melbourne." Say Ella Hooper was able to enter into all the fun. How would you go about demonstrating your fondness for the world's most liveable city?

Ella: I think I would TRY to find a unique, personal angle, and maybe steer away from the tourist traps, or hipsters, coffees, or the MCG.. As I think it would be great to express something more personal about Melbs, about the songwriters experiences with or relationship to the city. What it means and feels like, more than just name checking it's (admittedly plentiful) attributes.

Melbourne Music Bank is open to those currently living, working or studying in Victoria. Who would you describe as the quintessential Victorian music act and why?

Ella: Ooh that's hard! We have such a diverse music scene here.. One night I'm off to see an alt country band, the next it's Midnight Juggernauts or some nasty punk band. Can I put the Smith St Band - Paul Kelly - Jen Cloher and Architecture In Helsinki on a blender please and serve you up one delicious (hideous pink) quintessential Victorian music act smoothie??


You can do and say what you want because you said this is your favourite blog. We have it in writing, no backsies! Anyway, as well as being the ambassador, you're also one of the judges! I think this is most excellent, because you've got quite the eye for talent. I've seen you hanging out a bit with Jack Colwell this year! Most recently you collaborated on a cover of Kate Bush's 'Cloudbusting' for the mega babes at Music Feeds. What brought the two of you together? 

Ella: Well it's a funny story!

We met through our mutual friend Hayley (who has a fashion label called Serpent & Swan that both of us are obsessed with). She got us together at Homebake a few years ago. We hit it off instantly, then the day was full of weird incidents like Jack lending Kimbra his last $20 so she could buy a sandwich (?!) and us trying desperately to get on a demonic looking fairground ride called 'the gremlin'.. We never made it onto the ride (probably a good thing) so we made up a dance called The Gremlin instead. We've been the best of friends ever since and we like to sing together at every opportunity. Jack is most likely going to take over the world one day. I hope so anyway. He KILLED it at my Red Shoes single launch in Syd recently. Like completely blew everyone away. Completely.

Now, Ella... where's your album, In Tongues at? Getting to hear the tracks live on your 'Low High' tour has made me even more excited about the album and you may have mentioned something about a June/July release and...

Ella: Eeeeeeeep.. You are so nice and patient with me!

There's been a few delays and now I can excitedly say it's scheduled for release early October. I can't wait to let you hear ALL of In Tongues. I'm really proud of it, I'm just sorry it's taken so long!

Bring on October! Thank you so much for taking the time to have a chat with us again. It's always an absolute pleasure! I'd ask you again if you'd marry me, but I've done that before and don't want you to think I'm a total stalker. Because I'm not. Haha. What?

Ella: Stalk away! ;D haha.. Thank YOU guys for your constant support and enthusiasm!

You're the best!

Xx Ella

If anyone's the best, it's you, Ella. Sigh/swoon etc. etc. A massive thanks to the always delightful Ella Hooper for hanging out with us once more. Stop by whenever you want, Ella... our virtual door is always open for you! Now, Victorian music friends... get your butts over to the Melbourne Music Bank site for the full brief on what you need to do to enter into this incredible competition. Don't forget, you need to get those entries in before September 7, 2014! We can't wait to hear some of the entries. Melbourne's a pretty cool place, you know? I'm sure it's going to inspire some very cool music. Good luck to everyone entering! You can also stay up to date with all things Ella Hooper over at her Facebook page! If you haven't already, go and give it a like! 

Gig Review - Asgeir

ASGEIR

Live @ The Forum, Melbourne (22 July, 2014)

Review by Lou Endicott

A few weeks ago amidst a heavy work schedule I had a golden date with music awesomeness scrawled into my diary: Asgeir at The Forum in Melbourne. My fellow music fan and friend, Paul and I had been talking excitedly about this artist for several months prior to the live event. For those not in the know, Icelandic musician Asgeir (pronounced “Os-gee-ah”) is relatively new on the Australian music scene. For his young age (he’s only 22) he has managed to record an album which approximately half of his native country own a copy of.

I can’t quite explain what it is that Asgeir does to my heart when I hear his music. It’s immediately familiar territory with its beautiful folk sensibilities, soft vocal lines and acoustic guitar. But it is at once new and exciting with its melodic dips and turns, lyrical mastery and gorgeous layering of instruments including electronic sampling and powerful drums. I have to admit some of the music of his album Into The Silence has filled my ears and heart with such emotive beauty that I have been left weeping (often while driving in peak hour stand still traffic – not a good look when people are staring into your car looking concerned. I just want to shout, “Check out this music! If you don’t get it you’re dead inside!!”) But you know, that’s not my style… Needless to say I think I became a fan of Asgeir almost upon my first listen.

The Forum is one of Melbourne’s best concert venues with its domed ceiling and Roman-esque statues adorning the gorgeous and intricate proscenium arch. There is something almost magical about the venue itself with its preservation of history and finery – right down to the foyers in the toilets. The magic bled into anticipation as the room became suddenly silent. The stage was darkened as the music begun. A soft and gentle voice sung out into the dark unaccompanied in what I can only assume was Icelandic. Much dry ice started to flow over the stage as the lights gently came up.

A side note here: My friend Paul and I were happy to have a staked out a spot quite close to the stage while watching the support act. As soon as the lights came up though more than a few people pushed past us rudely with much force and carelessness to get closer to the stage. Those around us who had been patiently waiting were all dismayed at this new influx of people pushing and shoving. I made a mental note here to write this in my review: crowd pushing = uncool folks (particularly if the concert has already started). Pick your spot, get there early and stay put.

Asgeir and his band entered through the dry ice in a lighting wash of red, blue and orange - colours to warm the crowd and bring us straight into the heart space. “Head in the Snow” led the set with its gentle tripped beat and gorgeous humming intro. I was immediately beaming the kind of smile that can only come from listening to an album over and over and finally hearing it live. I love the lyrics. “Hope and faith, don’t you fail me now…” Some soaring angelic stadium worthy guitar took the sound up into the ether and lifted the audience up with it.

Next up we were treated to an Icelandic version of the album's title track “In the Silence”. This was the first song that I heard from Asgeir and it captured me immediately. Both Paul and I had speculated whether or not we might hear something sung in Icelandic. This song was such a joy to hear in its original form. The uplifting drums, soft yet soaring vocals and driving intensity really shone through – even though the language was not my own. As far as I’m concerned I think this song could melt all the ice that Asgeir’s country is famous for. “Lupin Intrigue” (another favourite off the album) came in next with its electronic hook mixed with gorgeous acoustic keys. A light streamed from behind Asgeir creating another worldly visual of an angel. Asgeir invested in stillness as he sung - holding his power with his delicate voice and engaging stage presence. With its delicious electronic tweet throughout the song, I kept imagining a scene in a hospital with a patient in surgery seeing an angel watch over them. If you’ve read any of my reviews before you will know that to me music can become a visual medium with the addition of a little of my imagination. I make no apologies for it.

The first song off the album, “Higher” brought some singing to the crowd. I am usually all for a crowd to join in a song and share the jubilation of music together. However Paul and I were standing next to one of the pusher-in-ers who started to screech sing at the top of her voice as she swung her drink about above her head. The song “Higher” is not your classic sing-along anthem by any stretch. It’s more of an end-of-the-day-let-all-the-stress-go-and-chill-right-down kind of number. A few looks of the audience around me confirmed I wasn’t the only one wishing she would stop.

After “Higher” Asgeir thanked the crowd for coming before swapping his acoustic guitar for another and then launching into “Summer Guest”. The album version is very folky in a simple stripped back 60s songwriter kind of way – perhaps a little like Nick Drake or even a bit Simon and Garfunkel. The live version however was delivered with a slide guitar adding a whole new twist of country to the arrangement. I adore the simple lyrical journey of this song. Originally I interpreted the song lyrics to tell the story of a passing musician who had inspired Asgeir. “Perched upon a branch of green…He rests his legs from the long journey…Warms my heart with one true song…I listen close, to tales of battles won…” That is until one night with a wine in hand my friend Paul patiently stated the ridiculously obvious: “I think it’s about a bird Lou. The bird is the summer guest who leaves his song. Asgeir awaits his return for next years season.” Sometimes I look so hard for meaning I miss what is right in front of me. I love how music is open to interpretation.

“Was there nothing but the hush of night…” Asgeir sung out into the darkened room bathed in a soft pink light. The hush of the crowd was more than apparent here as we entered into solo singer/guitarist territory with the song “Was There Nothing?”. Around here Paul turned to me and said, “This guy is going to be huge. I can’t believe we are here watching and listening to THIS!” I concurred. I was absolutely filled with joy to be in the venue letting this beautiful music penetrate. “Yes the good was not without the bad. Raise up your swords and shields...” sung Asgeir. There was only good in the delivery of this amazing number.

A blackout brought the groove slickly back into the spotlight. The song “Going Home” was next up on the list of delights with gorgeous keys and mellifluous harmonies reigning supreme. There is a beautiful acoustic version on the deluxe album that I have hit repeat on many a time. Played live, the song was taken on a whole new journey. “Going Home” was layered with beats like heavy feet on a path trudging with hope yet determination towards the warmth and comfort of a familiar abode. The song had a fantastic new build in it with a big squelchy electro wail of solo midway through. The talented drummer - with one stick in his mouth - twokked out the crescendo with gusto and expertise as the electro landscape erupted in one monster of a solo. I imagined the solo soaring over us like a pterodactyl dinosaur – such was the intensity. My chest bones literally reverberated. I loved this new and exciting contrast to what is otherwise a gentle song of longing and hope.

A cover was next. “Oh yes, thank you God!” whispered Paul as Asgeir launched into Nirvana’s “Heart Shaped Box”. The 1993 song from Nirvana’s In Utero album is so utterly different that this cover might have been almost unrecognisable. Asgeir breathed a whole new being into the story of the song. I think perhaps around here I realized that many of the audience perhaps did not know the original. However, much like singer/guitarist Jose Gonzalez’s ability to take a song and give it a new and refreshing identity, Asgeir nailed this number and made it firmly his own.

“It’s great to be in Australia for the first time,” Asgeir told the audience. “It’s so much colder than we expected. We’ve only been here a few hours but we’ve already met lots of good people.” Obviously they landed in Melbourne first! The next song up was a new song called “Dreaming” which featured a tapestry of vocal harmonies including lots of euphonious “ahhhhhhs”. Asgeir’s voice again soared up like an angel. Looking around me I saw a lot of couples snuggling up to this new tune as Asgeir sung out, “Look up to the stars….” Beautiful powerful chords held the grounding of this new song - still allowing the spirit to be risen - yet leaving time and space for the heart of the song to cry out in the dark.

A beautiful classical inspired keyboard melody introduced us next into an Icelandic song. The effect was sweet – almost like a lullaby. Around here I wish I spoke Asgeir’s language. But then suddenly I realised that I did. The language of music and the haunting longing of this song captured and held all of the audience in his spell. It was easy to understand.

Another Icelandic version was next with the song “Harmony”. Golden light washed over the stage and matched the light, refreshing, uplifting sentiment and mood of the song. THIS song was more of one to sing to along to! There is a section when Asgeir and his band all start to sing “Ahhhh…. Ahhh..” I couldn’t help but sing along. After all, we all “ah” in the same language.

We were then introduced to the band - which apart from a drummer and other guitarist - also included the producer of the album (on synth and samples) and Asgeir’s own brother (on bass). The last song was the single “King And Cross”. It has got a lot of airplay on Triple J since its release and the crowd started to move along with much enthusiasm and sing along with the upbeat chorus.

An encore was absolutely obvious at this point. And for me I was just hoping that Asgeir would play my favourite song off the album. To my utter delight (and my weepy eyes) Asgeir played the acoustic version of my favourite song (also my favourite version – there are two on the album). “On That Day” is simply one of my favourite songs of the year and sits in my mental list of top songs to use as a healing balm when working through a broken heart. Personal info here: I don’t personally have a broken heart. But at my age, I have had quite a few and these experiences opens my ears and heart up to being moved considerably by music that speaks of this passage. The guitar, the voice, the melody and the utterly exquisite poetry of this song all come together to create something that floors me every time I listen. It unpacks what heart felt music is all about: Intimacy. Or as I see it: Into me See.

To pick the audience up after this show-stealing song the band rejoined to give us one more aural delight in the song “Torrent”. I couldn’t help but feel uplifted and living in the centre of something quite amazing just listening to this song: “Gods of iron clashing, wind in battle through the night. Tears will fall, and strength is needed to overcome….Torrents wash away everything…. Raindrops flowing all around.”

I just wanted to run out into the street afterwards yelling out, “Celebrate every moment of life people!!” Such was the joy that this incredible set of songs and their delivery brought to me. The musical high experienced from this event lasted with me for days after the event with each listen of the album. If you love reflective, poetic, uplifting yet soft and gentle music I implore you to seek Asgeir music out. He is sure to become a household name in this country.