FLYING LOTUS
Los Angeles
(Warp Records/Inertia)
8.5/10
New Warp signing Flying Lotus emerges from the flourishing LA underground electronic scene with his second album 'Los Angeles'. Whereas his previous album, '1983', was a shorter excursion into the mind of Fly Lo, 'Los Angeles' measures up to the distinct watermark of quality and originality set by '1983', but also offers far more in the way of quantity, allowing the listener to fully explore its world. And what a fascinating one it is. There is a real sense of narrative running through 'Los Angeles', one that illuminates a futuristic and psychodelic cityscape, forever breathing in the dark hours of the morning and teeming with the unrelated stories of night dwellers and nomads. The concept of traditional song structure is non-existent, there is not one song that stands separately, and none are designed to do so as this is an album that is written to be experienced as a whole. Opening track 'Brainfeeder' is an ambient laser beam that floods the sky, while clunky kick drums underpin a ghostly soul chorus churned through machine electronics and modulated bass on 'Breath.Something/Stelar Star'. Tribal drum beats and textured sound samples splinter the voodoo rhythm in 'Melt', and pounding beats give way to bhangra sampledelia in 'GNG BNG' until its booming bass line is swapped midway for a low frequency processed guitar riff that is distorted beyond recognition. The range of influences that combine to create this album are immense and they are fused with deconstructed drum rhythms that jar, yet hold the sounds to a distinct groove. Flying Lotus is not the only artist that produces this futuristic genre, however 'Los Angeles' appears to be the album that will bring this beat movement to a wider consciousness (Richard Buck).
MY MORNING JACKET
Evil Urges
(Spunk/EMI)
7.5/10
Over their 10 year career, My Morning Jacket (MMJ) have retained a classic meat-and-potatoes sound even as they journey into far-out spheres of celestial beauty. But on 'Evil Urges', these hairy, Kentucky-fried rockers have embraced the work of one man who is as far from their wholesome Americana image as you can possibly get. That man is Prince, and from the get-go this album is so downright glistening with the greasy sexuality of His Royal Purpleness that by the time 'Highly Suspicious' rolls around, you'll think that MMJ have fully mutated into a lusty monster of stiff electro funk. But don't let this goofy tune, or the hype about 'Urges' being their most experimental album, fool you. Because although the title track shares similar sonic territory, trading Jim James's trademark, reverb-soaked croon for more Prince-like falsetto and exploring a sleazier side of the band, 'Evil Urges' is no more of a leap into the great unknown than they already achieved with 2005's 'Z', or their trippy live video 'Okonokos'. Songs like the poppy 'I'm Amazed' and guitar rockers like 'Aluminium Park' could have come from any era of the band, while huddled together in the middle are five unashamedly dorky, blue-eyed soul tunes that wouldn't be out of place on radio 4BH. MMJ have never been afraid to show their tender side, but with this many sappy AOR weepers crammed together, the effect is more insipid than inspired. Still, there're some splendidly adventurous moments on 'Evil Urges', like the throbbing promise of 'Touch Me I'm Going To Scream Pt. 1', which is answered by album's end with a spaced-out, prog-disco reprise. My Morning Jacket may be deceptive in bookending their most traditional fair with these weirder excursions, but overall 'Evil Urges' achieves a strange kind of symmetry that resembles something like a smile (Strom).
SIGUR ROS
Með suð í eyrum við spilum endalaust
(EMI)
8.5/10
The quality of a new Sigur Ros album is never in doubt; it's only the band's choice of direction that has you curious before pressing play for the first time. Three minute opener 'Gobbledigook' immediately places fans in unfamiliar territory. Featuring driving tribal beats, acoustic guitars, plenty of la-la-la-la-la-la's and none of Sigur Ros' traditional instrumentation, it's by far the most upbeat and uncharacteristic song of their much lauded career. Half of the album features some of the most accessible and almost, I repeat almost, traditional song structures (I swear to god 'Illgresi' has the same melody as Bryan Adams's 'Heaven'). Fans of 'Ágætis byrjun' and '()' will still find plenty of dark, meandering beauty in the likes of 'Festival', 'Ára bátur' and 'All Alright', but those drawn to 'Takk...' and it's shorter, more accessible compositions will also revel in the pomp and merriment of 'Inní mér syngur vitleysingur' and 'Við spilum endalaust'. Producer extraordinaire Flood (NIN, The Killers, Goldfrapp) gives the album space, allowing the sparse, acoustic guitar and piano-driven songs to breathe while also capturing the grandiosity of the boys' choir and 67-piece orchestra. Much has been made of Jónsi singing in English for the first time on 'All Alright' but, to be honest, his accent and delivery make the lyrics almost indecipherable anyway. A quick read of the lyric sheet reveals that his lyrics are as equally moving as the music, and adds another dimension to this already emotional experience. There is nothing quite as spectacular as 'Glósóli' or 'Vaka' on here, and the album's track sequencing doesn't quite flow, but these 11 shorter and very consistent songs are sure to see Sigur Ros continue their unbelievable, uncompromising ascension to world domination (Gav).
SNOWMAN
The Horse, The Rat And The Swan
(Dot Dash/Remote Control)
9/10
There's a unique quality in an album that doesn't just glaze across the top of your consciousness - a recording that sinks into your imagination, haunts your dreams and imposes its mood and passion upon you. In this measure, the sophomore release from Snowman is a truly visceral experience. From the start you are drawn into the world of paranoia and anxiety that surrounded the creation of this record. The heavy expectations that were placed both externally and internally drew the band into a dark space, eventually leading the band to the point of dissolution. One wonders whether turmoil among the band served as a direct or indirect inspiration, but 'The Horse, The Swan And The Rat' sees Snowman reaching levels of intensity that seem light-years from those of their self-titled debut. Snowman has forgone much of the direct pop chemistry that was found on tracks such as 'You Are A Casino' and 'Smoke And Mirrors', and despite a loss of instantaneous appeal, this album is almost better for it. Tracks 'We Are the Plague' and 'She Is Turning Into You' are an experience akin to ritualistic chanting, the tension brewing as the sound encloses around your cochlea. There is a sense of hypnosis in the three singers' vocals, as you follow tales of fear and insecurity further down the rabbit hole. The quiet unease of 'The Blood of the Swan' and 'A Re-birth' is juxtaposed by the palpable brutality of 'Daniel Was A Timebomb' and opener 'Our Mother (She Remembers)' - a disparity that is no better summated on in the bipolar 'The Horse (Parts 1 And 2)'. Without a doubt 'The Horse, The Rat And The Swan' will stand as one of the best releases of the year. It's an album that draws you in and envelops your emotions, creating a catacomb of iniquitous sound. Few albums leave such a lasting impression on the listener. Out of tortuous circumstances, Snowman have crafted a gem (Nate Shea).
VIOLENT SOHO
We Don't Belong Here
(Emergency Music/MGM)
8/10
Opened by the fast-paced single 'Love Is Heavy Word', Violent Soho's debut makes it instantly obvious they have sought to keep the integrity of their live shows as intact as possible. Tracks 'Generation' and 'Bombs Over Broadway' from their 2006 debut EP, 'Pigs & T.V.', earn a welcome reprise, while perennial live favourites 'Jesus Stole My Girlfriend' and 'Muscle Junkie' sound superb now etched on CD. Luke Boerdam's vocal treatment of the line "I Hate Your Face" is akin to the apathy of Cobain and his late '80s contemporaries - the band's impassioned disgust is a direct throwback to grunge pre-commercialisation. It's easy to collate a list Violent Soho's influences from their sound. But while Nirvana, Smashing Pumpkins and Sonic Youth are quick to the tongue, further reflection uncovers more leftfield artists like Elliot Smith (with 'Son Of Sam' perhaps even an homage to Smith's song of the same name). No matter how highly you rate this album, it is still dwarfed by the Violent Soho's phenomenal live shows. You simply can't take a band that dominates the stage with such ferocity and expect to sum it up on a 37-minute piece of plastic. But that takes nothing away from 'We Don't Belong Here', which is a sublime debut that will hopefully see Violent Soho earn the recognition they deserve (Nate Shea).
2562
Aerial
(Tectonic/Shogun)
7.5/10
Dave '2562' Huismans hails from the Hague, Netherlands, and much like a bleak European winter, this release sucks all the warmth out of dubstep. In its place is a stark, ethereal sonic landscape, minimal in composition, jarring in parts yet strangely interesting. 2562's label, Tectonic, is responsible for some of the best dubstep releases of all time, so it's no surprise that with this album 2562 has continued to develop the dubstep sound in interesting directions. 2562 has stripped away the constant wobbling, disassembled garage-esque drum patterns and sounds until it's almost the space between the hits making the rhythms bounce and added heavy sub-bass lines that you can easily melt into. DJs who are fond of layering minimal soundscapes or building up a wall of sound through effects will find 'Aerial' irresistible. Audiophiles will find the production enticing (and yes the LP is having a vinyl release and yes vinyl does sound better than CDs - end of story). However, your average punter will probably find this album sterile and boring (Ed C).
ABORTED
Strychnine.213
(Century Media/Stomp)
5/10
Aborted have been through 14 members and seven albums since their debut, 'The Purity of Perversion', was released, which was less than 10 years ago. With only one original member remaining, it's safe to say they should slow down and recollect. With the previous three albums being released in just as many years, we are witnessing a slow and steady decline of what was once a great brutal death metal band. 'Strychnine.213's melodic death influences are far more noticeable than on the previous two albums, 'Slaughter & Apparatus' and the 'Archaic Abattoir', which had slight hints of the style they are now fully engaged in. Now this is not bagging the subgenre of melodic death metal at all (I love nothing more than a good melodeath album), it's just that Aborted don't seem to cut it. Most of the songs have bland riffs and aren't catchy, so it fails to meet the two main requirements of melodeath. However, this is not writing the album off completely, as there are some good songs such as 'Ophiolatry on a Hemocite Platter' and 'Avarice of Vilification'. But this just isn't the Aborted that used to be a great brutal death band (Matt).
ALEC EMPIRE
The Golden Foretaste of Heaven
(Digital Hardcore/Inertia)
8.5/10
Berlin's electronic noise pioneer in charge of the seminal Digital Hardcore label makes a departure from any of the sounds found in his extensive back catalogue of work. Gone are the brutal breakcore assaults he instigated as a part of Atari Teenage Riot, along with the punk-infused electro of his previous solo albums. His vocal stylings on the seven-minute epic '1000 eyes' are more reminiscent of something you'd find on a Lou Reed album, backed by a brooding distorted guitar that chugs along, rising and falling beneath some squelching synth work. He picks up the pace with some very danceable electronic beats and buzzing guitars on 'Down Satan Down', before getting all breakbeat minimal techno, complete with 303 acid line and tearing bass guitar on 'Robot L.O.V.E'. This is a really accessible piece of work from Alec Empire, while he manages to keep that nasty edge he's known and loved for (MK ULTRA).
BRANT BJORK
Punk Rock Guilt
(Shock)
8.5/10
Recorded with producer Dave Raphael in his analogue basement studio, 'Punk Rock Guilt' was performed entirely by Brant on the spot, with 90 percent of the songs having no prior arrangement before entering the studio. For those who are uninitiated in the ways of stoner-ism, Brant Bjork was a member of the legendary Californian desert rock band Kyuss. 'Nough said, so let's get on with it. 'Lion One' is quite a lengthy opener that provides some of the most spacey and euphoric moments. All the songs after are great slices of rock that are ripe with mood and feeling, right up to 'Locked and Loaded'; a lengthy closer that finishes 'Punk Rock Guilt' in much the same manner as the spectacular opener. Brant has no need to employ all the studio trickery that is common in modern day rock, he simply relies on well-written songs, heart, and thick clouds of smoke that will float you all the way up to Jupiter (Jake 3).
DAN LE SAC VS SCROOBIUS PIP
Angles
(Shock)
8/10
Those who have heard 'Thou Shalt Always Kill' might think this album is just an hour of some English guy bitching about the world. But don't be fooled, MC Scroobius Pip has some great stuff to talk about and his Mike Skinner conversational style of rapping commands full listening attention and quick comprehension. Most tracks use humour to address serious, deep social issues like the ignorance of man. DJ Dan Le Sac combines Dizzee Rascal-style grime beats with softer, melancholic piano riffs which provide a creative flare just as intuitive as the accompanying lyrics. This album will surprise and impress both electronic and hip-hop fans alike. It is great to hear someone rapping/singing with passion about topics they actually seem to believe in (Viv).
DANNY BYRD
Supersize
(Hospital Records/Inertia)
8.5/10
Quality not quantity: if more electronic artists held to this mantra then the time spent searching through record crates and mp3 libraries would be greatly reduced. This, however, will never happen, so it's refreshing when an artist puts in that little bit more. This month Danny Bryd is one of those artists. Hailing from Hospital Records (London Elektricity, High Contrast, Nu:Tone, Logistics, Mistabishi...need I go on?) Danny Byrd produces soulful DnB and this album delivers so much more than your average electronic artist's LP. All the tracks are dance-floor-ready bangers, with several of them trickling out in the months prior to the release in the live sets of other Hospital Records artists. Getting back to the quality, the production on this album is amazing. It's hard to list stand-out tracks, but 'Gold Rush' (with The Brookes Bros.) and 'Weird Science' are particularly nice choons. 'Red Mist' begins with this block-party-feeling, funky, big band-style hip-hop and then suddenly the trumpets fade and up-front DnB wobbles and tears its way through you. Brrrraaappp - Big Choons! (Ed C)
DRAPHT
Brothers Grimm
(Obese Records)
8/10
Now, I know I am not the first reviewer to point this out, but if the Hilltop Hoods fornicated with Eminem they would no doubt give birth to MC Drapht. Apparently this has hindered this WA MC's previous two album releases but, in all honesty, I don't think it is at all a problem on 'Brothers Grimm'. The commonality is in the nasal tones of Drapht's delivery but, really, is it a bad thing to be compared to one of the biggest selling MCs in the world? Drapht's rhyme and flow are impressive to say the least, and he keeps it real when it comes to staying true to Aussie hip-hop. 'Boom Boom Boom' is a #1 party track, drawing distinctly from old skool stylings. 'Jimmy Recard' is also a standout along with 'Don't Wanna Work' - actually, this entire album is a fantastic example of stellar Aussie hip-hop (Jenliza).
FLEET FOXES
Self-titled
(Sub Pop/Stomp)
8/10
There's a peculiar blend of styles in the sound of Fleet Foxes. Brian Wilson seems immediately to be a strong influence, along with armfuls of country and folk records. That being put into the equation, there is the undeniable progressive slant that this gorgeous self-titled record exhibits. There is a strangeness to the chord movements and melody lines, something that doesn't sound discordant but yet lands somewhere far from normal. The harmony vocal lines almost remind one of America, that MOR band of the '70s that was lucky enough to land Sir George Martin as producer. I guess by this point you've realised that these guys don't really sound too normal, and that is definitely the case, but these guys do pull their weirdness together into some rather infectious tunes. I daresay they could actually attract quite a large audience if people can get past the peculiar flavour (Greg Reason).
GAVIN ROSSDALE
Wanderlust
(Interscope/Universal)
4/10
To say this album is a disappointment would be a profound understatement. While Gavin Rossdale's vocals are verging on Peter Gabriel-esque, the lyrics themselves lack soul and fail to tickle the mind or anything else for that matter. Rather than continue to complain about his wife's success and career, Mr. Rossdale should stick to attending to fatherhood and tennis. 'Wanderlust' is a dismal and obvious attempt to target the masses (Jenliza).
GIANT PANDA
Electric Laser
(Tres/Shogun)
8/10
Pandas, lasers and Japanese MCs are cool, and this album has all of them. The second outing from these guys combines futuristic, electro-fused samples with chopped-up jazzy samples and funky big beats, driven along by some dope rhymes from MCs Newman, Maanumental and Tokyo native Chikaramanga. Some of the most impressive lyrical ability I've heard in a while can be found on the tune 'AIM', which is sparse on beats but heavy on lyrical flow. One of the pandas delivers an extended verse bouncing around only words beginning with 'T' - very clever. The production on these tracks gives a nod to the old school by being recorded on analogue tape, which gives them a nice warmth and harmonic punch. The Pandas get knee deep in hip-hop cyber-funk on 'Precise Calculator', unleashing their man from Japan with a crazy mix of English and Japanese rhymes. 'Electric Laser' is a slice of pure block party fun from the Giant Pandas (MK ULTRA).
ISOBEL CAMPBELL & MARK LANEGAN
Sunday at Devil Dirt
(V2/Shock)
8/10
At turns darker, rawer and sexier than their 2006, Mercury Prize nominated collaboration 'Ballad of the Broken Seas', Isobel Campbell and Mark Lanegan's 'Sunday at Devil Dirt' recaptures the magic of that first meeting while adding some new tricks to their bag. The laidback folk and country still pervades, allowing Campbell's sweeter-than-honey vocals to blend beautifully with Lanegan's rich, ravaged growl. But unlike their last effort, 'Sunday at Devil Dirt' finds the pair together in the same room, lending an intimacy to the proceedings while a healthy dose of John Barry-esque strings, a dirty blues influence, and some nods to late night jazz take them into slightly unfamiliar territory. These 12 tunes, penned entirely by Campbell, see the former Belle & Sebastian chanteuse take a backseat to Lanegan, who brings an element of danger early on in brooding songs like 'The Raven', which uses Edgar Allan Poe's classic tale as a lyrical springboard. The album gets sweeter and sadder later on, as Campbell's presence becomes more prominent. But it's towards the middle, with tunes like the disarmingly spare 'Back Burner'--Campbell's bluesy gospel coos providing a hauntingly sensual backdrop to Lanegan's desert-dry come-ons--that the chemistry really smoulders (Strom).
J-LIVE
Then What Happened?
(Inertia)
8/10
Although being an incredibly gifted triple threat (MC, DJ and producer) artist, J-Live has never really been a name that is commonly thrown around the street. But this may well change very shortly in Australia. Straight up Jazzy Jeff steps in to cut it up on 'One to 31' - a track that quickly shows J is not afraid to get a little personal on the topics of his art and life. A great selection of soulful samples glide over smooth beats and bass, while J's honest rhymes act as your guide. Along for the ride are Posdnous and Chali 2na (to name a few), but we never forget whose show it really is. 'Then What Happened?' is a wonderfully crafted, positive hip-hop album that sees J-Live playing to all his (and guests') strengths. Coupled with his feature appearance on Katalyst's latest, this might be enough to push his head up above the murky waters of obscurity (Jake 3).
JOAN AS POLICE WOMAN
To Survive
(Pias/Liberator)
9/10
With remarkable poise for someone so frequently in the background, Joan Wasser has delivered her second album with Joan as Police Woman. Curiously dark and asymmetrical, Joan's songs twist this way and that as they float from washes of harmony vocals to syncopated piano riffing. Rufus Wainwright (who featured Wasser on numerous albums) appears on closing track 'To America', but Wasser is not one to ride the coat-tails of her famous friends and collaborators. Instead, her music speaks for itself and the sheer passion, brilliance and individuality on display here is almost unbelievable. Even the production just nails it, achieving the perfect balance of tradition and character, smoothly creating a surreal blend of tonal colours. This is a masterful record (Greg Reason).
KARA GRAINGER
Grand and Green River
(Craving Records)
7.5/10
Kara Grainger is one classy and talented Aussie. "Big on swagger, sugar and spice", the songwriter, vocalist and slide-guitar performer is building a name for herself in California. Using a mix of swamp blues, folk and soul, she draws inspiration from Ry Cooder, Mavis Staples and John Lee Hooker. After picking up awards, playing festivals and touring in Oz, US and Japan, Kara has released her debut 'Grand and Green River'. The 10-track CD was recorded in LA with producer David Kalish (Ben Harper). It talks of love, loss, heartbreak and much more with polished lyrics, sultry vocals and solid guitar work. Amos Lee lends a hand on 'On My Way' (the pair met and hit it off in the recording studio hallway). Other top tracks include a funky organ version of Charlie Terrell's 'Dreamed I Was the Devil', 'Sky Is Falling' (written after a messy break-up), the sweet 'Bring Me Back' and bluesy 'Stuck In Love'. Despite 'Grand and Green River' being Kara's debut, it is a surprisingly solid effort by an obviously seasoned Oz performer. Keep an eye on this girl (NicolaK).
KEEP OF KALESSIN
Kolossus
(Nuclear Blast/Modern Invasion)
8/10
There is not one dull moment on this progressive death/black metal album. The furious blasting from drummer Vegard 'Vyl' Larsen is contrasted with touching and peaceful melodies. 'The Rising Sign' brings out some interesting progressive elements, but it seems like the entire album is building up to one song like a movie building up to an epic battle. This song is 'Kolossus' and it will leave you ears bleeding. This album really is an experience and I now realise why this band is building up such a massive reputation in the black metal world (Matt).
LADYTRON
Velocifero
(Shock)
4/10
Emerging high on the wave of electro-crash in 2001, Ladytron managed to survive the ill-fated demise of that scene which, despite its purported death, still seems to haunt us with its feral offspring of indie-electro and electro-house. Despite this, Ladytron have managed to set themselves apart (read: above) from the stereotypes and generic stigmas of those scenes through their ability to write music with pop sensibilities and a depth that is uniquely theirs, while evolving their sound over the course of four albums. This evolution seems to keep creeping towards a rougher, more rock-oriented take on their feminine, analogue-based sound, and 'Velocifero' is no exception. It opens promisingly with much intention and drama as drums pound and distorted guitar riffs form the spine of 'Black Cat', while a hooky synth line brings emotion and French vocals create tension. There is much urgency and vitality running through the first few songs ('Black Cat', 'Ghosts' and 'I'm Not Scared') and you can really feel it. However, it seems to meander for the remainder of the album and it is only these songs that measure up to the quality of their previous work. The rest feel watered down, radio friendly and more oriented toward stadium style production values (Richard Buck).
PETE MURRAY
Summer at Eureka
(Sony BMG)
7.5/10
Judging by the sold-out dates for Pete Murray's August tour, 'Summer at Eureka' has been well received since its launch in May. The album is the musician's third full-length release and follows on from extensive touring in Europe and the UK. The 11-track release was recorded in the Byron Bay hinterland at Pete's new recording studio, Eureka. The accompanying DVD explains how he searched for the right property and converted a photographic studio into vintage-style headquarters to lay down the new album while surrounded by friends and family. The freedom of the new space helped Pete reinvigorate and reinvent his writing and recording. Tracks on the mostly bright and positive 'Summer at Eureka' focus on relationships, break-ups and forbidden love. Standouts include the uplifting 'You Pick Me Up', the tough guitar riffs of 'Miss Cold', the classic Murray 'Never Let The End Begin' and 'Happy Ground', which features sweet children singing along. This album could have gone either way, with Pete taking full control in the producer's chair, but luckily things have turned out well. It seems you can't hold back pure talent (NicolaK).
PLANT LIFE
Time Traveller
(Easy League/Shock)
5/10
Jack Splash is the brain behind Plantlife. He burst onto the music scene with his debut album 'The Return of Jack Splash', which saw commercial success as well as critical acclaim, and he has been treading the very fine line of pop success and musical credibility since then. 'Time Traveller' seeks to continue this theme, however produces a few disgustingly huge hiccups instead as 'Your Love', 'Baby Girl' and 'Fool For You' are the type of piss-weak, clichéd relationship dross that is obviously the result of spending too much time producing music for Alicia Keys. If you can keep your attention away from these ear sores then it's not a bad listen. 'Free' is a standout track that brings genuine funk via James Brown-inspired guitar licks and Jack's own original vocal style. A large percentage of girls will love this album. It's got the funk, it's got the soul and it's good time music with mass appeal, but it lacks the freshness and edginess of his debut and is decidedly radio oriented. If you listen to Nova then you need to sort your life out, however you will probably be hearing much of this album throughout the year (Richard Buck).
PORCUPINE TREE
Lightbulb Sun (Remastered)
(Shock)
9/10
First thing you might think when putting on this album is, 'Who the hell is this candy ass mother-fucker and where is the prog-metal legend that I've come to know and love from 'In Absentia' and beyond?'. You may be ready to turn it off by the time you get to 'How is Your Life Today?', but I plead with you to play it through and then play it again, because what you will find is, although it is a very different side of Steven Wilson's musical persona, 'Lightbulb Sun' is an intriguingly well-crafted album that sees him paying as much attention to detail as he usually does. And if attention to detail is what you want, then the four different mixes of this 'Lightbulb Sun' should keep you busy. Just ask anyone who attended their recent show and I'm sure they'll tell you that it's worth the asking price for 'Hatesong' alone (Jake 3).
RADIOHEAD
The Best Of
(EMI)
2/10
What a complete pile of rubbish. Radiohead are one of those bands that simply got too big, too quickly for their own good. Sure they were very good at what they did in the early days, but the instant admiration that came with their success has seemed to cast a great shadow over everything that has come since, no matter what form it took or the substance contained within. 'Kid A' and 'Amnesiac' saw the band reach their creative peak, but instead of praise for their adventurism, they received nothing but contempt from the mainstream press and music market (which actually led certain members to the occasional self-beating over the subject). The result was a follow up album that, although somewhat good, saw Radiohead fall a little short of the mark that we all new they were capable of reaching, or exceeding. Sorry guys, but a total of three songs collected from the two albums that truly defined their career, is not nearly enough; especially when there's six songs from 'The Bends'. Go buy something the band wilfully released, because no true Radiohead fan has any use for this record company cash in (Jake 3).
SCAR SYMMETRY
Holographic Universe
(Nuclear Blast/Riot)
5/10
When it comes to this disc, I've got good and bad news. I'll go with the good first: this band is tight as all hell and possesses a pair of guitarists that can solo like crazy. Listening to this disc, the soloing style reminded me of bands such as Andromeda and Freak Kitchen, which is definitely a good thing. However, there is a downside. The songs on 'Holographic Universe' are completely predictable pieces of Gothernberg-inspired pop-metal that lapse from brief hard-hitting, heavy/fast passages into longer, slow melodic parts. And while this would've been impressive a few years ago, this style has been overdone to death and Scar Symmetry make no attempt to make it sound fresh or inventive. It's a case of too little, too late. It's a shame to say it because in those few moments where the guitars are wailing away you just know that with their talents, they could put together music way more impressive than this. Personally I hope they do in the future, but as of now, Scar Symmetry fail to impress (Rob S).
SCARLETT JOHANSSON
Anywhere I Lay My Head
(Rhino/Warner)
5/10
Organ and saxophones swell to a momentous roar on 'Fawn', the instrumental opener of indie-actress-turned-indie-singer Scarlett Johansson's debut album of Tom Waits covers. The anticipation created is almost painful for diehard Waits fans wondering how this ingénue's voice will convey the work of their gravel-throated hero. But as 'Fawn' segues into 'Town With No Cheer' and Scarlett stumbles awkwardly and flatly around Waits's lyrics and melody, the effect is anticlimactic. TV on the Radio mastermind David Sitek does his best to wrap Johansson's deep yet fragile vocals in lush, dreamy arrangements, but on first listen this album is a major disappointment. By about the fifth spin however, what emerges is an impressively ambitious effort that succeeds as often as it fails. For every stinker, like the disco cheese version of 'I Don't Wanna Grow Up', there's a triumph, like the music box fragility of 'I Wish I Was In New Orleans'. Most impressive is original composition 'Song For Jo', making the most of Johansson's modest talents without the burden of Waits's reputation. It points to a promising future for this partnership, and while 'Anywhere I Lay My Head' won't win over any Tom Waits aficionados, it's not without its charms (Strom).
SHAI HULUD
Misanthropy Pure
(Metal Blade/Stomp)
8/10
'Misanthropy Pure' marks the first Shai Hulud full-length in over five years. In that time this once-unknown band have become one of the most revered elder statesmen of their genre, and with this album they remind us why they're so damn good. The passion and sincerity we've come to expect from Shai Hulud is all here, but it's also leaps and bounds ahead of all those bands that have been influenced by them in regards to composition and technical skill. While these songs are recognisably the work of everyone's favourite misanthropists, they've stepped up their game in every aspect, resulting in a record that effortlessly jumps all over the place and even puts some metal to shame in that respect. In other words, this is yet another great disc from one of the most consistent bands in hardcore, and it really makes me happy to think that these guys reformed for a final Australian tour and decided to give it a second go. Go out, buy this disc and everything else this band has recorded, and be changed (Rob S).
SKYBOMBERS
Take Me To Town
(Sony BMG)
3/10
If pub rock is what you're after, then these guys are the epitome of it. Take every great Aussie rock band, combine all their ideas and you get the Skybombers. Almost every song has the same sound, just with different lyrics. Their tambourine-sounding drum sequences combined with tinny guitar riffs provide little originality or flare. The best songs on the album are the quieter ones with 'My Mornings Gone' providing the saving grace for the foursome from Melbourne. 'Eleanor's Lullaby' provides some entertaining references to The Beatles and Mick Jagger, but the song fades into a mediocre trap as it progresses. This is a predictable effort from what could have been something a little more fresh and inventive (Viv).
SMALL MERCIES
Beautiful Hum
(Sony BMG)
3/10
There has been a hell of a lot of money put into every corner of this album, from the recording and production process right through to the packaging and promotion, and this is immediately apparent upon even a cursory listen. The gleaming production renders the inoffensive stadium ballads as squeaky-clean as they were undoubtedly written to be, and the whole effort comes across as overblown and gratuitous. The songs are sturdy and there's an earnest quality to the performances that implies the band actually like what they do. They are undeniably very good at doing it but the fact of the matter is there are many other bands that do exactly this. Gripes with the bland, middle-of-the-road music contained herein aside, it's the cookie-cutter generic nature of this beast that makes 'Beautiful Hum' seem like such a disposable album (Greg Reason).
TERROR
The Damned, The Shamed
(Century Media/Stomp)
3/10
I have a confession to make: when I was a younger lad I took guilty pleasure in listening to Terror's first EP. It wasn't anything new or innovating, but it did a great job of taking '90s hardcore, turning up the anger and delivering it in a small, consistent package. This album by comparison is overlong, completely without highlights, and possesses a thin, under-produced sound that only serves to show just how empty this band sounds these days. On top of this, it seems their signing to metal giants Century Media has Terror attempting to make inroads into a more metallic sound, complete with soloing and a noted absence of traditional hardcore elements like gang vocals and the like. As a result, this record is suffering from a bit of an identity crisis, and truth be told it doesn't really make any major headway in either direction in the end. You'd be well advised to avoid this record and spend your hard-earned cash on something else. Completely forgettable (Rob S).
THE ACCIDENTAL
There Were Wolves
(POD/Inertia)
8/10
Tunng are so good that any new bands any member wants to make are fine in my book. So it's gratifying to have such a thing not only occur but also be just as enjoyable as you would want it to be. The band comprises Sam Genders alongside similarly revered peers (Stephen Cracknell, Hannah Caughlin and Liam Bailey) and they enlist further artillery for more peculiar instruments like the harp. A wonderfully sympathetic production approach means songs cruise along with their folk richness intact when that is appropriate, and gradually introduces enough colour and texture to keep the pieces moving as they should. The album itself isn't as ingenious or meticulously crafted as something like a proper Tunng release, but 'There Were Wolves' is a remarkable achievement for a bunch of musicians taking time off from their regular outfits. It's also one of the better folk releases the year has presented thus far (Greg Reason).
THE BLACK LUNGS
Send Flowers
(Dine Alone/Shock)
8/10
Alexisonfire guitarist Wade MacNeil steps out on this record to prove you certainly cannot judge one's true talent on what they do in a post hardcore-ish band. MacNeil delves into the personal collection of songs he has been secretly amassing to produce an album that is haunting and pumping at the same time. The rockier songs bear somewhat of a resemblance to The Lawrence Arms, while others rely heavily on discordant piano sounds. 'Send Flowers' is a record that certainly takes a few listens to grow on you, but once it does, you wonder where it's been all your life. The lyrics are thought provoking and the production on the album gives it a uniqueness that really showcases MacNeil's ability. 'Send Flowers' shows a whole new personal and disenchanted side to MacNeil, who has aimed for artistic value over radio-friendly commercialism. It might even keep the scene kids at bay (Tim).
THE CINEMATIC ORCHESTRA
Live at the Royal Albert Hall
(Ninja Tune/Inertia)
9.5/10
Perhaps the most glaringly obvious aspect of The Cinematic Orchestra is what a bloody amazing band they are. This record captures a performance in support of the magnificent 'Ma Fluer' at London's famed Royal Albert Hall and is rather stunning. The pieces shift dynamics with an ebbing and flowing reminiscent of the ocean. Shimmering Rhodes and sparkling cymbals weave patterns around each other before unfolding into dense sections of dream-like improvisation. As you would expect, the setlist is well chosen and we're given devastating performances of 'Flite' and 'Breathe', and the record rounds out with the glorious 'Time and Space'. There really isn't anything to complain about with this one, so I'm just going to suggest that you give it a listen if you want to hear some powerful music (Greg Reason).
THE EXPRESS
Self-titled
(Independent)
6.5/10
If you can get past the rather amateurish cover art on the Express's debut CD, you'll be pleasantly surprised with the Celtic, folk and Spanish flavoured acoustic guitar compositions this album has to offer. This predominantly instrumental duo, made up of Ross Hunter and Owen Van-Larkins, is the Sunshine Coast's very own Rodrigo Y Gabriela (minus the metal covers, and the male/female dynamic - actually, scrap that, it was a lame comparison anyway). Recorded at Pix Records in Connondale, the 12 uplifting compositions sound crisp and clear and will appeal to everyone from guitar enthusiasts to people who just want to relax to some nice background music on their days off. This is world class recording, so support the local scene and buy a copy from www.wearetheexpress.com now (Milko).
THE FOXBORO HOT TUBS
Stop, Drop and Roll
(Jingle Town)
5.5/10
It's a hard decision whether to love or despise this record. The band is made up of the three members of Green Day and three session musicians who have featured on their albums. The album is a high energy burst of '60s-style garage rock. The songs and the sound are fantastic, however it just feels like this record has already been made a hundred times over. 'Stop, Drop and Roll' sounds like The Vines, 'Mother Mary' resembles The Fratellis and there are also hints of The Strokes and Arctic Monkeys. To add to that, half the songs bear a striking resemblance to certain tracks from The Who, The Kinks and The Swingers. Wow, garage bands love putting 'the' in front of their names. I still haven't worked out if this record is intentionally paying homage to these bands, or if Billie Joe has finally used every chord progression known to man. Sure, this album is a rip off of so many bands, but I still can't stop listening to it (Tim).
THE FRATELLIS
Here We Stand
(Universal)
8/10
The sound instantly comes out as a kaleidoscope of fast, brash instruments and adrenaline-fuelled, carefree lyrics. Tinged with more than a hint of vicariousness, The Fratellis flood the ears in a jovial and pleasing way from track one through to the last lyric. Frontman Jon Fratelli steers the trio with a voice that draws an immediate comparison to Arctic Monkey's lad Alex Turner on the catchy introductory track, 'My Friend John', and middle song 'Mistress Mabel' - albeit a bit more high energy, and a little less monotone and dreary. Slightly gravel-like and edgy, his voice works on par with the diverse use of electric guitar, drums and piano. Hectic track 'Tell Me a Lie' launches into key riffs that briefly borrow a shallow but effective sound from classic hit 'Smoke on the Water'. Whether it's acoustic strumming ('Stragglers Moon'), a frenetic rock sound ('Shameless'), or a folk-inspired track ('Babydoll'), this outfit has delivered an album fit for steady listening and easy rotation. Aside from an unimpressive mention of the 'c' word on 'Look Out Sunshine', these guys seem pretty hard to fault (Nik).
THE HERD
Summerland
(Elefant Traks)
7/10
They started out singing about potato scallops at their local fish and chip shop, and went on to flat-out diss the Howard government and drop a c-bomb in the same chorus. Now, The Herd is back with its fourth album, 'Summerland'. These 14 tracks showcase an evolving sound, but the socio-political chip on their collective shoulders remains. Since the last critically-acclaimed album, 'The Sun Never Sets', The Herd have added an eighth member in guest vocalist Jane Tyrell, who provides a welcome female element. This hard-working, hard-talking group has become one of Australia's most loved live acts with appearances at all the major festivals and gigs around the country. Life on the road is the subject matter for 'Zug Zug', making reference to some of the weird things that happen on tour around our big brown land. The Herd has even tried to up the anti on the success of hit single 'I was Only 19' with another cover of a famous Aussie song, 'Toorali'. While not having the same impact as its predecessor, the track is still hard not to immediately recognise and sing along to. 'Summerland' is a good release by a group that knows how to tell it like it is (LukeD).
THE OFFSPRING
Rise and Fall, Rage and Grace
(Sony BMG)
8/10
The Offspring have always been able to release albums that sell well, get a lot of airplay, recruit new fans and show the pop-punk-rock world that it is a force to be reckoned with. On their eighth studio album, 'Rise and Fall, Rage and Grace', this trend is re-enforced with 12 tracks that see the four piece do what they do best: rock out with catchy hooks and sing-along choruses that have made them one of the biggest bands around. With a career that spans over 15 years with little down time, they are a band that has earned their success and popularity with more than 34 million record sales and in excess of 1000 live shows. This latest offering will please staunch fans, as it is one of their rockier releases in recent years. Standout tracks include 'Stuff Is Messed Up', 'Trust In You', You're Gonna Go Far, Kid' and 'Let's Hear It For Rock Bottom'. Produced by legendary producer Bob Rock (Metallica, The Cult), this is a broad-reaching album that has forged new territory while staying true to the band's original vision (LukeD).
THE SWORD
Gods of the Earth
(Kemado/Impedance)
5/10
I can totally see what this band is trying to do. I can also see why they're currently getting decent reviews from all over the metal world. However, the reality is that while this might sound like a great record to the average Headbanger's Ball viewer, this album pales in comparison to many of the other bands and records out there that have done this sound earlier and better. 'Gods of the Earth' is nothing more than a standard, unadventurous stoner metal album. The riffs spin in circles and don't go anywhere, the vocals are uninspiring, and to top it off the whole things blends together into sound-alike mishmash. People interested in this band should dig a little deeper into the roster of labels such as Southern Lord and uncover a wealth of bands playing in this style that succeed much greater than The Sword do. In the end this is a forgettable record, and while many have made a lasting impression playing this music, The Sword are yet to join their ranks (Rob S).
THE TING TINGS
We Started Nothing
(Sony BMG)
6/10
This British duo has delivered a debut album full of pure pop genius. Katie White and Jules de Martino have produced a playful, catchy formula which sends out something extraordinary each time you press play. 'Great DJ' kick-starts the action with an unexpected punch in the face as the syncopated, signature 'Ting Ting' beats enter. The chorus of 'That's Not My Name' is reminiscent of a chant heard from schoolgirls jumping with an extra long skipping rope and is sure to bring a little annoyance if heard too many times. Don't be fooled though, this album is a sure winner. Just don't play it to death or buy it for your teenage daughter, because she will (Viv).
THE UPBEATS
Nobodies Out There
(Bad Taste Recordings/Inertia)
7.5/10
I was very excited when New Zealand's The Upbeat's latest offering, 'Nobodies Out There', landed this month. The main reason upon first glance was the album appeared to be a concept album, which for a DnB group was going to be interesting, if nothing else. So when I cranked the stereo up I was delighted to be greeted with luscious digital soundscapes intertwined with brutally screeching synths, tearing bass lines and killer breaks. To top this all off the lyrical content is very good. Australian vocalist Georgie Fisher delivers heartfelt and passionate vocals in 'Thinking Cap'. Her vocals provide a haunting sonic juxtaposition. MC Ryme Tyme (Ed Rush and Optical) leads the war-cry over the top of the banging 'Tonka'. The tracks are so cinematic it is impossible not to begin thinking up your own story to go along with them. Which brings me to the only negative I have with the album: the concept/story. I can appreciate verbose fantasy stories as much as the next guy, and I don't have enough words to go into any depth, but I felt the story wasn't as industrial and mechanical as the album sounds. Otherwise, this album is first-rate (Ed C).
TRIAL KENNEDY
New Manic Art
(Gotham/Sony BMG)
7.5/10
Despite the commercial label, big-bucks breeding ground of this release, there's actually a lot to like about Trial Kennedy's debut. In the current Australian climate, where rock acts have to basically 'sell-out' to 'break-out', the Melbourne four-piece have managed to keep a strong grip on their sound. The big studio production is easily apparent, but it's not pasted on in the excessive manner that adorns Gyroscope and Shihad's latest releases. Trial Kennedy's youthful resilience is actually reminiscent of a fresh-faced Gyroscope and their album 'Sound Shattering Sound', but don't think 'New Manic Art' doesn't offer anything of its own. What gives this album legs is the depth available beyond its handful of hit singles. Radio flogged 'Neighbours' is by far the most commercial track on the album yet other singles 'Colour Day Tour' and 'The Great Escape' - the latter one of the best Australian rock songs of recent years - retain a strong grit despite the obvious studio fidelity. 'New Manic Art' proves itself beyond a one-trick pony time and time again. The contrasts between the upbeat rock of 'Sunday Warning' and 'Hollowood', and the slower ballads of 'Sweet Ally Rose' and 'New Manic Art', prove that the Trial Kennedy have strong song writing capabilities. 'New Manic Art' is a strong debut, for which the Trial Kennedy's deserve strong acclaim (Nate Shea).
VARIOUS ARTISTS
Balance Electric 03: Mixed by Ben Korbel
(EQ/Stomp)
6.5/10
The Balance series is renowned for its quality and is one of the most consistent dance compilations out there, which is a commendable reputation considering the amount of them there are. With this reputation however comes high expectations upon each new addition, and sadly this has contrasted unfavourably for local boy Ben Korbel. With a reputation in Europe, the UK and at home as a class DJ who pushes quality tunes, 'Balance Electric 03' proves the latter characteristic of Korbel is true, as there is a proper quality selection of underground house on offer, however the programming of these tunes is where this mix falters. The opening mix is the first casualty as the awkward transition from the minimal-esque electronic club vibe of Luciano's 'Back To Front' into the groovier, early night deep house of Ronin's 'Monk Sea' greets the listener. There are periods in this mix where things blend beautifully and you can see why Korbel's reputation is warranted, as long seamless mixes create deep, coherent journeys where you lose yourself in the sound. It's just a shame these journeys get interrupted by a few poor track-pairing choices (Richard Buck).
WEEZER
S/T (The Red Album)
(Interscope/Universal)
6.5/10
My relationship with Weezer's music is as torturous as the band's sordid past. There are moments throughout their career where I have cringed at their music and others where I have applauded with full gusto. So it's perhaps no wonder that the 'Red' album comes across a little hit and miss. It's not that the singles are great while the rest is lacklustre - as is the case with the majority of inconsistent albums - it's more that while many of the tracks find an affinity with Weezer's delectable pop past, others seem to miss the boat. First single 'Pork and Beans' has already proved its credentials and is joined by 'Troublemaker', 'Dreamin'' and 'Heart Songs' (the latter is a tribute to the influences that have helped shape Rivers Cuomo's music). The debut song writing forays of Patrick Wilson, Brian Bell and Scott Shriner also sit well, proving that Weezer is not just a Cuomo one-man band. But tracks like 'The Greatest Man That Ever Lived' (an exercise in pretentiousness) and 'Everybody Get Dangerous' (a low-powered rock attempt) retract from this album heavily. A bonus track rendition of The Band's 'The Weight' goes down well after the album's conclusion. By no means is the 'Red' album a flop, it simply fails to reach the memorable pop heights of their earlier work (Nate Shea).
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