Best of 2011 [Part 2]

Following on from our main article reviewing the best in music from 2011, we just couldn't fit everything in to one article so our very own fantastic Krissi's very kindly dished on a further 5 albums that made her year...

Krissi Weiss

Twitter: @krissibassi

TV ON THE RADIO – Nine Types Of Light
(Interscope/Universal)
Shrouded in loss and upheaval, TV On The Radio managed to make an album that, once again, was almost impossible to define. Being unable to pin a band down can sometimes be a great asset while at other times, it can alienate the audience. Who cares really? When you make music this good, you can afford to lose a few naysayers on the way.
 
GROUPLOVE – Never Trust A Happy Song
(Warner Music)
The vocals are almost gurgled while the harmonies are chaotic yet this indie-pop album gets into your mind like an earworm. Although this was a slow grower, the nursery-rhyme melodies are catchy as hell. It may not be music revolution but sometimes you just want a bit of fun.

JOAN AS POLICEWOMAN – The Deep Field
(PIAS/Liberator)
No longer just Mrs. Jeff Buckley, Joan Wasser emerged from the role of musical side-kick some time ago and has taken her blend of indie philosophy and precise production into the world that is The Deep Field. Angular melodies and ‘70s soul swirl around an album that is her most joyous to date.

OTHER LIVES – Tamer Animals
(tbd/Play It Again sam/Liberator)
Having never heard of them, I had absolutely no expectations on listening to this album. With instrumentation that combined brass, woodwind and strings
along with a traditional line-up of guitars and drums, Other Lives take folk and fill it with the sort of production you would expect from a band like Radiohead. Emotions run deep on this album with joy and tragedy walking side by side.

RADIOHEAD – The King Of Limbs
(Self-released)
To be honest, I hated this album on first listen; it takes time to understand what Yorke and Greenwood are trying to say here. The rhythms aren’t easy to grab onto and the melodies seem disjointed yet, with time, it manages to make sense. They push boundaries and, as a result, the audience is forced to as well.

'Woman' - Cuckoo Chaos [album review]

Written by Les Davis

From the moment I hit play on ‘Jesus Flag American Fish’ - the opening track of the San Diego five-piece's debut album - I was sent right back to Paul Simon’s 1986 seminal album ‘Graceland’ as not only is the vocal styling very reminiscent of Simon himself, there is also a real South African feel to this, along with subsequent tracks, ‘Healthy Ghost’ and ‘Just Ride It’.  The lovely guitar overlays coming in with smooth vocals fill the very nicely paced spaces in the music.

Although the mood remains buoyant and playful throughout, early on, you already get the feeling that there is perhaps too much of a ‘sameness’ to many of the songs and the opening numbers already mentioned perhaps lack those traces of individual personality to tell them apart from each other – I don’t necessarily mean this as a bad thing: as the energy of the music grows I really felt like turning cartwheels along a beach with lots of African children running alongside me smiling and laughing.

‘Bad Bad Man’ steps things up a beat with the tone of this number encapsulating more of the general theme and playfulness of the album as the song explores the story of the run-around game of courtship ending with a lovely ballad that is like a sweet goodbye as you sail off leaving your loved one on the harbour with found memories and wishing you to return.

The album is a playful courting theme and although is light and upbeat, it really does not challenge any concepts, but I really don’t think that this is their goal as they openly cite the aforementioned Paul Simon’s ‘Graceland’ and the work of Talking Heads as two key influences thus opening themselves up to those comparisons.  Happy, upbeat and feel-good on a sunny day describes this album best but after a number of listens it does get a bit repetitive for me but I’ll definitely be keeping it in my playlist for another while yet. 

'Feeling Today' - Botany [EP review]

Western Vinyl, 2011

Written by Les Davis

Under the musical guise of Botany, the Texan musician Spencer Stephenson, delivers his many-a-genre-encompassing debut release through new label home, Western Vinyl.  The introductory EP serves as a hugely personal and ambitious project which was dedicated to his recently passed mother, and was put together in the house he was raised in.

'Feeling Today', the album’s title and opening track, is a lovely piece to start the album off with.  There is a charming feeling of space in the music, and it’s as light and airy as a summer breeze.  Opening with some delicate finger cymbals over tantalising warped sounds, the vocals elevate you nicely to a new plane and the delightful beats send you soaring through a sun-drenched sky.

Very chilled, with hints of Indian and eastern folk music, which at times, evoke subtle comparisons with some of the Chemical Brothers’ more relaxed work with hints of Nightmares on Wax thrown in as well.

The album then moves nicely into 'Minnow Theme' featuring a bit more upbeat rhythm which carries you higher into the clouds and the superb bass strings tickle the hair on the back of your neck as the sun beats more intense rays down on you. A different song from the first but carries forward the mood perfectly.

'Waterparker' changes the tempo slightly but is still upbeat with terrific highs and bases.  This track feels like more of a remix of 'Minnow Theme' with some nice cuts and a dancey beat, and although this one takes you less by surprise as the songs before it, the mood created from the first two tracks maintains the ambience and keeps you dancing behind the eyes.

The album transfers to 'Bennefactness' and although it starts off with a nice blend of wind chimes and strings, the elevating vibe then turns into a bit of a mess.  It feels a bit like despite this nice start, they just had to rush the rest to fill out the album. At this stage, the album does begin to feel a bit like it’s all stemmed from one original track and as this may not necessarily be a bad thing regarding the first three tracks this one is beginning to feel the strain. There are some lovely moments in it but it’s not as polished as the others. Lots of chimes with overlaying beats and nice rhythm but unfortunately, feels a bit “samey”.

Overall, it would be an injustice to say there is nothing new on this release and although the music here is certainly exquisite, there just aren’t many surprises.  Some good head-nodding and in no way a chore to have to listen to as I will be keeping this album in my playlist for a chilled and upbeat sound although I don't crave it like I do new music that grabs me.

Edinburgh Festival 2011

Written by Les Davis

Edinburgh has been on my 'list' for about 15 years.  I have heard of the Edinburgh Fringe festival, I have watched snippets of it on TV and heard performers talk about it but I was not prepared for what I found on my first visit…

As you leave Weaverly Station, you are immediately hit by the buzz in the air. To your left, the heart of the city looms over you with pristine gothic reverence and the air positively vibrates with energy.  Every lamppost, wall and fence is covered with images of expectant and irreverent faces imploring slogans and reviews but in a way that just adds to the excitement and buzz.  It was near the end of the festival month and the city still looked fresh and eager to party.

We were there to see one comic writer that we were fans of called David Sedaris. We had made no plans other then to see him and to just take in the city.  I soon realised that this is not how you should really plan a visit.  One look at the program and immediately I wished I had planned ahead more.  There is just so much on and all of it sounds brilliant.  Edinburgh is the Mecca for performing artists – it is their Coliseum. They live and die by the review and for a full month they will kill anybody that stands in their way. 24 hours a day from 7am to 7am, there are shows on – performers from all over the world make the pilgrimage to the city to test their wits and stamina.  If you get a good review, you’re a hit and your show’s sold out and it’s impossible to get a ticket unless you are prepared to cue, cajole and beg.

The flipside of that is the case for performers that have been missed in the crowd.  They could have the best show in the world but if they have no review, they are playing to an empty room.  This is true even for some of the big names.

You feel part of it when you’re there and you can’t help but be swept along – all the artists and big names are just walking the streets too.  You are one with them in this marathon.

The Royal Mile is the place to be and most of the venues (although every building, square, bar, shed, outhouse and corner is converted into a venue for the month) are around that area.  From early in the day, it is rammed with performers performing on any free square bit of space.  I was overwhelmed with people almost throwing flyers at me to advertise their shows.

We only got to see two shows though as we were totally unprepared for the place. On the Saturday, we saw David Sedaris, a Grammy-nominated New Yorker writer. It was wonderful to hear him reading his own words with his strangely right combination of self-deprecation and confidence.

On Sunday, we saw Ed Byne – a great Irish comedian who’s a seasoned professional by now and it’s such a pleasure to see him work.  His show is non-stop for the hour or so he is on, and he weaved us through his observations with the usual poise and ease as you would expect from somebody that has been in the game as long as he has.  As funny as he is, you never feel unsafe and I like edgy comedy most of all – I like to see them dance on the thin line where anything can happen.

Next time (and there will be a next time) I will know to plan ahead.  If you are planning a trip, be sure to study the programs.  If anything looks interesting, just book it.  Tickets are cheap and some people book up to 10 shows a day.  I would say book at least two a day in advance and then try to get into other things, and just enjoy the energy, fine whiskey and the city.

'Time To Let Go' - Intercooler [album review]

INTERCOOLER – Time To Let Go (Plus One Records)

Written by Krissi Weiss

Formerly Brisbane and now Melbourne-based, indie pop-rock band Intercooler have finally found the time to release album number three.

With nearly nine years passing since their inception, prolific isn’t the first word that comes to mind for this band but when they do manage to get into the studio, they always seem to reappear with something close to gold.

The line-up has had a reshuffle with bassist Joel Potter and vocalist/guitarist Phil Ballantyne reuniting with the band's original guitarist, Michael Caso. Drummer, Damon Cox, has departed to focus on An Horse full time, replaced by Peabody’s Graeme Trewin. Singer-songwriter Chrissie Trubuco rounds out the new line-up, cementing the bands wistful pop sound. The album combines airy guitars with a gentle electronic texture and while there is the occasional moment of grit (as in the end of 'Packet For Paris'), 'Time To Let Go' is firmly rooted in indie pop sentiment.

'War & Peace' sees Trubuco join Ballantyne on lead vocals for the first time on the album and she really augments the melodic choices of Ballantyne. Throughout the rest of 'Time To Let Go', she dutifully fills the role of the perfect harmoniser.

There is momentum in the rhythms but nothing seems rushed and the groove is always in the pocket with 'The Trumpet Song' and the title track perfect illustrations of this. There is a ‘60s vibe to the entire album and comparison will be made to all of the usual suspects so I needn’t bother. Despite the fact Intercooler seem to come and go from prominence, 'Time To Let Go' is sure to reaffirm their place as pop-rock aficionados.

This article was originally published at http://www.ravemagazine.com.au/

'Little Red Boots' - Lindi Ortega [album review]

LINDI ORTEGA – Little Red Boots (Last Gang Records)

Written by Krissi Weiss

Hailing from Canada, alt-country singer-songwriter, Lindi Ortega, had been struggling through the independent music scene of Toronto for years before she was signed to Cherrytree Records and, more recently, Last Gang Records.

Ortega has lent her vocals as backing singer for Brandon Flowers and she featured on Major Lazer’s EP from 2010, 'Lazers Never Die'. Support slots for Keane, Noah & the Whale and Kevin Costner & Modern West (yep, THAT Kevin Costner) began to open doors for Ortega over the past few years and it was in 2008 that she released her first label-backed EP, 'The Drifter'.

'Little Red Boots' is being branded as her debut album despite the fact the albums 'The Taste Of Forbidden Fruit' and 'Fall From Grace' were released independently in 2001 and 2007. While there are the usual country music choices on 'Little Red Boots' (crying lapsteel, despondent harmonica and the obligatory presence of 6/8 every time the tempo slows), it really is more of a pop album. The energy is high, most songs have a persistently catchy hook and Ortega isn’t afraid to play the sultry card.

For someone who has come from the independent scene, I am surprised she chose to play guitar on only three songs. She did utilise a skilled backing band for the rest and obviously focussed on her vocals which are strong and dynamic. Lyrically, the album is, for the most part, cheeky and playful and her more heartfelt moments feel a little juvenile.

That said, it could possibly have mass appeal in that ultra-poppy, ultra-shiny, Taylor Swift sort of way.

This article was originally published at http://www.ravemagazine.com.au/

'Watch The Throne' - Jay-Z & Kanye West [album review]

[Def Jam Records (c) 2011]

Reviewed by Imran Mirza

What can I say about this one that you wouldn't already know? Actually, let's get all the easy and obligatory stuff out the way first: Jay-Z and Kanye West, long time friends and collaborators etc etc, hip-hop icons, yadda yadda yadda... have come together to create 'Watch The Throne' - their joint top-billing project which has had fans anticipating since West's Twitter announcement late last year.  Originally conceived as an EP, at some point, you imagine enthusiasm got the better of them and the project was extended to a full album.

If I'm honest, as big a fan as I am of each artist, a Kanye-produced Jay-Z album would actually have had me salivating more than the mic-sharing project.  I think that's because they're both very different rappers and the true magic of their chemistry, for me, has really been Jay-Z backed by Kanye's ever-evolving soul-based landscapes: 'Heart of The City' from 'Blueprint', along with 'Encore' and 'Lucifer' from 'The Black Album' are the gems that naturally spring to mind.  Jay's hustler-made-good persona mixed with Kanye's ego-filled brovado doesn't naturally equate to much in common, and exploring the dominant themes of their respective past catalogues, you may find that to be true.

All of this sounds like too much of a downer and it really isn't meant to be - any time two artists of this calibre come together in this fashion, it should always be well-received as the highs - and you had to know there'd be highs on this one - can often be too good to pass up.

Launched by the Lex Luger-produced single H.A.M., the album also features further new production talent in Hit-Boy and S1, but it's the hip-hop veterans that really show you how it's done - The Rza's scene-stealing 'New Day' with a refreshing spin on the Nina Simone classic, Pete Rock weaving similar charms with Curtis Mayfield on 'The Joy', and Q-Tip and Pharrell equally shining on their James Brown sampled contributions.  Kanye, in exactly the same fashion he did for the excellent 'My Beautiful Dark Twisted Fantasy' amasses an awesome team to put the project together and, although he's famed for breaking new production talent, it's a complete head-scratcher as to why this marks the official first time that Jay-Z has worked with the aforementioned legends [it really is a goosebumply moment hearing Jay utter the words "Me and The Rza connect" on 'New Day'].

Fans of CD hardcopies should definitely opt for the beautifully packaged deluxe version which also boasts an additional four songs, including 'The Joy' and No ID's surprisingly solitary contribution, 'Primetime'.

To conclude with a ridiculously brief tagline that would have summed everything up in the beginning: It's better than 'Blueprint 3' but not as good as 'My Beautiful Dark Twisted Fantasy'!  There! 

Who would you least expect to appear in a Bollywood video?

Yup, that was pretty much my expression too!  There's me mindlessly flicking through the music channels and then I stumble upon this gem.  Anyone recommend any other random music video cameos?

'Hurtsville' by Jack Ladder & The Dreamlanders [album review]

JACK LADDER & THE DREAMLANDERS – Hurtsville (Spunk)

Written by Krissi Weiss

Morose, dark, pessimistic – these are just a few words to describe Jack Ladder’s latest release, 'Hurtsville'.

He has moved away from the jangly energy of 2008’s 'Love Is Gone' (which did have its own darkness, mind you) and moved into slit-your-wrists territory. That said, the album doesn’t feel self-absorbed or angsty, just gloomy.

In an age were falsetto seems to be reigning supreme, Ladder brings a vocal timbre that is part Nick Cave and part Ian Curtis. He has a voice that can melt your heart while at the same time it can leave you feeling a little uneasy. The discomfort comes from the fact you are never sure where he is going to take you next and if you even want to go there. He moves in emotion that is often left behind when puberty ends and the task of following society’s protocol of toughening up takes over. But isn’t that what music is often about? Being able to escape into the depths of emotion that is raw and off limits.

The production of this album is something like the Donnie Darko soundtrack - it’s reverb-laden with gated drums and chorus rich guitars that feel a little ‘80s without the cheese. Songs like the title track, 'Blinded By Love' and 'Giving Up The Giving Up' come in at over seven minutes and seem to need that time to tell their respective stories. Dark it may be, but indulgent it is not and that is what makes this album enjoyable as opposed to banal.

This article was originally published in Rave Magazine http://www.ravemagazine.com.au/

Free Stag and Dagger Mix Tape

Stag & Dagger Mixtape 2011 by Anorak London

More about the festival itself here