BORIS
Smile
(Southern Lord/Stomp)
9/10
The ever-mutating Japanese power trio are back with their most accessible release since 2005's breakthrough 'Pink'. But lessons learnt from their recent collaborations with Michio Kurihara and Sunn O))) are not lost on 'Smile', which balances its monstrous garage rock with sonic exploration in a schizophrenic yet strangely palatable way. Kurihara himself guests on 'Flower Sun Rain' and 'My Neighbor Satan' - the former offering up some orgasmically creamy guitar soloing and the latter a disarmingly pretty tune interrupted by emissions of chunky guitar vomit - while Sunn O)))'s Stephen O'Malley also provides guitar on an untitled track that is both beautifully weightless and spine-crushingly heavy. Boris still tear shit up like a 60,000 tonne atomic lizard, spewing gallons of distortion over Tokyo, but even the gnarly rockers possess enough moments of odd beauty to jettison them out of the garage and into deep space. For all its nods to accessibility, 'Smile' is certainly hard to get a grasp on, the differing versions released across multiple continents and formats only adding to the perplexity. But, if confusion is the price to pay for albums that merge ugliness and beauty as creatively as 'Smile' does, then colour me confounded (Strom).
COUÉ METHOD
To Mock A Vapid World
(Resist Records)
8.5/10
11 years is a long time to wait for anything but, when you're waiting for an album featuring three fifths of arguably the best punk/hardcore band Australia has ever produced (Mid Youth Crisis), expectations are always going to be high. It must be stressed straight off the bat that Coué Method is not MYC under another moniker. For starters, Adrian Lombardi and Heath McAnally's guitar tones are cleaner and the songs predominantly more melodic, even poppy at times. Also, vocalist and chief songwriter Steve Milligan's lyrics cover a broader spectrum of emotions than the politically-focused anthems he penned for MYC. The bulk of the album is noticeably lighter, with colourful and at times uplifting pieces highlighting the distinct style shift. Look no further than closing track 'The Measure' for proof. This unashamedly honest song is to punk rock what Snow Patrol's 'Chasing Cars' is to pop music (and wedding ceremonies), and reveals a more mature frontman not afraid of expressing his feelings about less-'punk' issues like love. But, with such a distinctive vocalist/lyricist, comparisons will be unavoidable, especially with 'William's Breach', 'Dysfunction in the Fashion...' and 'Arsonist De Profundis' matching MYC in both sound and quality. Milligan's already impressive vocabulary has risen to Bad Religion proportions, with the lyric booklet reading more like a philosophy thesis (I went scratching for my dictionary on more than one occasion). Milligan's ability to construct irresistibly catchy songs around such complex subject matter is a skill mastered by few. Only a handful of vocalists on this planet can envelope so many emotions/ideas within a melodic scream. Coué Method know this and use their best asset to their advantage, gradually building each song so that when Milligan puts the throttle down, the only thing left standing is the hair on your neck. Expectations and past associations aside, there won't be a better Australian debut than 'To Mock A Vapid World' released in 2008 (Gav).
CUT /// COPY
In Ghost Colours
(Modular/Universal)
9.5/10
Finally - it has certainly been a long time coming. The good news is 'In Ghost Colours' doesn't disappoint, although the chances it would were always remarkably slim. Cut Copy have been perpetually on tour since 'Bright Like Neon Love' broke them overseas in '04 and, despite limited success back at home until recently, their patience and dedication to perfecting both their live and recorded sounds have paid off in a huge way. This album is certainly a lot punchier than the debut, with the tracks perfected for their live shows (you don't open for Daft Punk unless you can move a dancefloor). Impressively, they've managed to make it through the huge explosion/implosion in the electro-pop scene with their sound and credibility intact - if anything, they seem more purposeful and driven than ever. Where 'BLNL' was ethereal and smooth, this album wears its jangle and punch with pride. While it was 'BLNL' that broke them, this will be the album that defines Cut Copy and launches them to even greater heights, both here and overseas. Here's hoping it's not another four-year wait for the next one (The Professor).
HERCULES AND LOVE AFFAIR
Self-titled
(DFA/EMI)
8.5/10
Pulling a move that few could have anticipated, Antony Hegarty (of Antony and the Johnsons fame) is now singing slick disco songs with a group called Hercules and Love Affair. Instigated by keyboardist/producer Andrew Butler, the group features Antony and a handful of other singers adding their own distinct personality to the glittery shine of these concise dance pieces. The effect is somewhat unusual considering the sort of vocal delivery that one associates with this sort of music, and is therefore a breath of fresh air. Antony himself has certainly stepped well out of his ordinary niche of mournful piano numbers and even sings with entirely different approaches. Perhaps the most notable of these is the glorious 'Easy', with Antony's eerily-treated voice drifting through scuttling percussion and cold synths to cast an indifferent and otherworldly mood. At this moment the record becomes all the more satisfying for being able to veer through so many variances to round the whole deal up beautifully. Those who are adverse to fruity dance are unlikely to be converted here, but anyone with an open mind will find a lot to enjoy on this disc (Greg Reason).
STORY OF THE YEAR
The Black Swan
(Epitaph/Shock)
10/10
From the opening track 'Choose Your Fate', Story of the Year (SOTY) let us know they have raised the bar from their last studio effort in 2005. The band comes out all guns blazing on this record. The opener is fast, heavy and makes you want to pump your fists and go crazy. This feeling shines through again on 'Cannonball' and the closer 'Welcome To Our New War'. Adding versatility are tracks like 'Tell Me', 'We're Not Gonna Make It', 'Terrified' and the single 'Wake Up'. These songs provide the melodic brilliance that saw SOTY take the world by storm on their first release, 'Page Avenue', back in 2003. The record provides plenty of soaring harmonies that give it so much power blending with the mix of catchy melodies and brutal riffs. There is a strong theme of unity running through the album which is not only sonically, but also lyrically outstanding. It makes you sit back and think about the time we waste on such petty differences and issues when we should be out there just living life. Quite easily the band's best work and one of the best records I've come across this year (Tim).
THE AUDREYS
When The Flood Comes
(ABC/Warner)
9/10
Where The Audreys' debut 'Between Last Night And Us' succeeded was in its ability to capture roots fans and the wider audience alike. The release was littered with pop chemistry, gaining a widespread appreciation that eventually resulted in a deserved ARIA award. With that weight behind them, the writing partnership of Taasha Coates and Tristan Goodall admit to feeling pressure when it came to their sophomore release. It is perhaps this breeding ground where 'When The Flood Comes' surfaces, coming across darker than its predecessor. There is an encompassing morbidity through tales of death, alcoholism, loss and despair, creating a record that is not as easily digestible. However, this is not a blemish, as 'When The Flood Comes' is a distinctly engaging release, and one that draws you into its seedy nature from the outset. Their pop sensibility isn't as instantly recognisable, however 'Paradise City', 'Head So Heavy' and 'Lay Me Down' provide enough chemistry for the shallow radio listener, and 'Chelsea Blues' and 'Songbird' provide gold for those willing to invest. Taasha's voice remains pivotal to the strength of The Audreys, as she delivers a performance that affirms her as Australia's best female talent. The fact that this album isn't as instantly appealing as their debut is quickly trumped by a supreme depth of emotion and musicality on this simply magical release (Nate Shea).
THE BLACK KEYS
Attack And Release
(Cortex/Shock)
8.5/10
A lot has been made of the fact that Danger Mouse produced this record, and from the outset his influence is obvious. Previous Black Keys albums were recorded in a basement solely by the band, where the instrumentation remained simple, utilising the band's three components: vocals, guitar and drums. However, Danger Mouse has encouraged the duo of Dan Auerbach and Patrick Carney to use synths, bass, multiple guitar lines and even the addition of a spooky choir in an album that crosses diverse territory. Their southern-blues sound has been accentuated by the addition of the choir, synths and organ, giving the album a creepy gospel feel. Thankfully the traditional sound created by the duo has been meticulously retained, with the release still boasting its low-fi vinyl-pressed aesthetic. In essence, Danger Mouse's greatest achievement is that despite all his tinkering, it still feels like a regular Black Keys album. There is the upbeat dirty rock tracks 'I Got Mine' and 'Strange Times' and the slower mournful tracks 'Lies' and 'Psychotic Girl' - a juxtaposition fully acknowledged in their treatment of the same song, the slow 'Remember When (Side A)' and fast 'Remember When (Side B)'. The Black Keys were faced with only limitations with their rigid duo setup but, with the help of Danger Mouse, they have reached new heights (Nate Shea).
THE PRESETS
Apocalypso
(Modular/Universal)
9/10
No wonder there is so much hype about The Presets. Their music is fresh, hard-hitting and innovative. 'Apocalypso' is definitely not a catastrophe as the name suggests, but more a wonderful creation that needs to be heard by everyone. The tracks are alive and take you on a ride, exploring what seems like the sounds that would be heard in one's head during a lucid dream. If music was food then The Presets would be award-winning chefs that have served up a dish worthy of the Queen. 'Kicking and Screaming' almost knocks the wind out of you as the ride begins. But hold on, because the minor riffs and high-pitched synths give off an anxious vibe that builds up a fear inside that can only be cured by dancing it off. 'My People' has already proved its worth as a rave-worthy, scream-your-ass-off anthem. 'This Boy's In Love' provides a breath of fresh air with its pulsating piano and dream-like feel. The best layered vocals on the album are heard on 'Talk Like That' which hears Julian Hamilton serving up lead vocals, backing vocals and distorted vocals all at once. One track that will get you laughing with its jolty vocal samples and frenzied tones is 'Together'. 'Aeons' is a delicate track, without vocals, that displays a gentle tone and carries you through to another dimension. There is no denying this album will be one of the biggest in Australian music this year. Julian Hamilton and Kim Moyes have coughed up an experience like no other, and it's one that can only be truly appreciated by listening to it (Vivienne).
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