New Music Monday #79

Slow Motion Music

by Oliver Tank (out now)

It's funny how some musicians just fly under your radar sometimes. Only a month or so ago I was lucky enough to see Oliver Tank play as support for Lorde and before that night I'll admit I had no idea who he was. Before the gig I didn't even know if Oliver Tank was a person or a band. He's a guy, just so you know. A really talented guy and also a kind of cute guy, just so you know. But I digress.

What I found out after that gig is that Oliver has been hanging around and producing some quite impressive music for some time now. As well as releasing his first EP Dreams in 2011, he visited all sorts of interesting places, got some impressive JJJ recognition and has played with likes of Megan Washington, Julia Stone and Lana Del Rey. This is kind of impressive but they're not neccassarily artists I love, so I guess that's how he slipped underneath my 'awesome' radar, but when I saw him with Lorde I knew I'd been missing out on some special talent. That was confirmed when I had the chance to press play on his second EP, Slow Motion Music, released late last week.

Don't let the title fool you, while it describes Oliver's music in a physical way, it doesn't describe how awesomely effective slow motion music can be. Collaborating with numerous people, including Fawn Myers and Hayden Calnin, Oliver Tank has made an EP that is truly mesmerising, a little seven track journey of chilled yet refreshing sounds. Opening with 'Stay', you know where you're heading from the very first notes, into Oliver's delightful world, where everything else disappears and the only important things are the sounds. Fawn Meyers' vocal is stunning and the strings that accompany are captivating. The second track, another collaboration with Hayden Calnin is just as dreamy, although I'm left wondering if some kind of doomsday is on the way, it's fabulously depressing, which is one of my not so secret loves. I can't even tell what the lyrics were to tell whether it is actually a depressing song, but either way, it's deep, resonating sounds are incredibly addictive.


'Time Slows Down When You Walk Into The Room' is another highlight, this is one I was lucky to see live at that Lorde gig and it's one I specifically remember wanting to know the name of that night. Starting so simply, this is the one that stopped me that night and stopped me when I heard it midway through Slow Motion Music, it gave me that feeling I love when I hear new music, that feeling of knowing this is one that's going to stick with me long after the EP is over.


The other collaborations; both 'Different Speed' with Ta-Ku and 'Her' with Stumbleine are stunning, just divine pieces of chilled music, this is the type of music that washes all around you, it encompasses your whole self with every listen and it's such a pleasure to listen to. The fifth track 'Home' uses the sound of strings again, but this time in conjunction with some haunting vocals, the spooky feel is unlike the rest of the EP and that's a fabulous change of pace right when it's needed, enough to keep you listening, to wonder what he could possibly come up with next.


The final track, 'Blessing In Disguise' closes the EP perfectly, a short and sweet track that leaves me wanting more, which is exactly how an EP should leave you feeling. Even though I might be a little late, I'm so glad I finally found Oliver Tank and all his talent now. If you made my mistake and haven't heard any of his work, you should probably find his EP now, before everyone else sees him on his national tour early next year and jumps on the Oliver Tank bandwagon before you. Just saying. If I haven't convinced you enough, beside all his talent, he's kind of cute too. Just saying.

Jo Michelmore gives 'Slow Motion Music' three and a half The xx heads out of five...

Salvage

by MTNS

Let's just make it clear from the start. I think I love MTNS. I saw them play with Avaberee and Iluka earlier this year and although I missed their first song, their music dragged me from the door of the venue right to the front of the stage, there is a magnetic something about the sounds this band creates that I can't get enough of. Seems a few other people have started thinking the same thing too, with a lot of internet and blog interest in this little trio from Brisbane. How awesome, because they clearly have a lot of talent and deserve all the success I'm hoping they achieve in 2014. 

Beside all of that music industry/blog/career chatter though, this is where the magic of music comes into play. That night, when I almost ran from the back of the Black Bear Lodge to the stage to see who was making those magical sounds, they played a song that struck a chord with me, a song I only remembered one line from, but it's a line that means the world; "so put your feet back on the ground and just start walking...". It's a mantra I'm trying to live with at the moment, as my personal 2013 seems to end in a way I never expected, it's a line I keep telling myself and MTNS are a band that have created a song for me to live by, a song that will define a fabulous year of music for me. 

This is the beauty of music, you never know where the songs that mean the most are going to come from; sometimes they're from hugely successful bands that have millions of fans around the world and sometimes they're from bands whose members probably shop at the same supermarkets as you. I hope MTNS manage to make it into the former category, but either way is ok, because it's not so much about the fame and the accolades, it's about the songs that just gets you through the day and through the moments as I put my feet back on the ground as just keep walking into 2014...

Jo Michelmore gives 'Salvage' five Karen O heads out of five...

Nightcall

by LIPS.

There have been so many covers of Kavinsky's 'Nightcall', but New Zealand's LIPS. just might have the best right here. London Grammar's is certainly beautiful, but LIPS. bring a vibrant, upbeat energy to their interpretation that will have your toes tapping along in no time at all. LIPS. is fronted by Stephanie Brown (a cool name if you're a comic nerd, which I am not) who's been calling Brooklyn home for quite some time and there's more than enough NYC 80s electro charm on 'Nightcall' to warrant a ton of repeats. I've been saying this a lot lately (and it is the end of the year so leave me alone), but LIPS is another act that's shooting straight to the top of my artists to watch in 2014 list. Brown is like some awesome Chvrches/La Roux hybrid. What's not to love? With a new EP, Ghosts and Demons, set for release, we won't have long to wait to hear more from this exciting emerging act.

Matt Bond gives 'Nightcall' three and a half Ellie Goulding heads out of five...

Wake Up 

by Foxsmith (out 23 December, 2013)

That bassline! It takes about five seconds for Foxsmith to put a smile on your face with 'Wake Up', the first offering of what I hope is a million plus one (to the power of infinity times two) more tracks from this Brisbane four-piece. Brisbane is home to a huge collection of revival acts with a twist and the ladies of Foxsmith are a fine addition to this assembly, sitting alongside bands like Go Violets, Jeremy Neale and Major Leagues. There's so much to love about 'Wake Up'. Those circling keys that seem just a little too magical for their own good. The smooth and slightly restrained vocals that can best be described as cooler than cool. Those rumbling drums towards the end of the track. There's also a million plus one (to the power of infinity times two) other things to love about 'Wake Up', but you should just go listen to it a million plus one (etc.) times to find them out for yourself. Foxsmith are another act I can't wait to hear more from in 2014.

Matt Bond gives 'Wake Up' four Ellie Goulding heads out of five...

No One Cry

A Musical Collaboration

by Joe Puccio, Fabiola Sanchez and Ken Negrete

Fabiola Sanchez has a uniquely beautiful voice. It's calming, serene and sweet, more than enough to put your mind at ease and it's very likely you'll lose yourself in it, particularly on 'No One Cry'. The track was written by Joe Puccio and produced by Sanchez's frequent collaborator, Ken Negrete (the two have worked together on the sci-fi concept outfit, IconsOfAndria and Familiar Trees). Puccio's lyrics are pretty bleak, which you should probably expect on a track that's labelled a 'Country Pop Dream Doom' song by its vocalist. It's like a dystopian novel, something by Cormac McCarthy... Blood Meridian perhaps? An ode to the mid-west in a post-apocalyptic world. "When the fire burning in your bed has woke you from a dream, or the desert sun releases you from horrors yet unseen, since I failed to take your life away, I'll fail you not again... it's time to die, no one will cry." Sanchez's dreamy vocal is seemingly in opposition to the grim lyrics, but it just makes it more interesting... it's a truly fascinating listen. Here's hoping Puccio, Sanchez and Negrete are planning to work together more in the future. Let's just hope it's not a post-apocalyptic future.

Matt Bond gives 'No One Cry' three and a half Bjork heads out of five...

Heresy Baby 

by Paul Conrad

"Am I asking too much, or do I need some extra patience." Paul Conrad's not an artist I've been familiar with before hearing 'Heresy Baby', but seriously, the haunting quality of his voice is going to be bringing me back for a lot more. 'Heresy Baby' simmers with a touch of dramatic tension throughout the lyrically rich verses before boiling over in time for an explosive and catchy chorus. I love the lines, "you're a heresy baby, follow me, follow me." It's a simple, snappy lyric that's just stuck in my head now. There's a real cinematic quality to the arrangement of the music that will make you want to fist pump, particularly in the build from the final chorus to the stunning conclusion. If you're a fan of Hans Zimmer's score for Inception, you might even notice some stark similarities to the film's motif, presented in the track 'Time'.

Shut up, movie scores are the bomb. And so is 'Heresy Baby' and it sounds like Paul Conrad is too. As we look ahead to 2014, Conrad looks to be one artist to keep your eyes on.

Matt Bond gives 'Heresy Baby' three and a half Jack White heads out of five...

Winter

by Hamish Anderson

From the moment this track started I knew I would like it. The gentle soft strumming of acoustic guitar expertly played with sensitivity by Melbourne singer songwriter Hamish Anderson makes for a sweet and heart felt ballad introduction.


I was reminded of one of my all time favourite artists, the late Nick Drake and his song writing that edged you in to the music waters heart first. Anderson’s voice has a similar quality to Drakes in its soft, mellow yet delightfully somewhat raw tone. Like Drake, Anderson manages to capture you in a way that you know you will be coming back to listen again and again. And when the song is over, you are left wanting more.


This is just beautiful music. Complex finger picking, gorgeous lyrics and a hint of organ to bring the warmth and depth out of the song structure – my ears were taken back down memory lane to moments in my life where the heart was at it’s rawest. It’s the kind of song I could imagine listening to to revel in a heartbreak and pour salt into the wound of a broken dream. But salt is a healing rock. And so is this song.


I love the lyrics “Is young love really meant to make me feel this old?” This is a coming of age song. For this writer the breaking of my heart the first time truly set my soul off onto a journey of self discovery and exploration. Hamish Anderson is about the same age as I was when I first felt the pain that loving brings. “I lost my innocence when I looked into your eyes. I lost all my faith when our words turned to lies”. Indeed.


Sigh. Just perfect.


For such a relatively young artist, Anderson has begun working with some amazing names in the industry (such as Jeff Buckley’s drummer Matt Johnson and the engineer behind Birds of Tokyo and Silverchair – to name just a few). It’s easy to see why people would want to jump on board with this artist.


I would love to see "Winter" played live and to see what other gems come from the heart and imagination of Hamish Anderson.

Lou Endicott gives 'Winter' five Nick Cave heads out of five...

Paris

by Foreign/National

From new indie Melbourne outfit Foreign/National comes this dreamy little track 'Paris'. It’s a summery mix of light organ sounds, mellow jazzy guitar, light drums, bouncy bass and soft whimsical vocals. The vocals in this track reminded me a bit of Alt-J in tone and delivery: it sits in the soft side of lead male singers that have me imagining sitting in the sun on a warm day, laying on a deck chair, sipping a cold one, doing a spot of cloud watching and listening to dreamy sounds.


I have to say that being a lover of words I wish that the band had included lyrics with this track. Lyrically speaking I was unsure of where this song was going. I would not like to try and translate just from listening. The vocals have a laid back and enjoyable lounge feel but are a little undecipherable at times. And I’m not a fan of the misquote! This did not mean I did not enjoy the 'Paris'. It just meant that I had to listen more to this track for it’s sound as opposed to it’s themes and story.


There is an element of something retro going on in this song. It has a little touch of psychedelia to it. Perhaps the dreaminess reminded me of the 60s trippy little track 'Itchycoo Park' by Small Faces in it’s vocals and underlying organ. I really enjoyed the little drum rolls and the tightness of sound and groove that Foreign/National create in this song. The stripped back section also adds another nice layer to this sound. I am always a fan of a bouncy bass mixed with light keys and it’s done nicely here. Perhaps there is a little influence here from French band Air (who are my favourite lounge band).


I will pop 'Paris' onto a playlist for a blue sky summer day.

Lou Endicott gives 'Paris' three and a half Michael Hutchence heads out of five...

NEW MUSIC VIDEOS OF THE WEEK

Bound 2

by Kanye West

Album: Yeezus (out now)

In the interests of full disclosure it’s important that you know I am not the biggest fan of Kanye West. In fact, I’d go so far as to say that I think he’s a talentless, arrogant, wanker. I’ve started to notice lately, however, just how much positive press he’s been getting. Granted, some of that is him singing his own praises. But some media outlets appear hell bent on labelling him as a new aged wonder boy. Me? I don’t get it. I’ve never liked his music, fashion or women. And the fact that he’s a jerk only adds a cherry on my pile of dislike for him.


Many years ago a work colleague introduced me to the saying “open heart, open mind”. Over time it’s evolved into my own personal mantra, and sometimes I like to remind myself of it when I’m being stubborn and judgemental. Enter Kanye West. Yes, that’s right. I recognised that it was time to test my thinking about Kanye. Is he really that bad? Even if he is King Jerk of the Universe, is his music really that bad?


As the film clip for Kanye’s new single ‘Bound 2’ began, I started to think that I’d got it all wrong. The song opens with beautiful keys, with a stunning backdrop of snow-capped mountains and rolling clouds. But then horses start running through the ocean, and I feel the laughter building in my belly. “Open heart, open mind” I chant out loud, in an effort to centre myself. It isn’t long before ole Kanye appears, atop a motorbike, with a hole in his shirt. Seriously dude, all that money and so called fashion sense and you’re wearing clothes with holes in them? Or is this holey look because of his God complex? The laughter starts building in my belly again.


The silhouette of a busty woman lying on top of the motorbike appears on the screen and I find myself thinking “hang on, that looks a bit like Kim Kardashian”. Yeah, it is. The song and film clip have gone to new lows. It’s about now that I realise my “open heart, open mind” ideal is dead. My heart and mind have closed – this song and film clip is shit. I had a feeling at twelve seconds into the song when I saw those horses, but at one minute eight seconds it becomes official.


The rest of the song and clip include monotone rapping, Kim’s face, clouds for days, a moment where Kanye attempts a Jamaican accent, and a really awkward scene on a motorbike where Kim and Kanye appear to be bumping uglies. If their first child is called North don’t be surprised if little baby Harley is welcomed to the world in nine months’ time.


Some other It’s My Kind of Scene contributors have described ‘Bound 2’ as follows: “I felt like I contracted some sort of STI from watching and listening to it” and “My friend showed me that clip for his new 'song' with one of the karfashionisin girls. Considering cleaning ears out with kerosene. And eyes too”.


To answer my earlier questions “Is he really that bad?” and “Even if he is King Jerk of the Universe, is his music really that bad?” - yes and yes. There is no sugar coating it people, this sucks.


Katie Langley gives 'Bound 2' no heads!

and on the other hand...

Bound 2

by Kanye West

Album: Yeezus (out now)

Ah Kanye, I how love thee, let me count the ways...how funny that I would automatically think of such a classic and well known poem (that's by Elizabeth Barrett Browning for those of you who like a little bit of the finer arts every now and then) when I first watched the new clip from Kanye West, for his second single from his critically acclaimed sixth studio album Yeezus. Well, he's certainly no classic poet and he's certainly not an amazing writer and anyone who has been lucky enough to see him play live knows he can't dance to save his life and singing is a little bit of an issue too, but there's one thing Kanye proves with the clip for 'Bound 2' and you know what that is? Kanye does whatever the f**k Kanye wants and like it or not, he doesn't give a f**k.


Yes, I'm a Kanye fan. A big Kanye fan. Yes, he's a misogynist, you only have to listen to a couple of minutes of any number of his songs to know that. Yes, he's a wanker, you only have to listen to a couple of minutes of any number of his songs to know that. Yes, he's arrogant, you only have to listen to a couple of minutes of any number of his songs to know that....see a pattern here? The thing is, no matter how many of these things are true, I still like him. Why? Because not all music is meant to change the world. Not all clips are meant to be arty, or perfect, or that good really, or are even meant to make you contemplate your place in the world, or make a difference. While some manage to do those things, some have one job and ultimately, that job is to sell a song.


I'm not going to deny how unimpressive this clip is. Katie said it all. Kim Kardashian doing what Kim Kardashian does best (insert deer in headlights look here) and Kanye does what Kanye does best (insert bad dancing and arrogance here). This clip is like almost every other rap clip I've ever watched, insert woman in very little clothing, insert rapper, bad editing, irrelevant imagery. It's just another crap rap clip. Why is this one any worse than any other? It's not, but the fact that Katie and I both have opinions about the clip means the clip is doing exactly what it was designed to do; get someone, anyone, talking about Kanye West, which means somewhere in the world someone is buying a Kanye song or album right now. Sometimes you watch a crap clip (this one obviously deliberatley bad) or an amazing clip and momentarily forget the music industry is a commercial business, which means it's especially interesting that this video clip was directed by a guy who has worked with (read: been paid by) a whole lot of artists that one wouldn't necessarily associate with Kanye West; artists like Bjork, David Bowie, Paul Weller, Elvis Costello, Gwen Stefani and Massive Attack. What a small and interesting place the music business/industry is!


Every now and then Kanye pushes some boundaries and makes a political statement or two and the rest of the time he's busy putting his foot in his mouth and offending someone. In this clip, he's done a bit of both. You only have to google 'Bound 2 Kanye' to see the reaction. There are those that think it's cheap and nasty, there are those that are offended by the blatant sexual images, there are those that just feel a little sick from it all (hello fellow It's My Kind Of Scene bloggers!) but here's the interesting thing; the political side of it? Well, with his super bad clip, Kanye has done something he does really well, he's made an object of women yet again and you know what that means? It's the Miley Cyrus syndrome all over again. It's awesome, because it means people are talking about women and the images of women the media and the music industry portrays, it means there's thoughts about how women are perceived and treated and whether those perceptions and reactions are positive or negative. As far as I'm concerned, any talk is better than none because it means there's more chance that those misogynists in every single industry and the world are being exposed for what they are and more and more people, both men and women, aren't accepting of their ways.


So while Katie gives 'Bound 2' no heads, I'm going to swing the other way. This clip is terrible. Terribly awesome. Beside the reasons I've already stated, there's one thing I didn't mention. Wow, did I laugh the first time I saw this and there's no way I can't love something that made me laugh, out loud, lots. Because it's Kanye doing what Kanye does best and not denying the wanker he is, it's Kanye being the loser I love. More foot in mouth, more crap clips, more music that I love to dance to please Kanye! How hilarious. How fun. More more more!

Jo Michelmore gives 'Bound 2' four heads out of five...

Fool 

by Sarah Blasko 

Album: I Awake (out now)

On an album full of gorgeous pop gems, 'Fool' stood out on I Awake as one of the most 'take your breath away because I just punched you in the guts' moments. Yes, those are moments. Sometimes. It was most excellent to see 'Fool' get the video treatment, especially in the capable hands of its very creative director, Wilk, who knows how to work a black and white video (see Blasko's previous video for 'All of Me' and Ella Hooper's 'Low High'). Ms Blasko always manages to pull off that effortlessly cool look, achieved here by wearing a simple white button-up. It sure ain't flashy, but she looks cooler than I ever will. The clip appears to be quite simple at the start too, focused on Blasko in a similar fashion to 'All of Me' (with more clothing), with a repeated flashing light illuminating proceedings. And then some interesting things start happening in Blasko's face region. The first couple of times it might not really register. You'll likely be convinced the light is playing a trick on your eyes, but rest assured, it's not. I don't have much of an explanation for the various distortions that play out across our leading lady's face, but it wouldn't be a classic Sarah Blasko clip without some quirks, right? Is it all just Sarah Blasko playing the fool? I can't say for sure, but it all makes for one intriguing music video.

Matt Bond gives the video for 'Fool' three Florence Welch heads out of five...

Sparrow

by We Are The Brave

EP: Noctua (out now)

It's not like I haven't seen a clip set in a strip club before, some of my favourite clips have been set in strip clubs and dodgier places. It's not like I didn't see the fight coming in this clip, there was just something brewing with all the shots of the guys watching the incredibly talented pole dancers do their thing on stage. What I didn't predict with this clip though was just how beautifully shot it is and therefore how addictive it is. Like when I first heard 'Sparrow' on Noctua and couldn't stop listening, I just couldn't stop watching this clip from Sydney based We Are The Brave, who manage to combine some fabulous 80s inspired sounds with delicious vocals and catchy tunes. This isn't the clip was expecting for this awesome little track, but I can't actually remember what i was expecting, because the images I now see are better than anything I could have imagined.

Jo Michelmore gives Sparrow three and a half Kylie heads out of five...

'Go With It' and 'Inner Place'
by Glassmaps

A member of one of my fave Aus bands has gone solo and by all counts so far, he’s creating a bunch of little baubles that have me all a fluster. Yes, Joel Stein is one of the members of the very attractive indie pop band Howling Bells and over the past year has been gradually uploading a few songs here ‘n’ there. For at least a handful of us these ditties are hitting the right chords and quite simply I want to share the love.


‘Go With It’ is the most recent video uploaded and is delivered as a lo-fi, trotting, acoustic strummer that for some reason makes me think of ‘The Little Engine That Could’ that I once performed in a primary school choir. No I’m not saying it’s daggy or juvenile, I’m saying it’s grounding and contemplative, with beautiful and challenging sentiments I can relate to, “Why does it always have to change?” It’s all those things minus the gut wrenching fear and feelings of passing out I had performing as a ten year old.


Acoustic simplicity and soft meandering melodies make Glassmaps feel like a modern incarnation of a band like America from the 70s. I want to lie down in a hammock under a tree and watch the clouds pass while I imagine making out with Joel in between burst of him serenading me and feeding me tropical fruits. Oh did I mention how handsome Joel is? So not only is he a great writer of folksy/bluesy acoustic pop, with a voice soft and sweet like marshmallow but he’s a treat on the eyes too. So what? I’m shallow at times okay.

Another beautiful morsel is shared on ‘Inner Place’ which takes me straight back to pre-Howling Bells days of Waikiki where Joel’s vocals had more of a featuring role in the band. Some might feel a Radiohead influence in the melodies that gently meander around the confessional lyrics that seem to lament past human interactions. The whole mood of the song is carried along the long mournful notes of the accompanying cello, that stir chills down my spine.


If you’re already familiar with either Howling Bells or Waikiki, I can pretty much promise you’ll have a whole lot of love for Glassmaps, likewise if you generally love good acoustic indy pop with hints of 70s folk and a penchant for romantic and sentimental/contemplative themes then I highly recommend you cash in a little spare time to have a listen to Glassmaps.

Nayt Housman gives both 'Go With It' and 'Inner Place' four and a half Thom Yorke heads out of five...

New Music Monday #78

On For You EP

by Michelle Xen (out now)

“In the distance, see the light glow, on for, on for, on for you!” Like a shining beacon of light in Brisbane’s ocean of indie rock/pop, Michelle Xen is a new entity carving a path through the waters greatly lacking in similar species of electronica.


On For You is the new EP project from Michelle Xen, featuring 5 singles and 5 accompanying videos (one officially released thus far) that will be released in the near future and features a cover of the popular Kendrick Lamar song, ‘Swimming Pools (Drank)’. If you like your electro adventures fierce and sexy, brimming in dark energy, pulsing with light and bass heavy beats that make you move like a marionette puppet controlled by an evil dance master, then this EP will serve as the first dose to trigger a desperate Xen addiction.


'Lose My Cool', is the first of the 5 singles which was released a couple of weeks ago and showcases Michelle Xen’s animalistic side which seemingly does NOT like roses at all. It sounds something like a jilted lover making heavy breathing, pleading phone calls in order to rationalize her irrationality, over an ominous bass punching backing track that lends well to the maniacal theme in the song.


Xen’s vocals are both soft and soaring, and confident throughout the 5 tracks. The standouts on the EP are the title track 'On For You', 'My Cells' and 'Electric Comb'. All the tracks are individually strong and the surprise of the 5 is ‘Swimming Pools’, a song I hadn’t heard of until MKS did a version of it earlier in the year and when I heard Kendrick’s original I wasn’t impressed, however Michelle Xen not only gives it her own treatments but impressively makes it a track I not only gladly listen to but dare I say, REALLY enjoy.


Since I first discovered the gorgeous soundscapes of Michelle Xen in a live show early this year I willingly fell in her trance-inducing web. Now that I’m getting the chance to hear those tunes again, my addiction only grows, especially seeing as I’m able to dissolve myself into her visual worlds. I’ve been waiting for this kind of entertainer to emerge from Brisbane’s talented pool of musical artists and Michelle Xen’s On For You EP promises to stand out as something quite special.

Nayt Housman gives the On For You EP four and a half Roisin Murphy heads out of five...

Astrid and The Asteroids EP

by Astrid and The Asteroids (out now)

"Because I'm so unique and so are all my friends." 

Well, that's certainly true of Astrid and The Asteroids. With their new self-titled EP, AATA return with an even tighter sound and show off a range that spans the galaxy. I don't just mean the powerful range of Astrid Jorgensen's vocals either. Brisbane's best emerging band go on a genre hopping journey on the Astrid and The Asteroids EP that will leave you swooning in your seats, dancing around like you're in a Beyonce video and stopping to take a moment to truly appreciate how talented this band is. You'll likely do all of those things on opening track 'West End'... especially the Beyonce dancing. 

Who knew that a song taking a playful dig at Brisbane's hippest suburb could be so much fun? There's not a lot of genuinely 'fun' music out there at the moment. It can be a little drab and all too serious out there in the big bad music world right now, but 'West End' sets the fun meter to 11 and shoots itself off in a rocket that takes you along for the ride. An energetic opening like this is hard to ignore and there's a lot to love. I'm talking rock and roll trumpet, singing ironically with really breathy tones and hipster sledging lyrical goodness. 

An exciting opening number leads into the second single, 'Autopsy'. I once read that Tina Fey is the thinking man's sex symbol, which is just crazy because she should just be Tina Fey, sex symbol to all. There's a point in here somewhere and it comes back to me looking at 'Autopsy' as intelligent pop music. It's very 'smart' with fascinating lyrics that tell the story of a Texan clock tower shooter, Charles Whitman. You want to know more and more about the dark and sad story that Astrid is telling you right from the very beginning. "Five knocks on the doctor's door, don't know what I am asking for, but I feel fine." 'Autopsy' might be smart, but those required 'pop magic' sensibilities aren't sacrificed in the name of good storytelling. There's a gripping hook that will work its way into your brain, thrilling build-ups to the chorus and a whole heap of lines to singalong with.

'Old Friend' is a sweet R&B detour that definitely brings that swoon factor we were discussing earlier. A chilled out number with beautiful harmonies that teeters on the edges of slow-jam glory and funk-infused balladry. This current vibe is carried through to 'Love Right' and you will love this, alright. Yes, that is a statement, not a question. Is it getting a little steamy in here, or is it just this sleek and oh so sexy tune? "Think fast and move slow, 'cause I know that we're doing love right, doing love right." Yes. Yes you are. 

Saving the most suitably 'epic' number for last, 'House of Cards' is one of those brilliant slow-burners that gradually pulls you further and further into the band's world. This expertly layered final number starts with a simple piano arrangement and Astrid's lines, "all the walls are closing in, all the walls so paper thin," before adding in more and more. Expect beating drums, dramatic guitar lines and a stunning conclusion that will have you racing to hit repeat. I've been hitting repeat for what feels like weeks now and I don't see myself tiring of that anytime soon. 

Astrid and The Asteroids have unleashed another intergalactic knockout with their self-titled sophomore EP. Don't just take my word for it... go forth to infinity and beyond or something and give it a listen yourself (last space-ish reference, I promise). Astrid and The Asteroids won't leave you disappointed.

Matt Bond gives the Astrid and The Asteroids EP five Amanda Palmer heads out of five...

NEW MUSIC VIDEOS OF THE WEEK:

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by Little May

EP: TBA (???, 2014)

Little May knocks another one out of the park with Sean Dooley’s stunning video for the bewitching ‘Hide’. There’s hocus and pocus, with the build to a raging bonfire in the forest at night which suitably matches the dramatic tone of the track. Despite my camp language, the clip doesn’t suffer from any such nonsense. It calls to mind the heretical dance from The Crucible more than wacky Samantha Stephens’ hijinks on Bewitched and I think we can all agree this is a good thing. Dooley’s shots grab your attention from the opening lonely walk home, the view from the driver’s seat on the open road, the mysterious flashes of our leading ladies from Little May and, of course, the final dance that’s equal parts cool, mysterious and beautiful. You should already be loving them now, but if you didn’t have Little May on your list of acts to watch in 2014, ‘Hide’ will make you change your ways. I can’t wait to hear and see what comes next from this powerful trio. 

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

Shiver

by Avec Sans (out now)

Let me tell you about all the times I've listened to Avec Sans 'Shiver' since I spoke about it last week. I've listened in my car, I've listened on my walk to work, I listened on the street during my lunch break while I watched the world rush by, I listened on my walk home from work, I listened while I cleaned my house on the weekend, I listened while I baked some cupcakes, I listened on headphones in the corner of my lounge while my housemate watched TV at the other end of the room, in fact, this is one of those songs that has become part of my daily existence at the moment, I've listened to it so many times. So, imagine my excitement, when, not long after I reviewed it last week, the clip was released.


It's simple and it's adorable and, like the song itself, it's not what I expected from this fabulous duo, so therefore, it's somehow even more lovable. Alice Fox is fabulously fantastic, her 80s inspired makeup perfectly matching the beats and dancing around with all sorts of 80s looking graphics popping around her make it hard to keep your eyes from the screen. I'm no musician, but Jack St James certainly looks like he knows what he's doing amongst all the effects and it's kind of funny how this clip was made by the same person, Sing J Lee, who made the CHVRCHES clip I spoke of last week. What a small world it is. Or maybe not.


Either way, this is a super cute clip I adore and the best part is that now as I bounce around manically as I listen to Avec Sans on the street, in my car and in my house, I have an excuse. I'm just re-enacting the clip, don't you know?

Jo Michelmore gives the video for Shiver four Shirley Manson heads out of five...

Hard Out Here

by Lily Allen

Album: TBA (???, 2014)

So Lily Allen makes a pretty solid statement about the objectification of women in music, especially African American women, and ends up in the news for being racist and anti-feminist. What? What world is this? ‘Hard Out Here’ and the accompanying video takes a satirical dig at your Britneys (you’d better work/it’s hard out here for a… etc.), your Robin Thicke’s (Robin Thicke has a big…/Lily Allen has a baggy…), your Miley and Rihannas (twerk, twerk, twerk) and those that are actually responsible for encouraging misogyny in the music industry.  But Lily Allen is an anti-feminist, racist British mother who came from a privileged background and is part of the problem and part of the corporate machine blah, blah, blah. Allen’s response to the “controversial” clip came via her Twitter account:

"1. If anyone thinks for a second that I requested specific ethnicities for the video, they're wrong.

2. If anyone thinks that after asking the girls to audition, I was going to send any of them away because of the colour of their skin, they're wrong.

3. The message is clear. Whilst I don’t want to offend anyone. I do strive to provoke thought and conversation. The video is meant to be a lighthearted satirical video that deals with objectification of women within modern pop culture. It has nothing to do with race, at all.

4. If I could dance like the ladies can, it would have been my arse on your screens; I actually rehearsed for two weeks trying to perfect my twerk, but failed miserably. If I was a little braver, I would have been wearing a bikini too, but I do not and I have chronic cellulite, which nobody wants to see. What I’m trying to say is that me being covered up has nothing to do with me wanting to disassociate myself from the girls, it has more to do with my own insecurities and I just wanted to feel as comfortable as possible on the shoot day.

5. I'm not going to apologise because I think that would imply that I’m guilty of something, but I promise you this, in no way do I feel superior to anyone, except paedophiles, rapists murderers etc., and I would not only be surprised but deeply saddened if I thought anyone came away from that video feeling taken advantage of,or compromised in any way."

If you’re not adverse to a bit of intelligent, thought provoking fun and don't happen to be completely insane, hate women or participate in race-bating, you should get a good kick out of this video. It was good enough for Adele, Ellie Goulding, P!nk, Laura Mvula and Lena Dunham. Welcome back, Lily Allen. You've been missed.

Matt Bond gives the video for 'Hard Out Here' three and a half Ellie Goulding heads out of five... 
 

New Music Monday #77

ARTPOP

by Lady Gaga (out now)

Where to begin? Lady Gaga’s really done it all in just under six years hasn’t she? A stellar debut record, the monster follow-up (that’s bizarrely considered an EP, despite earning a nomination for Album of the Year at the Grammy Awards), the insanely overhyped Born This Way and now her “third” studio release, ARTPOP, have seen Lady Gaga top charts, sell out arenas and win a boat load of awards. She’s gone from the new Princess of Pop to the biggest music star in the planet to… well, I don’t really know what she is now. There’s certainly been a lot of backlash against her in the past couple of years. She’s done everything in her power to shock, awe and, most importantly, entertain her fans. With nothing left to prove, you can hardly hold it against her for marching to the beat of her own drum and ARTPOP is one ridiculously self-indulgent album extraordinaire. Thankfully, it’s also quite good. The last time I did a Track-by-Track review was for Born This Way, so let’s try it ARTPOP style!

AURA

“I’m not a wandering slave, I am a woman of choice.” Truer words have never been spoken as Gaga recruits flavour of the month, Zedd, to produce this convoluted introduction to ARTPOP. It’s all very flashy – a Western themed opening with a Tarantino twist leads into some pretty poptacular dubstep inspired drops that sit behind lyrics that range from borderline insightful to full blown cringe inducing. The track’s as convoluted with ideas as that last sentence, but that last sentence was awesome, so I guess I won’t judge the track too harshly.
Rating: 2/5… or I will?

VENUS


This is a very frustrating track. The opening segment is what you’d expect a show at the Moulin Rouge to be like if the theme was ‘tits out in space’. Welcome to the planet Venus, where all the lady aliens walk around sans clothing and sing about being the goddess of love. For those of you that haven’t taken in a naughty night at the Moulin Rouge, it’s nothing like the movie. There’s a life spoiler for you. What ‘Venus’ does have going for it is killer vocal work from Gaga and the, “when you touch me I die, just a little inside, I wonder if this could be love, this could be love,” moments that will have you involuntarily waving your hands in the air like you just don’t care. ‘Venus’ is also the first track solely produced by our leading lady, so if I was a university lecturer I would give points just for trying. It also doesn’t shy away from substituting Uranus for a derrière mention. Didn’t you know her ass is famous?
Rating: 2.5/5

G.U.Y

Generic. Unintelligent. Yammering? No, not at all. It’s girl under you, silly. Don’t you wish you had a girl come up to you on the dance floor and bluntly tell you that she wants to be under you? Far out… that’s coming on a little strong, love. I WANNA BE ON YOU!! Anyway, this is the first real attention grabbing moment on ARTPOP, where Gaga just blatantly skanks it up and unleashes the pop superstar we all know and love (or loved for some people). Catchy, ready for the floor… it’s like the LGG of days gone by… those were good times.
Rating: 3/5

SEXXX DREAMS

‘Sexxx Dreams’ is the right kind of different with just a little hint of desperation. Like Madonna’s ‘Erotica’. Gasp. It feels like I’m breaking all sorts of taboos by mentioning Gaga and Madonna in the same sentence. Or not. ARTPOP is really starting to find its voice right here. Despite the desperation dig, this is undeniably sexy. Maybe not ‘xxx’ sexy. Just singular ‘x’ sexy. “Heard your boyfriend was away this weekend, wanna meet at my place?” Lezzing it up as usual and being a home wrecker. Don’t judge her… baby, she was born this way! This is the song you want playing at a club at three in the morning when you’re willing to embarrass yourself without a care in the world.
Rating: 4/5

JEWELS N’ DRUGS (ft. T.I., Too Short and Twista)

Remember all the rumours about who would be guesting on this album? Beyoncé, Azealia Banks, Britney Spears, Elvis Presley, 2Pac, Joan of Arc. We got T.I., Too Short and Twista.

Rating: 1/5

MANiCURE

Thank the pop gods… ‘MANiCURE’ is more like it! Forget what I said before about ‘finding a voice’ or whatever. This is just good old fashioned pop fun. And considering how far Gaga has been willing to move away from that radio friendly sound, this is like a breath of fresh air followed by a whiff of perfume you know is going to lead your vision to a scantily clad lady of the night. “Lookin’ serial killer, man is a goner, touch me in the dark, put your hands all over my body parts.” Something about ‘serial killer’ and touching ‘body parts’ should set alarm bells ringing, but just go with it, for we finally have something to really sing WITH Gaga.
Rating: 4/5

DO WHAT U WANT (ft. R Kelly)


We’re on a roll now, so celebrate good times (come on!) and believe that you can fly with Lady Gaga and R Kelly. ‘Do What U Want’ is everything the previous ARTPOP collaboration wasn’t and then some. “I feel good, I walk alone, but then I trip over myself and I fall, I stand up and then I’m ok, but then you print some shit that makes me want to scream.” It’s nothing new for Gaga to address media rumours, but bringing in R Kelly’s silky smooth vocal tones certainly mixes it up. Sure, Gaga’s are sad (eg. she has a schlong) and Kelly’s are more ‘trapped in the closet’ creepy, but that’s neither here nor there. And he was never convicted, right? ‘Do What U Want’ is pop perfection, an album standout and you just try not to sing-along with Kelly as he defiantly lets loose with, “yeah we takin’ these haters and we roughin’ them up, and we layin’ the club like we don’t give a fuuuuuck.” I don’t even want to know what ‘layin’ the club’ would involve. At the very least, this should make people temporarily forget about what R Kelly’s sheets smell like.
Rating: 5/5

ARTPOP

Here we go… the big title track. The explanation of all that is this ARTPOP we’ve heard so much about and not quite understood. Surprise! ARTPOP could mean ANYTHING apparently. Well played, Gaga. ‘Artpop’ the song is like my experiences with most art pieces. I don’t get it, but it’s nice enough. A little paint-by-numbers in terms of the music itself and I can’t stop myself from singing Selena Gomez’s ‘Love You Like A Love Song’ at the start. Not that I know what that song is. Haha. Urgh. A final admission from Gaga that, “I am really laughing, because I just love the music not the bling, music not the bling, free my mind artpop, you make my heart pop,” is both sweet and sad. Is she in on the joke?
Rating: 2/5

 SWINE


I haven’t read Fifty Shades of Grey, but I imagine ‘Swine’ and its squeal piggy themes would be a huge hit with lovers of the book. S&M clubs the world over are adding it to their filthy in-house playlists as we speak. Some of our kinkier readers are sitting at home, using one of their slaves as a footrest while reading this review and shaking their heads at how wrong my concept of what goes on inside the dungeons of an S&M club is. “Talk about the song, bitch!” you scream at me in an authoritative tone. “I have no master, you latex wearing goon!” I shout back. The song’s average.

Rating: 2.5/5


DONATELLA


And we’re back to almost pop perfection. ‘Donatella’ is right in Lady Gaga’s wheelhouse as it’s all about living for the fame, the good life and swigging champagne. It’s the anti-‘Royals’, but what would you expect from a song paying tribute to the iconic Donatella Versace? Snappy lines are thrown right at you, accents are applied and you’re loving every second of it. Again, this is the Lady Gaga that at one time was the undisputed pop champion of the world.
Rating: 3.5/5

FASHION


I had a little… off… feeling about this song. When I think of a song called ‘Fashion’, I think of that weapon of mass destruction that Heidi Montag (who?) released as she poorly attempted to transition into music. Listening to Gaga’s ‘Fashion’ I was getting bad vibes. There just wasn’t something right about it. Who produced it? David Guetta and will.i.am. I blamed will.I.am for Britney’s problems. I’m comfortable blaming him for Gaga’s. Let’s all just enjoy that the song wasn’t called #fashion.

Rating: 2/5

MARY JANE HOLLAND


The constant electro assault has worn me down at this point. I need a breather…
Rating: 2.5/5

 DOPE


Ask and ‘ye shall receive. We finally get a song that showcases how talented the Lady is. Hallelujah! With so few distractions, we can actually enjoy the beautiful melodies, Gaga’s spectacular voice and heartbreaking ability as a storyteller. ‘Dope’ introduces a bit of theatrical flair, adopts an NYC hobo accent and puts the focus on Gaga’s voice and the piano, with some unnecessary ‘lectro clunks in the background. Lyrically, ‘Dope’ is so-so. One minute it’s all simple and powerful, “my heart would break without you, might not awake without you, been hurting low from living high for so long,” and then you arrive at the actual crux of the song and she sings, “I’ll keep on searching for an answer ‘cause I need you more than dope.” And they say romance is dead. The performance is incredible and ‘Dope’ stands out on ARTPOP as the only ballad. The only thing holding it back is the lyrics. 
Rating: 4/5


GYPSY


If, like me, you enjoyed Lady Gaga’s debut of ‘Gypsy’ in Berlin last month (which was a piano/vocal masterpiece), you might be a bit put off by the disco dance album version. Then you’ll get over it and fall in love with Lady Gaga and RedOne letting their powers combine once more. Theirs is a partnership you want to continue forever and ever because it’s just hit after hit. ‘Gypsy’ is definitely the strongest lyrical moment on ARTPOP and comes close to being the best song on the album. Top 3 for sure. You will want to dance. You will want to adopt the nature of a gypsy and roam and pillage and go on British reality television. “Would you go with me, for life, see the world with me.” I would!
Rating: 4.5/5


APPLAUSE


“I stand here waiting for you to bang the gong, to crash the critic saying is it right or is it wrong.” When ‘Applause’ was first released, I found myself slightly underwhelmed. But in the months since its release, the song has grown on me. A lot. ARTPOP ends on an exciting high note with ‘Applause’, which is right up there with Gaga’s best singles. An admission to loving the fame and not a hint of the wanky Born This Way message that has run rampant through the pop landscape.
Rating: 4/5


Whereas Born This Way was Lady Gaga’s most consistent effort, ARTPOP as an album is all over the place. You’ve got a handful of bonafide dance floor anthems, a stellar ballad, an unwise attempt at hip-hopping it up and then a collection of serviceable, but ultimately unforgettable, bangers (not bangerz) that you know you’ll tire of quickly. Trapped behind an endless onslaught of electronic noises are some complex melodies that you almost have to fight to listen to. The lyrics jump from insightful to laugh out loud ridiculous at breakneck speed. But when ARTPOP is good (see ‘Do What U Want’, ‘Sexxx Dreams’ and the final three tracks) it’s very good. Lady Gaga set the bar pretty high with her previous releases and ARTPOP sadly can’t compete. ARTPOP is good, but it’s not great.

Matt Bond gives ARTPOP three Lady Gaga heads out of five…

Matangi 

by M.I.A. (out now)

“My words are my armour and you’re about to meet your karma.”


At this point, you’re either a huge fan of the creative force that is M.I.A or you’re not. The only middle ground is reserved for seventeen year old stoners that think ‘Paper Planes’ is their jam and, quite frankly, they don’t count. For anything. This reviewer falls into the ‘huge fan’ category. Perhaps it’s our shared Sri Lankan-ness (it’s not). Maybe it’s her refusal to conform to what is expected of a female rap/hip-hop act or to any expectations in general (getting warmer). More likely, I am an M.I.A fan because her music is stellar; unusual in all the right ways as it slips in inspiration from the most unlikely of sources (bingo!). Yes, there are also the likely sources – electronic beats mixed into bhangra influenced sounds in such a casually cool way – but it wouldn’t be an M.I.A record without them. And so, after a wait that really was too long, we now have the fourth studio recording from Maya Arulpragasm, Matangi, and though it’s not without fault, it is another entertaining rollercoaster ride from our favourite beacon of self-created controversy.


A solitary “ohm” introduces the listener to both Matangi and ‘Karmageddon’ as a sign of M.I.A’s musical resistance. The track itself is a blink-and-you’ll miss it intro, but a couple of snappy lines and some dangerous beats are all our hostess needs to propel you headfirst into her world. ‘Matangi’ and ‘Only 1 U’ are footstomping booty-shakers for sure, but the former loses points in the originality stakes and the latter treads dangerously close to ‘sweet merciful Zeus I’mma gonna skip this’ territory. Get through it and you’re rewarded with ‘Warriors’ which succeeds in its mission statement that it’s, “puttin’ them in a trance.” It makes me want to tribal dance like Beyonce, even though I know better than to do that to anyone that has functioning vision. ‘Come Walk With Me’ is the joke that M.I.A’s in on. A very ‘pop’ sounding track with lyrics that are so anti-pop (“You ain’t gotta shake it just be with me, you ain’t gotta throw your hands in the air, ‘cos tonight we ain’t acting like we don’t care.”), which evolves into a spectacular M.I.A sensory assault, which does and doesn’t carry through to the beat reliant ‘atention’.

The Weeknd is the lone featured collaborator, teaming up with M.I.A for a reworking of sorts of the guest’s own ‘Lonely Star’. This is a standout moment, a fantasy ride through Zaire and the Red Sea that will leave you breathless and wanting more… but you’ll probably wait until after the ridiculously amazing ‘Bad Girls’. Over a year and half since being unleashed on the world, ‘Bad Girls’ still has that ability to send shocks from your head to your toes that make you want to release the Bollywood star within. “Chain hits my chest when I’m bangin’ on the dashboard, my chain hits my chest when I’m banging.” Dance like nobody’s watching or something. Catch your breath with the ‘Boom (Skit)’ before falling for the aromatic blend of trap and reggae that is ‘Double Bubble Trouble.’ You know where this song would fit in? On one of those Dance Dance Revolution games. Left foot, right foot, up foot (?), down foot (??), left and up feet (???). Are you picking up what I’m putting down? Probably not, so let’s move on…


‘Y.A.L.A’ is a welcome slap in Drake’s face, turning one of the most annoying things in ever (y.o.l.o, for those better at avoiding lame terms than I) with the message that you always live again. Which is probably more wankery than you only live once, but it’s coming from M.I.A and not Drake… so I’m digging it. And she manages to name drop Julianne Moore and that’s just… surprisingly wonderful. You go, Julianne Moore! The second half run of applaud worthy tracks continues with ‘Bring The Noize’, as the ohm is replaced by the adhan and a call to prayer. Look, if there was a church that played ‘Bring The Noize’ over and over again (and featured crazy dancing) I’d answer that call to prayer. This is a real assault to the senses, with quick-witted rhymes just pouring from M.I.A’s mouth as the music replicates the sounds of an automatic machine gun. Fading out to the lines, “freedom’s just another word, choose, nothing left to lose,” is just the icing on the cake that’s probably been blown sky high at this point.

All good things come to an end and ‘Lights’ slows the pace down and just stumbles along before the undeniably average ‘Know It Ain’t Right’ begins to play. After hearing songs that seem so incomparable, these two are so-so, a little too hip-hop standard to compete with what’s come before. Matangi ends with another head-scratcher in ‘Sexodus’ featuring The Weeknd, which is just ‘Exodus’ if ‘Exodus’ wasn’t good. It’s like the B-grade version of ‘Exodus’, a little different, but not enough to stand on its own as a track that makes you take notice. I actually went back to ‘Exodus’ about halfway through ‘Sexodus’ because it’s better. You have a really fancy steak in front of you with nice sauce and a drink you really like and then there’s this slab of meat from the cow’s butt and a glass of Mountain Dew… which one are you going to choose? That’s ‘Exodus’ and ‘Sexodus’ and it’s also me being a bit of a jerk, but why would you put the same song on an album twice?


I said towards the start that Matangi is an entertaining rollercoaster ride and I stand by that because not every moment of being on a rollercoaster is thrilling. There’s the anticipation at the start, you’re excited as you take off and start heading on that steep climb that takes forever and you feel a little bit bored. Then in a flash you’re off and screaming and laughing, having lots of fun going through loops and then you hit that straight patch where you catch your breath and it’s all a bit boring again for a second and then BAM! you’re going backwards and it’s all exciting again and then it’s all over. You enjoyed the momentary rush and you look at your friends and look at the enormous line to do it all again… and you choose to get back in line and do it all again. That’s Matangi. Not every second is exciting, but there are those moments where you completely lose yourself in it and it’s those moments that will have you coming back for more and more. A strange metaphor, but you’re the one that just read the whole thing, so…

Matt Bond gives Matangi three Eminem heads out of five...

Two Moon Love

by Pigeon

When I hit play on the big orange circle on soundcloud to Pigeon's 'Two Moon Love', I forgot that I had the volume turned up full. An indication of what I think of this song is that after the initial shock of noise, I didn't turn my laptop down, because the sounds from this Brisbane based five piece are delicious. They hit you in the best way possible, with a little force but a lot of awesome, they know when to pull sounds back and let the vocal take over and they know when to layer it up good and strong, the sounds are so addictive I can't quite believe this kind of electronic talent is made in my home town. There's a little bit of 80s love in there, there's a little bit of synth genius in there, there's a lot of killer beats in there. In fact, there's nothing not to love in there. I don't even know what the two moon reference is, but I love both of them, whoever or whatever they are.

Jo Michelmore gives 'Two Moon Love' four Presets heads out of five...

Love Me All Night

by Millar Jukes And The Bandits

I think I said “YEAH!” out loud in about 3 seconds after this track started. Pumping harmonica, upbeat driving drums, wailing organ and a 60s inspired guitar riff immediately got my attention and had me bouncing in my seat. I was born after the 60s, but I am a 60s child at heart.


Once the vocals hit me I knew I would be listening to this song again and again and singing along: “Baby don’t you know I love you? Baby don’t you know I care?” Yep. Baby, you know I love this kind of sound.


We are truly in the land of the 60s with images of faded denim, flowers, flares and formidable folk festivals flying before my eyes. All here is very groovy. Yes, I said groovy. I’m bringing that word back. And indeed this track by the talented Millar Jukes is attributing all that I love about the groove of 60s Americana music. It’s fresh and fun and very very listenable. There is a splash of Credence, a dash of The Eagles and a hint of Cream here. I am reminded of Dylan on his better vocal days (because for me, Dylan's vocal capacities were hit and miss).


I was surprised to hear that that Millar Jukes is not from America but Scotland - and now resides in my own town: Melbourne. Lucky me. If I get the chance, I would love to see this band live. The energy and quality of the vocals are just a pure delight. There is no miss here on the delivery. Millar hits the sound square on every time.


Although this song pumps along with an easy-to-sing-along-to chorus like so many 60s classics, it would be a mistake to assume this song is simply a cut and paste job of the era. This is music made well with sophistication and attention to detail. The strong yet smooth female backing vocals that join in throughout the song add a whole other dimension of class to this rocking anthem. I was reminded of Joe Cocker’s full sound here and his regular addition of talented backing vocalists in his music. Again, to see Millar Jukes and The Bandits play live would no doubt be a treat.


This music is rollicking good fun. With it’s feet planted firmly in alternate country rock and it’s playful whimsy flying up to the big blue skies, “Love me All Night” would be a fantastic soundtrack to any road trip that leaves the big smoke behind. I look forward to hearing more from this band.

Lou Endicott gives 'Love Me All Night' five Johnny Cash heads out of five....

Shiver

by Avec Sans

I was on a road trip earlier this year with a friend of mine when, three and a half hours into the drive, Avec Sans popped up on my ipod and the sweet opening notes of 'Heartbreak Hi' poured out of my car's sound system. My friend, who doesn't always share the same musical taste as I, stopped giving me directions, turned the volume up and said to me; "Who is this?" in that urgent way one does when one hears something they can't resist. "Oh, a little duo from the UK. Avec Sans. You wouldn't have heard of them. But they're really, reeeeeeally good, aren't they?" I replied as the next track 'Hold On' began.


'Shiver' is everything and nothing like I expected from Alice Fox and Jack St James. Alice's sweet vocal doesn't just float above the beats and synths, it drives them in the most amazing way and while I'm no musical expert, there's some sounds in there that shouldn't make sense with each other, but somehow they do (see, no musical expert). What I do know is that I thought I'd hear something a little darker from this duo and what I received was some awesome electro pop magic and I LOVE it. I know that at a minute when Alice hits those high notes I smiled and I know at two minutes I had that feeling of knowing I'd found something special and at three minutes when the sounds are stripped back I couldn't wait to hear the next forty seconds. I know that this is a song that makes me want to dance, it makes me want to jump back in my car and drive to fun and I know it's a song that's proven that sometimes, even after only knowing a few other tracks, sometimes it's worth declaring oneself a fan early on in a bands career, because sometimes the talent is obvious from the beginning.


When my friend committed to a "I like this" after he heard Avec Sans in my car that day, I knew they'd found a new fan because my friend doesn't commit to "I like this" very often and I knew I'd be happy with whatever was released next. What I didn't know was just how good they could get. 'Shiver' makes me smile in all the ways electro-pop should, just like taking a road trip does. Hopefully the wait for more Avec Sans won't be as long as the last. Hopefully my next road trip will be as good as the last too...and with a soundtrack like this, how could it not?

Jo Michelmore gives 'Shiver' four and a half Presets heads out of five...

NEW MUSIC VIDEOS OF THE WEEK

Lies

by CHVRCHES

Album: The Bones Of What You Believe (out now)

Here's a truth for you. Let's just make it clear from the beginning. I love this band. If you think you're going to read a non-biased review of this clip, you're reading the wrong blog. Here's another truth for you. I have no idea what's going on in this clip. We have a guy running, from something or to something, who's to say? We have the fabulous trio that is Chvrches, bathed in dramatic light, we have a guy on a phone at a desk, a couple sharing a meal (although technically no food is consumed) in front of a deliciously retro television set and we have someone on a couch, who looks rather unhappy, actually. Poor love. Cheer up! You're in a Chvrches clip.

It's kind of a bit spooky, almost four minutes of imagery that could mean anything, to anyone really. I assume it's some kind of alternate reality, an apocalyptic world, a world I might not like so much except for the fact it has Chvrches in it. Regardless, this clip is exactly for me what Chvrches are, beautiful and spooky and a whole lot of pop over a dark and broody undertone. They make me smile uncomfortably and that's this clip as well, I know somehow it's not really very nice but I love it. (On a side note, the director of this clip is Sing J Lee, who is clearly a very talented individual. If you click on their facebook page, they have 134 likers. Let's just remember that in the world of social media, likes don't equal talent and don't always mean so much.) Whatever, how ever many views or likes this clip receives, it's a clip I love, from a band I have fallen totally in love with this year. Lies? Nope, truth. I'm biased. I love Chvrches. Deal with that.

 Jo Michelmore gives 'Lies' four Presets heads out of five...

I Kill Giants

by The Naked And Famous

Album:  In Rolling Waves (out now)

Maybe it's the week for weird clips, because, like the Chvrches clip, I'm going say I don't really know what's going on in this one, 'I Kill Giants', the latest clip release from The Naked And Famous. It's interpretive dance, I know that, but, as much as I love all forms of art, that's never really been my thing. Regardless, it seems to be a fitting clip for an incredibly sad song with an incredibly uplifting beat. There's something powerful about such a fast and catchy beat underpinning a lyric about an incredibly sad say in the life of Alisa Xayalith, The Naked And Famous' front woman. "On the saddest of days, why couldn't we save you?" is repeated over and over, almost hypnotically, while the two performers dance their hearts out, and while I can't answer the question posed, I can be thankful for a band who is willing to let their singer face her darkest days in song and in turn produce music and clips like this.

Jo Michelmore gives 'I Kill Giants' three and half Florence Welch heads out of five...