Album Review: Kings Of Leon - Come Around Sundown (for The Music Network)

26 October 2010

by Poppy Reid

The only similarity the family Followill have in common with the Kings Of Leon of ‘08, is the latest album’s title, Come Around Sundown, which sticks to the five-syllable rule found in their past four releases.

Leaving behind singer Caleb Followill’s inaudible slur and the slow rock darkness of the album’s predecessor, Come Around Sundownwill be praised by those who don’t think 2008’s Only By The Night was the bands debut.

The first track is amusingly titled The End, delivering the softness ofUse Somebody without the ego. The lead guitar takes a backseat and the lyrics are earnest about the struggles of touring, Caleb’s trademark wail is still there but it’s more controlled and refined.

The first released single, Radioactive is the standalone track on the record. The choir backing and fast-paced chord progressions juxtaposed with Caleb’s bluesy hysteria, although repetitive, make for a bitchin’ driving track.

The other 12 songs seem to weave into one another. The sad, soulful moans of Pyro and The Face, along with the brooding bass in tracks like Mary and Beach Side where the bass is plucked like a lead guitar, all fuse together until you’re already eight tracks in and thinking about what’s in the fridge.

This isn’t necessarily a bad thing, Come Around Sundown can be played from start to finish, its atmospheric qualities bleeding into the background if you let it. However, if you listen closely to Caleb’s agonised lyrics and tone, you’ll see the record with new eyes. In Mi Amigo he sings “My little friend shoots me up and downtown, when I can’t get me drunk enough,” and for final track Pickup Truck Caleb sings about the violence of jealousy, “A little piece of a bloody tooth, just so you know I was thinking of you.”

On the surface, Sundown appears lacklustre, but hear the band out and you’ll find a nostalgic, unrepentant core. KOL have bared their soul and included all the ugly bits.

Live Review: Adam Lambert (for The Music Network)

21 October 2010

by Poppy Reid

Enmore Theatre, Sydney
Wednesday October 20

Adam Lambert transformed Sydney’s Enmore Theatre into Glam Nation last night with skin-tight leather, feathers, rhinestones and pelvic gyrations galore.

Opening with tracks Voodoo, For Your Entertainment and Down The Rabbit Hole, Lambert (or The Glambert as he’s affectionately known) looked like a P.I.M.P. in D.R.A.G. as his four dancers worshipped him through animalistic choreography.

“It’s time to step into the mystery, ladies and gentlemen,” he said. The crowd screamed as he pounded his fist to his crotch and body rolled all over bassist Tommy Joe Ratliff. On bended knee Lambert trilled into a fiendish version of Ring Of Fire. He grabbed Ratliff by the hair and recreated his 2009 AMA’s controversy for us; if only Johnny Cashcould see him now.

Lambert sang two more high-energy tracks with Fever and Sleepwalker seeing him switch between overt feminine poses and explicit rock-star swagger. One costume change and guitar solo (by Monty Pitman) later, Lambert took us to the lull of the evening.

“I want to sing to you about the light side of love and the dark side of love. Sometimes to get what you want you just have to ask the right questions.”

Love ballads Whataya Want From Me, Aftermath and Sure Fire Winners saw Pitman switch to acoustic guitar and Lambert switch to boring. His incredible voice was lost in the pantomime, we wanted vulnerable, but instead we settled for melodramatic. As if to spur him on, or possibly as just a show of their adoration, some overzealous fans began to rain the stage with their glow sticks.

“Quit throwing shit up here we got dancers. I know you mean well but when you throw things at us we think you don't like us, so be nice,” the glow sticks were cleared away and it was back to the glam-rock set we came for.

Lambert emerged, camp as ever, in a sparkling vest and tights forStrut, Music Again and final track If I Had You. His voice reached Freddy Mercury territory and the theatre began to look like a rave. Lambert stepped down into the audience, “sorry, I gotta get mine,” he said before kissing an excited male fan.

The crowd waited feverishly for an encore and Lambert's cover of T-Rex's 20th Century Boy (an apt choice) was well worth the wait. He flicked his tongue and slithered himself up like a snake, working the enthralled crowd. Channeling Khia’s explicit My Neck, My Back he maneuvered behind keyboardist Camila Grey and licked the sweat from the back of her neck, bringing the show to a teasing close. “Thank you Sydney. Rock n’ Roll!”

Album Review: Bring Me The Horizon - There Is A Hell, Believe Me I’ve Seen It. There Is a Heaven, Let’s Keep It a Secret

by Poppy Reid

It’s the album with that laborious lengthy title, but three albums in, we’ve come to expect no less from UK hardcore band Bring Me The Horizon. There Is A Hell, Believe Me I’ve Seen It. There Is a Heaven, Let’s Keep It a Secret should come with a warning: BYO spine or don’t bother at all.

Just as the album title blatantly explains, this is a concept record exploring light and dark, screams and strings, grime and chimes.

The first two minutes of opening track Crucify Me showcase vocalist Oli Skyes indecipherable growls over some recklessly heavy guitar; but then comes the light with an interlaced chorus by Canadian pop singer Lights. This track sets the tone for the layered chaos to come.

The next track Anthem ties in perfectly to its predecessor. Skyes screams “someone call an exorcist and help me kill this curse” in time with the blunt bass strums. This track is a mosh-pit anthem for those who care more about guitars on smack than lyrical agility. The deadly pause halfway in recovers and seeps into a slow ending breakdown and a whisper - “I feel like my heart has been touched by Christ.” Lyric failings aside, this must be mentioned for the sheer metalcore that obliterates your face.

Another standout is the expletively titled track, Fuck. Skyes’ howls overlapped with vocals from Josh Franceschi of You Me At Six give the album some of the balanced audio feed it was going for. Electronic strings and chimes will only get you so far on tracks like Don’t Go (featuring Lights) and It Never Ends. Contrary to the track title, this is as close to a love song as BMTH are willing to get.

Bring Me The Horizon aim to take listeners to hell and back with a perceptible concept that blisters through fast-paced hardcore and metal; but sadly only stops occasionally to feed on a harmony of electronic strings. This injection of contrast would have worked better if it weren’t so subtle and easily dominated.

Album Review: Hungry Kids Of Hungary - Escapades (for The Music Network)

14 October 2010

by Poppy Reid

The only deception found on Escapades is in the band’s name; the Hungry Kids Of Hungary are in fact, not of Hungary at all. 

The hype behind the Brisbane boys’ debut album promises a mature reflective sound, and here is where they don’t disappoint. The nostalgia on the record could be because it’s partly a collection of the bands two EPs, with a few new tracks thrown in for credibility. 

Their breakout track, Scattered Diamonds, from the band’s second EP is reminiscent of The Kooks circa 2006 but the sweet ooh ooh’s and whoa oh’s that glitter the background add a delicacy The Kooks only have in their wet dreams. Set It Right, from the first EP conveys a perfect mix of light and shade; slow chord progressions interbreed with fast-paced percussion to make you want to listen thrice. 

As expected, it’s obvious which songs are more recent; No Returnssees lead vocalists Dean McGrath and Kane Mazlin deliver with Sting-esque wisdom whilst still maintaining that indie-conscious swagger. Again, the backing vocals from bass guitarist Ben Dalton and drummer Ryan Strathie are delightfully subtle throughout the 12-song record, without their atmospheric musings this track would be a mere filler. 

The other newer standout is Triple J favourite Wristwatch, the intermittent instrumental pauses have you holding your breath but the energetic lyrics fill the void. At just 1:51 this track is far too short, you’re left unsure whether this is pure laziness or artistic purpose. 

At 6:19, the final track on the record is The Window Shopper and although it exercises the bands instrumental and vocal variety, it’s a lethargic component and a surprising finale to a blissful debut album. This being said, the four-piece have contributed a solid debut of sundry songs, exploring the different shades of indie-pop and even tipping their hats to the artisans of the ‘70s.

Live Review: Alexisonfire (for The Music Network)

11 October 2010

by Poppy Reid

A fight broke out in the mosh and crowd surfers were bobbing past our heads before Alexisonfire had even finished opening track Young Cardinals; this was just the beginning of a raucous night at Sydney’s Roundhouse.

It was a mish-mash set from the Canadian five-piece, new tracks We Are Heading For the Sun and Old Crows alternated with Crisis album tracks like We Are The Sound and This Could Be Anywhere In The World. A shredding rendition of No Transitory was also thrown in from the band’s second album Watch Out!

Frontman George Petit saw the anarchy taking place in the pit, kids were spilling over the barrier before security could catch them; he asked the crowd for mutual respect from fans and security.

“This next song is a love song and for every person on this room. This is for everyone on this Goddamn continent. We love coming here, this song is called Rough Hands,” with a cheeky grin, George introduced the crowd favourite.

Midnight Regulations followed and guitarist Wade MacNeil and bassist Chris Steele showcased the intricate skill in post-hardcore, making it look seamlessly fluent.

Alexisonfire played the title track from their new EP Dog’s Blood; the song was well received and proved the boys had not lost their heavy grit. Accept Crime from their fourth and latest album Old Crows/Young Cardinals seemed to be a little too much for the AOF zealots; three fans tried to fight their way onto the stage and one was successful.

However, his taste of fame was short-lived, he was crash-tackled and dragged backstage after knocking the seraphic-voiced Dallas Green’s mic stand over.

“I'm pretty sure that guy had an assault rifle and just came up here and started shooting,” said Petit.

Green was soon jeered back onstage and ripped us to shreds with This Could Be Anywhere In The World before the band vacated the stage.

Questioning the chants of “One more song, one more song” when the band emerged, MacNeil howled for the crowd’s approval that they had “four more Goddammit…it’s not that hard!”

Of the four encore tracks which included a haunting cover of Midnight Oil’s The Dead Heart, the bands Methodist hymn inspired track The Northern was an unequivocal highlight. Petit stood atop the amp, his arms wide open like a possessed effigy. Steele moved like a zombie about the stage as strings of saliva fell heavy from his beard.

For the final track Happiness By The Kilowatt, the crowd was treated to a 9-minute rendition with an impressive instrumental in the guts of it.

Petit spat his Mount Franklin water into Steele’s mouth before the band threw their towels in. Drummer Jordan ‘Ratbeard’ Hastings threw his sticks into the sweat-soaked crowd, and the band said Bonjour to another epic live show.

Live Review: Parklife (for The Music Network)

06 October 2010

by Mick Walsh & Poppy Reid

Every October Sydney siders dream of a beautiful spring long weekend, fit for a slew of international acts and good times in the sun to welcome the start of festival season with Parklife. Fortunately this year, despite the grey skies, the damp grass and those annoyingly timed showers, we were saved the predicted thunderstorms and were even spoilt with warming sunshine at times.

Making the most of their moment in the sun were New York surf-rockers Darwin Deez, who’s synchronised choreography and off-kilter indie folk were the perfect start to the sometimes-springtime festival. Just a little bit camp, the five-piece’s single Radar Detector, ignited sing-a-longs and hand clapping throughout the packed crowd, and proved their popularity as a live band.

By the time UK post-punkers The Wombats took the stage, the $3 plastic ponchos were out in full force, the teasing rain harking back to the lads native Liverpool, England. Opening with Kill The Director, the band ignited puddle jumping and raised hands, rocking the crowd into a frenzy with radio hits Tokyo and Backfire At The Disco, leading to the climatic finish with career defining tracks- Moving to New York andLet’s Dance to Joy Division.

Philadelphia hip pop duo Chiddy Bang, occasionally heralded as the new saviours of hip hop, struggled at times to translate the genius of their unique tunes to the soaked (yet adoring) fans. Nevertheless the masses bounced along to Truth (sampling Passion Pit) and obediently rhymed-along for Opposite of Adults (sampling MGMT) whilst a slew of industry peeps danced onstage at the duo’s beckon.

With the skies now clearing and the sun setting, 2 Many DJ’s stepped things up a notch and took Parklife clubbing. Remixes of AC/DC, MGMT and Guns N’ Roses were more than a welcome warm up for punters vying for an up close encounter with the one and only Missy“Misdemeanor” Elliot. With no less than 27 dancers in tow, Missy put her hands down flipped it and reversed it- a shining beacon of hip-hop excess atop a swarming crowd of loyal subjects.

“Somebody said Sydney was the hottest place on the motherfucking planet,” Missy yelled.

Oftentimes it doesn’t take much, but it has to be said that no one knows how to work up a crowd quite like the supa dupa fly Elliot- although, once whet, for some reason she left us hanging- time and again building us up with the chorus or interlude of favourite tracks, and just when the crowd had lost themselves in Get Your Freak On orWork It, she would change course and leave us stuck awkwardly in the middle of our 1,2 Step.

If you were one of the many to finish Parklife with Groove Armada’s Black Light show, count yourself among the lucky, as you would have witnessed one of the last ever live performances from the storied UK dance duo. Newer tracks Paper Romance and History worked brilliantly around the light show, whilst singer SaintSaviour’s fur jacket and suspender shorts combo ushered the festival to a staggering,Superstylin’ close.

Naesayers and meterologist's take note, a week of bad weather and storm warnings isn’t going to stop an Aussie festival crowd. As Gene Kelly once put it- “What a glorious feeling.... Just singing... and dancin’ in the rain.”

Live Review: The Script (for The Music Network)

07 October 2010

by Poppy Reid

Most of the crowd were stuck in the ridiculously long line outside of Sydney’s Big Top at Luna Park for Michael Paynter’s support act. Those who did make it in could have easily mistaken the high-pitched Paynter for a female soprano before seeing the Aussie up-and-comer. Paynter finished with his radio release Love The Fall followed by an amicable rendition of Michael Jackson’s The Way You Make Me Feel and his ballad Let Go.

Girlfriends sipped on their Barcardi Breezer’s with one hand and dragged their reluctant partners close to the stage with the other. Opening with You Won’t Feel A Thing and Talk You Down this was The Script’s last show on their Australian Tour.

O’Donoghue’s hip hop monologue in their track We Cry seemed slightly juxtaposed against his soft choral counterpart but showed his vocal flexibility nonetheless. The Dublin frontman crouched down at the front of the stage and extended his mic toward a screeching fan, for us back-standers it sounded like a cat had just been pummelled with the mic.

"We have to put that into perspective, that's a brand new song," stated O’Donoghue after playing an aurally perfect If You Ever Come Back.

O’Donoghue switched back to the Roland and Sheehan switched to acoustic guitar for crowd favourite Before The Worst. By this time the Coke-sipping designated drivers had stopped pretending they didn’t know the words and had begun to sway along gaily.

The bands track about losing Sheehan’s mother The End Where I Begin was a highlight for the raw emotion apparent on the guitarists face. For an album written “in a very crappy shed” the Dublin boys drew a devout crowd, some even proved their loyalty by waving Irish flags.

Other stand-out tracks were I’m Yours written “pissed” at 4am and Nothing, about the pains of drunk-dialling.

"The moral to that story is, don't drink and use your fucking phone," said Sheehan.

Encore tracks For The First Time and Break Even, the bands most known songs at the Big Top were a worthy farewell, and the promise they would be back made it easier for some fans to leave.