Live Review: You Me At Six, The Audition @ Metro Theatre (for FasterLouder)

Chicago pop rockers The Audition worked up the crowed with fervour at Sydney’s Metro Theatre when they opened for You Me At Six. The four-piece delivered tracks like You’ve Made Us Conscious, Warm Me Up and Hell To Sellwith more energy than a box of Duracell bunnies on crack.

The Audition rattled us hard and fast before Brit punk rockers You Me At Sixtook the reins. Opening with Consequence, new drummer Dan Flint saved time by taking his shirt off before coming onstage, whilst singer Josh Franceschidonned a Justin Bieber shirt with a target on his forehead.

Not long into the track The Ghost Inside’s Johnathan Vigil and Parkway Drive’s Winston McCall joined them for a choral screaming match that even your mother would enjoy.

Tracks Kiss & Tell, Safer To Hate Her and Truth were all sung in unison by the band and the all-ages crowd. Rhythm guitarist Max Helyer, bassist Matt Barnesand lead guitarist Chris Miller along with Franceschi all jumped in unison at the front of the stage, this was one of the only times you saw Miller’s face because for most of the set he held his signature hair-over-face position.

The death circles were a highlight, at one point Franceschi parted the floor and asked the crowd to do a ‘Moon Walk of Death’ which basically just eventuated into another death circle for track Trophy Eyes and new song Stay With Me.

It was clear this was the bands last show in Australia, their chord progressions were near perfect and Franceschi’s tired voice made for a masculine rasp in final tracks Fireworks, If I Were In Your Shoes, Save It For The Bedroom andUnderdog. There may have been no encore but the audience knew all the da da’s and whoa oh’s and even laughed when the band dedicated Save It For The Bedroom to The Ghost Inside and “a slut back home.”

Live Review: Regurgitator @ Manning Bar (for FasterLouder)

Back in fine three-piece form – Ben Ely (bass, vocals), Quan Yeomans (guitar, vocals) and Peter Kostic (drums) – delivered a solid and energetic set to a full house at Sydney’s Manning Bar on Saturday night.

Ely lifted his guitar high and played it vertical for the interlude of I Love Tommy Mottola. Three songs in, the Brisbane rockers were already singing about Rubbish, searing into Everyday, Yeomans finished by professing his love for Sydney. “Sydney’s always been so kind to Regurgitator we love it here,” he declared.

Although the set was mainly a trip down memory lane they did play some newer tracks. Blood and Spunk and Miranda July were the most noted for the zany digitalized images that strobed the back-drop screen as well as Ely’s swift Jack-in-the-box bounces that had audience members endeavouring in vain to get as much air.

Crowd favourite Polyester Girl inspired even the most deep voiced audience member to take on a whiney holler. Yeomans and Ely crowded Kostic and watched as sweat propelled from his face onto his drum kit with every reverberating hit.

Sydney was treated to Don’t Go To Sleep which the band hadn’t played here in over 10 years and tracks like Pop Porn, My Friend Robot and The Drop showed the singer’s hip hop capabilities. “Best of luck forever,” said Ely before Kong Foo Sing. This track showcased the boys synth table skills which they played with comic exaggeration.

Ely and Yeomans returned to stage in wrestling masks for the encore, while Kostic donned a poorly brushed green wig. Halfway through Bong In My Eye, Ely lost his momentum and stopped. “I think maybe we’re too stoned to play this one,” laughed Yeomans. However, redemption was theirs for final track The Song Formally Known As. Both support acts joined them onstage, and we joined in for the sing-a-long.

Judging by the sweat stained masses making their way to the bar after the set, The Gurge have proven they still have just as much avidity as they did in 1997 with Unit.

Album Review: Julia Stone (for The Music Network)

21 September 2010

by Poppy Reid

When a band reaches a certain level of success, the music and in house chemistry can sometimes go pear shaped (see: Oasis). Australia’s folk darlings Angus & Julia Stone are currently sitting pretty after their second album Down The Way debuted at #1 on the ARIA album chart, conquering the local market both sonically and with their touring live show. Perhaps the secret to their success could be put down to both siblings working just as hard independently as they are together. 

Angus released his Smoking Gun solo record (under the moniker Lady Of The Sunshine) and after a long wait (the album was recorded in New York in the summer of 2008) Julia’s debut solo album, The Memory Machine, is now available. 

It’s the artwork that first excites; Julia uses clever vintage horror film posters painted by UK artist Caroline Pedler. The posters depict themes from each song; all of them of course, starring Julia as herself. 

One track in, and your vision is already blurred, your mind already clouded with her sweet whispering rasp. My Baby is intoxicating, Julia is unabashedly vulnerable and articulates her heartbreak with poise. This track is reminiscent of a 1940s wartime classics with simple strings and far-away vocals. 

The album flows on smoothly with Winter On The Weekend, the track which was the working album title for the obvious reason that it’s one of the shining stand-outs. The dark undertones and predatory themes make for some spooky lyrics. The tracks artwork even contains a warning: “This film contains scenes which are shocking no one should be afraid though as most things in life are shocking and strange and it is a good way to grow.” 

In most cases a title track is often the album's golden child, but The Memory Machine disappoints in this sense. Although the lyrics are honest and humbled her delivery is ailing (and not the kind of ailing that she’s adored for), the song lacks the desperate rasp the lyrics so deserve. 

The only other lull on the album is track eight, What’s Wrong With Me? which is a lethargic and unwavering filler. However, all is forgiven upon first listen of Lights Inside The Dream; always one to crash trains of thought together in poetic oxymoron’s, Julia weaves a story of abuse and helplessness. ““The takers always take and I tried to walk away but I lost my heart and I lost my faith,” she sings. 

These lyrics encapsulate the theme of the record; Julia wears her heart on her sleeve, is consistently taken advantage of but always gets back on the horse (see: Horse With Wings). Although The Memory Machine doesn’t stray too far from her work with brother Angus, the eerie themes and lyric heavy tracks make her solo effort a necessary collection.

Album Review: Koolism (for The Music Network)

24 August 2010

by Poppy Reid

What started as a family hip hop crew in Canberra 18 years ago (withMC Hau and his cousins forming Tribe Ledda L) has since transformed into the successful rap group, Koolism. MC Hau and DJ Danielsan make up the duo and have six EP’s, five studio albums, two nominations at the Australian Dance Music Awards and one ARIA in 2004 for Best Urban Release under their belt.

Koolism’s fifth studio album is named after a traditional Tongan underground oven, The ‘Umu. Filled with personal anecdotes, letters and photos, The ‘Umu is a substantial contribution to the Australian hip hop scene while staying true to their heritage. Not only does The ‘Umu pay tribute to the boys Tongan background both in the title and it’s contents, Hau and Danielsan have used hip hop to comment on Australian society; with opinions on the good (see Movin’ which praises all things Australia), the bad (Turning Back talks of Danielsan's anger and confusion with religion) and the ugly (Can’t Stand It comments on racism in Australia).

The album peaks early with I, Have Not. The pounding drums and gospel-like backing vocals on this track mixed with simple synth lines bring the album to a spiked peak at number six. Unfortunately, Have, Have Not is the album's definitive highlight and the genius of the track only leaves you wanting more from the seven remaining songs.

Withstanding the four aforementioned tracks, The ‘Umu has a few other standouts. Jam Hot samples Johnny Dynell’s original of the song but pays tribute to both Beats International’s version and R. Kelly and Jay-Z’s Fiesta Remix in their lyrics. Danielsan is a wizard on the decks and Koolism make this song their own without bastardising the original. The track Lovely is inspired by a Dizzee Rascal lyric but we’ll let you find out which when you buy your own copy. This track includes some hilarious backing vocals and one spritely instrumental where the bass and guitar merge into a thumping post-tribal beat. Hau’s vocals rap clear as day throughout, without losing that hip hop swagger he made famous in his first album asKoolism, Part One – Paralax View.

The ‘Umu is an intelligent hip hop collection, DJ Danielsan and MC Hau are talented and honest in their song structure, lyrics and instrumentals. Sadly, the album peaks ahead of time and we are left chasing that same feeling in a second climax.

The 'Umu is out September 3 2010 through Invada.

Feature Article: The Verses

The Hooper siblings have made a rather large departure from their days with Aussie teen angst band Killing Heidi. They have spent the past four years working on their folk/pop album titled Seasons under new name The Verses.  The new moniker disappoints when put up against the rock rebellion of old but perhaps this was a necessary if not inevitable change.

“I definitely wanted a distinct sound change to Killing Heidi because honestly as much fun as I had performing that music and being in that band, it’s not the kind of music I’m into,” explains Ella who is still deciphering where her new music fits. “I would call it [The Verses music] pop too but not like Lady Gaga pop as in what The Beatles were and The Rolling Stones were in a way, a rock band but a pop band.”

Ella, now 27 is in a hotel room in Sydney after having a “catch up” with Kathy McCabe of Warner Music. The signing to Warner wasn’t by chance or dumb luck; The Verses took up a twenty-week residency every Tuesday night at Melbourne’s The Toff Hotel, using the gigs to invite record labels.

“It was a great way for us to invite media and family along to basically see what we were up to. We also used that to get a lot of record labels down to check out what we were up to and that helped us get the new deal with Warner which was fantastic,” says Jesse.

As smart as they have been about the new project, when the opportunity arose to support ‘80s rock legends Fleetwood Mac, Ella and Jesse “couldn’t quite believe it.” Lindsey Buckingham and Stevie Nicks made some time for them on the tour to offer advice.

“Lindsey was just really interested in the song writing and the guitar work,” recalls Jesse. “And Stevie, her advice was more so as performers and how they spent a lot of years supporting big artists in the ‘70s like Hendrix and Janis Joplin and now it was our turn supporting them and passing the torch so to speak.”

The support tour with Fleetwood Mac has only fuelled comparisons to the sound found on Seasons. The Verses are quite aware of it with Jesse even admitting the “Rumours Fleetwood Mac era” sneaking in on a few songs.

“I guess having just chilled with them before we made the album there was a lot of positive associations with Fleetwood Mac.”

Seasons change of sound could also be attributed to all the pop-rock and blues that was played during their childhood which has stuck with them over the years but lay dormant until now.

“I discover a lot of music but its often older and older and older and the more I dig the more old dead blues guys I find,” laughs Ella.

The next evolution of the family Hooper is also reflected in her appearance. She has ditched the dreads and pubescent disposition to take on a more mature role with The Verses. Seasons not only pays tribute to the musicians who coloured her childhood but it’s also her most honest record. “It’s definitely one of my most personal collections of songs ever.”

Helping Ella grow and pull back vocally was musician and producer Mitchell Froom (Crowded House, The Corrs, Elvis Costello). Froom enlisted Elvis Costello’s band mates Pete Thomas (drums) and Davey Farragher (bass) for the recording in Santa Monica. Although Thomas and Farragher won’t be touring with them, this doesn’t mean the original band mates will be rejoining them.

“I gave a copy to the old drummer and he really dug it but they’ve both moved on to other things and other stages in their lives,” clarifies Jesse.

In spite of the fact that they’re album isn’t out until August 13 and they haven’t officially started touring yet; Ella and Jesse have already been receiving positive feedback. “Everyone has been liking this one [The Verses] better, so far we haven’t had anyone who prefers the old stuff so it’s a great start,” says Jesse.

The Verses, far removed from the raw adolescent energy of Killing Heidi may come across as a major juxtaposition in comparison; this is precisely their intention.

Live Review: Klaxons (for The Music Network)

03 September 2010

by Poppy Reid

A young woman was carried out of Sydney’s Enmore Theatre on a stretcher last night and Klaxons hadn’t even begun to play yet.

Inside, the theatre was packed, mainly because the upstairs level was closed off, but packed all the same. The UK new-ravers tore intoFlashover under dim lights; their shadows were still and precise before mini stadium lights ignited to pulse orange and red. Dressed in their signature ‘80s get-up, keyboardist James righton joined bassist/vocalist Jamie reynolds for As Above So Below and new trackSame Space. As a team, righton and reynolds projected one strong voice, falling short when they sung alone.

Reynolds thanked the audience for coming before Gravity’s Rainbowand cockney mimics ricocheted back, impressing a few girlfriends. The set didn’t lean more toward Myths Of The Near Future or sophomore album Surfing The Void, the half-half tracklist aimed to gratify everyone. Final tracks Echoes, Future Memories and crowd favourite It’s Not Over Yet built the energy up and up.

The four-piece took a modest pause before encore tracks Surfing The Void and Atlantis To Interzone. Reynolds was thrown a green cape, drummer Steffan Halperin stood to beat down on his top hats and guitarist Simon Taylor played close to his fans.

The show was a steep climb to a spiked pinnacle where we were left, ready to carry on until the bright house lights killed our buzz. A shirtless fan dismounted his shirtless friend, the zombie-dancing crew ceased and we exited into the night a little sheepishly.