Rory McCartney

Rachael Thoms & Luke Sweeting

This ‘chamber jazz’ release from an ACT duo is so cool it might be straight from the ice cube tray in your freezer. It’s a very intimate two person ‘jam’, matching the incredible piano of Luke Sweeting with Rachael Thoms’ haunting vocals. This disc, which pushes the boundaries on what jazz can be, is just one facet of the duo’s drive for new forms of musical expression. Both have their own sextets, while Luke also plays with the ANU All Stars, and Rachael also collaborates with international solo musos. The CD overture creates a sense of mystery and adventure, with sounds of falling rain and passing cars, before Rachael’s voice illuminates the night. Songs are structured to alternately highlight the vocals and the mesmerising keys. Not all tracks have lyrics, as some are just a medium for expressing the amazing talents of this duo, with the piano jousting with Rachael’s vocal gymnastics. The songs’ themes – ranging from a mother’s love to fear and loneliness – are expressed by both the inflections of her voice and the fingers of Sweeting, which make the piano keys speak. Highlights include the constantly evolving texture of the piano in Lonely People and Rachael’s kaleidoscopic scatting in The Great Unknown. This is floating music to take you up high to where the oxygen is rarefied.

BMA Mag Contributor Rory McCartney All Aussie Top Ten Albums 2011

Rory McCartney is one of BMA Magazine's most diligent and prolific contributors of music reviews in 2011. The man is also a fervent champion of Australian music, as you will read below - Bossman Allan Sko

10. The Vasco Era – The Vasco Era [Inertia]

Blues rockers The Vasco Era were back with a fresh dose of mayhem in their third full length release. Famed for their passionate shows and irreverent approach to normal song structures, the new material is even crazier. Vocalist Sid, with his famed raspy toned voice, celebrates the band’s ‘demolition’ approach to music. Music designed to get people to do wild stuff!  

9. Dead Letter Chorus – Yearlings [ABC Music/Universal]

Yearlings is an indie-pop/folk triumph. It's outstanding feature is the beauty of the vocals, both in their quality and in the polyphonic vocal arrangements that sees voices blended to engage at a personal level. Cameron Potts dominates the opening track, but the album belongs to the soaring voice of Gabrielle Huber. Particularly terrific when harmonising with Cameron in Yellow House, and she excels in solos such as All Mine.

8. Belles Will Ring – Crystal Theatre [Inertia/Dot Dash Recordings]

Belles Will Ring have done for alternative pop/rock what The Middle East did for folk, in this creation of mystery and surprise. The honeyed, flowing vocals are pierced by music that is often deliberately jarring in its expression of anger or misfortune. The musicianship is amazing, the tracks are cleverly crafted, and the vocal harmonies are a standout feature of this album.

7. The Middle East – I Want That You Are Always Happy [Spunk Records]

The Middle East's debut is a thrilling collection of dramatic contrasts between light and shadow. With an extreme range of themes, leaping between darkness and frivolity, The Middle East’s music has a fragile quality, which can be almost overwhelmed by the background chatter at gigs, but this production has captured the full depth and richness of the sound.

6. Boy & Bear – Moonfire [Universal]

While they gained fame covering a Crowded House classic, this disc proves they should be lauded for their own songwriting skills. The music is enticing as it varies between the brisk Milk & Sticks, the slower House & Farm and the Calypso-tinted The Village. It’s the vocals of Dave Hosking that really make this record, using his incredible vocal range to warp multiple inflections into a single word.

5. The Panics – Rain on the Humming Wire [Dew Process]

The second album with the Dew Process label has moved The Panics into a bigger world. It combines brilliant musicality with the rich vocals of front man and songwriter Jae Laffer, that engulf the listener at every turn. While the consistent feel running through the album is a lushness that brings all the cosiness of a polar fleece blanket, this is an album of many moods against which to match your emotions.

4. Calling All Cars – Dancing With a Dead Man [Shock Records]

Calling All Cars have long impressed with their frequent full blooded, rock out gigs in Canberra, either in support of such worthies as The Butterfly Effect or headlining their own shows. Their sophomore effort is chockfull of great lyrics, marauding guitars and dirty riffs in a celebration of all that’s best in Aussie garage rock.


3. Trial Kennedy – Living Undesigned [MGM]

Since their formation in 2002, Melbournians Trial Kennedy have been the dark horse of Australian garage rock. Their second album should help them gain the attention they deserve. Strange Behaviour, the first single released from the album, is the highlight of a collection filled with great tracks, with its grand vocal harmonies and a super catchy melodic line that cements itself in you ear canal.

2. The Grates – Secret Rituals [Dew Process/Universal]

Churned out during a bitter New York winter, the album was the first without drummer Alana Skyring and the first to include a bass in the instrumental mix. The results reveal a band with a stronger, more developed sound. Patience’s high, sweet voice is still sending out rays of energy, but her vocals are more forceful, with the old quirkiness being replaced by a new depth and character.

1. Cilla Jane – Until Morning Comes [Green/MGM]

Melbournian Cilla Jane’s second album comes after early recognition of her talent and sponsorship through a John Butler Seed Fund grant. It is a work of great beauty, a record to make the boys sigh and the girls shed a silent tear. This girl has a voice that just has to be heard to be believed, an alluring tone which is both sweet and tinged with a certain sadness.

Pajama Club

Question: What does an ex-Crowded House/Split Enz legend do in the evenings when the kids have left home and the TV is boring? Answer: start jamming with the wife. So, take Neil and Sharon Finn, add fellow Kiwi Sean Donnelly and drummer for hire Alana Skyring (fresh out of The Grates) and you have Pajama Club. The name comes from the band’s late night genesis. The result is quite unlike Neil Finn as you’ve ever heard him before. The first trio of tracks are pretty random, which had me thinking that this is what happens when a bloke lets the missus get involved in his work. But wait! From then on it gets genuinely interesting. The feature of this album is the sheer inventiveness and daring of the sound, throwing together an unconventional mix of melodies and fooling about with vocal combos. Sharon, on bass, takes a minor part in the vocals in most songs (sometimes just a few sighs), but her contribution is often a key part in forming the character of the individual track. From a Friend to a Friend impresses with a mish-mash of distortion and delicate notes that comes together so well. Dead Leg has a special charm, with a sound that raises a faint spectre of Split Enz and TNT for Z is a ballad with the beautiful solemnity that characterises many Crowded House hits. Other highlights include the boppy Daylight and the blues approach to Diamonds in Her Eyes.

Ben Lee

Ben Lee’s eighth studio release marks a new creative direction with a concept album delving into the magic of dreams and the honesty that comes with the lack of control the dreamer has over the experience. The CD, recorded at the artist’s LA home studio, marks Ben’s first go at self-production. The end result is constructed with descriptions of dreams (taken from the artist’s friends and family and recorded by him) at the start, centre and end of the album, tying it all together. It’s also a self-indulgent approach, as the dream descriptions, while a curiosity when first heard, are boring fillers after that. The album’s flow is a lot like a sleeper awakening. Slow and drowsy to start with, followed by a quick stretch before the album finally takes off at track four, Indian Myna. Jaunty, brass-infused and filled with the typical irrepressible Ben Lee perkiness, this is one of the CD highlights; the other being the gentle ballad Glue. I Want My Mind Back, with its constantly changing shades of colour, demonstrates Ben’s willingness to explore and experiment with complex song construction. Other winners are Pointless Beauty with its catchy opening riff, the bouncy synth-driven When the Light Goes Out and The Church of Everybody Else with its rocky undertone. The music has an appealing cuteness, but the concept approach is less successful because no one is really interested in dreams except their own.

Lawrie & Shirley

The Street Theatre

Friday October 14

Here’s a new idea, a play about old wrinklies in love! True, it’s enough to make many an X or Y-genner spill their soy lattés in shock. However, Lawrie & Shirley is a bright, witty depiction of the very human face of love between the elderly. Subtitled “Love never comes too late”, the world premiere of the show was held at our own Street Theatre. In the story, Lawrie is a long time philanderer, wooing a succession of widows, having one night stands, then sneaking off before dawn. However, he meets his match in Shirley, creating a lasting bond between them in the final seasons of his life. The middle-aged offspring of the pair, set against both the unseemly idea of a romance between the couple and any risk to their inheritances, work to sabotage the relationship. They scheme with notions of nursing homes, soothing medication and powers of attorney. Their plans are sadly not needed, when the romance comes to an abrupt end against a roadside tree.

This show is a very ACT affair; written by local poet Geoffrey Page, with music provided by local violinist Ewan Foster and with a plot set in Canberra. While the title produces expectations of a two person show, it is actually a one woman act. The many lines of rhyming verse were passionately and vibrantly delivered by actress Chrissie Shaw, who has worked in Canberra since 1987.

The story was vividly conveyed in the form of a movie script, complete with set and camera descriptions and the sound of old projector reels spinning at both the start and end of the performance. Chrissie’s passionate lines were delivered against a backdrop of photos whose gentle depictions of wrinkled hands or passionate embraces of the elderly brought the subject of the plot into focus. Ewan Foster’s brilliant violin added a colourful backdrop to the story, with tunes varying from the Baroque to the Pink Panther theme. This is an entertaining and cleverly presented work, which brings a new, softer light on a subject which will become more prevalent as our population ages.

The Orphanage

Lock your doors before listening! This record contains some seriously dark material, created by people who revel in sad music. Melbourne-based The Orphanage is the project of ex-Canberran Tom Woodward. He formed the six-piece in 2008, following a solo career and some time in a duo with fellow band member Tiana Morrison. Described alternatively as death folk or swamp rock, Till Death is laden with menace in this collection of stories that seek out the murky side of life. The style evokes that of fellow doom-roots band The Graveyard Sons, whose similarly wild music also spins tales of murder and mayhem. Tom’s tortured voice alternates between singing and screaming in the opener Till Death Us Do Part and he employs a western drawl in the Texan-themed murder song Vernon. His harsh singing is softened by the backing vocals of Tiana in several tracks, including Josephine, a CD highlight. The music matches the lyrics well, overtly raucous and loaded with drama that builds tension as songs progress. Rumbling guitars create an aura of doom in a tale about alcoholism and poverty. Simon Despoja’s violin is particularly effective, alternatively producing a spooky atmosphere, or creating a wild vibe as in the insane bush dance melody of Local Hero. There is some great songwriting here, but you sometimes need to read the CD booklet to make out the words in tracks such as Anzac Blues.

The Vasco Era

Blues rockers The Vasco Era are back with a fresh dose of mayhem in their third full-length release. The band almost self imploded due to the temporary departure of Sid O’Neil, who ran off and found himself and then returned to infuse the trio with an amp load full of new songs. Famed for their passionate shows and irreverent approach to normal song structures, the new material is even crazier. Vocalist Sid, with his famed raspy toned voice, celebrates the band’s ‘demolition’ approach to music. The first two tracks feature the innovative new approach of scream, scream, mumble, then scream some more. The instrumentation matches this roller-coaster style, storming along, before dropping to ambling pace, then rising again to a shattering crescendo.  Sid belts out track seven with howls, yowls and yells of “Heeeeeeeeeeeyyyyy”.  Entitled Rock and Roll is the Only Thing That Makes Me Feel Good, it could be the sound track of our lives. The album lyrics carry brief glimpses of wisdom, like the fractured clarity of poets on crack. In All the Pretty Lies, tangled veins of sound attack each other in a musical cage fight. The riotous guitars take distortion to a new level beyond shoe gazer. Highlights include the opener Na Na Na Na, Child Bearing Hips and Every Boy is the Same which almost (probably accidentally) resembles a normal pop song format. It’s music designed to get people to do wild stuff! 

Often I Find That I Am Naked

The Street Theatre
Saturday September 10

Many films are made about the complexity of modern relationships in the cyber age, but it’s much better to hear about it first hand in the flesh, on a stage. Often I Find That I Am Naked charts the rocky course of Jezebel, an intelligent, pretty woman whom you’d expect would be able to pick and choose from the blokes. Yet, as a girl determined to snatch defeat from the jaws of victory (assisted by alcohol) she continually ends up with a romantic disaster.  Lonely and craving love, she believes the only way to win a lasting relationship is to throw her body at men. When faced with genuine love, she panics and retreats into her usual promiscuity.

The very capable cast included Jo Thomas as the sex mad Jezebel (our tragi-heroine) and Sam Clark who masterfully portrayed a range of characters from the sleazy, to the gay, to the genuine long time friend. Fiona Sprott’s writing is razor sharp, and the humour is definitely of the triple X variety. Little was left to the imagination in the aftermath of oral sex or the romantic attempts of a randy dog (capably played by Sam Clark).

The biting wit was softened with pop songs from Tom Raymond on the baby grand, ranging from Jefferson Airplane, to The Police, to The Dresden Dolls. Raymond also contributed to the hilarity of the show with his expressions of amazement or horror as he sat at the piano, sucking liberally on gin.

The play was very funny, with many comic lines that the largely female audience lapped up, and was also sort of sad, with the semi-tragic figure who equates sex with love.

Beneath the in-your-face language and gestures, and the humour about speed dating, the show provided plenty of food for thought about the downsides of a culture that promotes promiscuity over real relationships and the pitfalls of binge drinking.

However, in the finest tradition of chic flicks, the play closed with the longed for happy ending, as Jezebel finally wakes up to the fact that she can find happiness and fun with a man who likes her for herself. Awwww!

Josh Pyke

Only Sparrows marks a significant change for Pyke as it’s the first time in eight years that he’s formed a band to record with. In past albums much effort had gone into his playing each instrument just right as the record came together. This time around, he’s been able to concentrate more on arranging the overall album. This results in some special musical touches, such as the percussion representing an onrushing train in Coffee Cups. His collaborators included Katy Steele, who adds a delicate backing to Punch in the Heart, the only track on which Pyke played all the instruments himself. Pyke’s word-smithing ability, exercised in the midst of the snows of a New York winter, remains as strong as ever. The clever lyrics reveal more of themselves through repeated listening.  Hilarious highlights include “If I could write a sad song every day of the week/I’d be the happiest fucker I know” in No One Wants a Lover. There are echoes of past songs in some of the lines too. Josh’s voice brings on the cocooning feeling of being in a deliciously warm bath. However, Only Sparrows lacks the stand out tracks that made Memories & Dust and Chimney’s Afire such successes. The track list is more a collection of variations of tone in the one colour, rather than a varied palette. That being said, highlights appear in the first trio of tracks, Particles and Follow Me Down. Overall, more soothing than invigorating.

Dead Letter Chorus

Their name may be easily confused with a certain Brisbane based rock outfit, but the Sydney-side five-piece Dead Letter Chorus is a very different proposition. Yearlings, their second album release, is an indie-pop/folk triumph.  Its outstanding feature is the beauty of the vocals, both in their quality and in the polyphonic vocal arrangements that sees voices blended to engage at a personal level.  Cameron Potts dominates the opening track, which is very Josh Pike like in both style and sound.  However, the album belongs to the soaring voice of Gabrielle Huber.  Terrific when harmonising with Cameron in Yellow House, she excels in solos such as All Mine.  With lyrics such as “You entered the room, my heart started beating”, this carries all the passion of a Mills and Boon ‘bodice ripper’ in keeping with the album’s theme of an examination of romance in all its beauty and catastrophe.  Her powerful voice sends shivers down the spine. The music carries the emotional theme well too, with the beating drum like a pounding heart in Covered by Snow. Other highlights are Run Wild and the multilayered vocals in The Poet and the Thief. The album had a Canadian producer and the band have cunningly gained a following in the land of the maple leaf by gigging both there and in Australia, teamed with Canadian pop bands.  This saw them visit Canberra in 2010 touring with Two Hours Traffic. More power to them!

The Panda Band

Pandas are famous for two things: being undeniably cute and not being good at reproduction. This bunch of pandas could certainly be accused of the latter. After big successes at the WAMIs in ‘04 and their debut album release, This Vital Chapter, in ‘06, the lads disappeared off the scope until delivering Charisma Weapon this July. The music is inventive and bold with a deliberate intention to challenge and confront. The album makes a statement that pop does not have to conform to the usual pattern of a single, smooth flowing, repetitive melody and rhythm. Cacophony, rather than harmony, is often king and a few calculated off key sounds are thrown in for fun. The opener We’re Almost Not Even Here throws together a zany mix of melodies and vocals in a semi-random manner. There are elements of prog rock evident as the song morphs as it advances. 51 Swimsuits, a sarcastic take on beauty competitions, has a carnival atmosphere to it, with the injection of intentionally jarring sounds. In Alligators, jumbled tempos spear off at tangents to each other, giving the track a clunky feel. Don’t expect to fall for this CD first pop, but it does grow on you the more you press play. Apart from the opener, the highlights come late in the track-list with the perky multi-mix of rhythms in Where The River Rises, and Cliff Dweller with its intriguing melodic mix surrounding the axis of a driving dance beat.

Lucie Thorne

Bonfires in Silver City is a little beauty in the same vein as Lucie Thorne’s last release, Black Across the Field. Rhythms evoke the colour and texture of the NSW far south coast, which is the singer-songwriter’s abode. The opener Falling is classic Lucie, showcasing the elfin voice that is more a whisper than a song. While famous for her low, soothing tone, the faster songs such as Big News excite as her voice rises to match the electric accompaniment. This is a very crisp production, with a true sound producing a ‘right next to you’ feel.   There’s a special bonus in Sweet Turnaround in which Lucie teams up with the deep vocals of soul singer Jo Jo Smith. Another highlight is Can’t Sleep for Dreaming which seduces the listener with the growling bass of Dave Symes and the shrill organ of Chris Abrahams. Great Wave, resonating with hidden meanings, rolls seamlessly into the gentle instrumental Correspondent. I listened hopefully for a song to match Alice, the pivotal highlight from her last record. There was nothing to quite match it, but a treat came in the form of Noir, a ballad laden with conflicting emotions and easily the most beautiful gem on this CD. The album ends with the luminescence of When I Get There, which repeatedly shimmers with the shushing sound of a struck gong. Lucie will sooth the punters’ troubled minds when she plays in our fair city on Sunday September 4.

Calling All Cars

Calling All Cars have long impressed with their frequent full-blooded, rock out gigs in Canberra, either in support of such worthies as The Butterfly Effect or headlining their own shows. Their sophomore effort is chockfull of great lyrics, marauding guitars and dirty riffs in a celebration of all that’s best in Aussie garage rock, as witnessed by the shamelessly indulgent guitar licks at the tail end of Reptile. While still paying homage more to grunt than melody, songs such as the title track occasionally see them verging into the slightly smoother sound adopted by bands like Gyroscope. In doing so they face the clear and present danger of becoming house trained. There is a popular route followed by bands that started out raw and edgy and end up becoming noticeably smoother and more melodic. They’d be better off avoiding that crowded end of the marketplace, where it can be hard to tell bands apart. There’s more mileage in sticking with the VB and Jim Beam consumer’s camp, in which Calling All Cars are still firmly lodged for the present. So crank up the volume and slam the kitchen wall to the crescendo of guitars in She’s Delirious, the wall of noise in Fireworks in a Hurricane or the rapier thrust of sound in the closing seconds of Autobiotics. Calling All Cars have stayed true to ‘in your face’ musical mayhem.

ALBUM OF THE ISSUE

The second album following their change to Dew Process has moved The Panics into a bigger world. The ex-heroes of Perth, now Melbourne based when not on their frequent sojourns across the briny sea, have delivered a collection of panoramic breadth. Rain on the Humming Wire combines brilliant musicality with the rich vocals of frontman and songwriter Jae Laffer that engulf the listener at every turn. His voice is at its most impressive on One Way Street, welling up deep and dark like hot honey. A key feature is the sheer diversity in the different characters exhibited by the tracks. You’ll quickly learn to love the orchestral timpani rumble at the start of the album opener and first single Majesty and the keyboard notes in Not Quite at Home that cascade like raindrops on a window. Or rejoice in the interplay between the instrumentation in the glorious Creatures. Song stories reflect a nostalgia that arose from feelings of isolation created by long absences from home whilst touring and recording. Written in the UK but recorded in an out-of-the-way studio outside NY, this is an album of many moods, against which to match your emotions. The Panics play ANU on Wednesday September 21.  

Timothy Nelson & The Infidels

My first thoughts on loading the TN&TI debut album and pressing play were ‘I’ve put The Whitlams on by mistake! But a quick label check shows it’s not those lovable whelps, but an outfit that’s been wowing them in droves to the west of the rabbit proof fence. About two thirds of the album rejoices in a timeless Beatles inspired pop formula of catchy upbeat melodies and great lead vocals, rounded out by swelling harmonies. The remainder balances the songbook with a country flavour imparted by the harmonica in Overcast Day and the slide guitar effect in Inside Out. Clever lyrics stick in your mind, with lines such as “Your eyes are as grey as an overcast day, but sunshine is overrated anyway”. Tim’s abilities have seen him take out the WAMI song of the year award in both 2007 and 2009. His clean cut voice peels out clearly and he’s well supported by a softer backing sound from Ellen Oosterbaan.  The songs are uniformly about tangled affairs and the rocky road to love, well summed up by the CD title that implies knowledge gained the hard way, through stormy relationships. Speak the Truth in Love stands out with is stirring strings and a trumpet flourish at the finish. But the reals highlights are Nothing’s In Tune, You Don’t Know What You’re Waiting For (both out as singles) and Run For Cover.

Cut Off Your Hands

Try the following personal checklist: nausea, feeling hollow, fooling no one and down and out? Either you’re on the fast track to depression or you’re reading down the track list of the second album from Cut Off Your Hands. The lads from The Shaky Isles, who had three drummers and three guitarists in just 12 months but have now returned to their original line-up, demonstrate that bad news can come in a bright and attractive wrapping. While the themes from the indie poppers may be grave, the pace has picked up from their debut CD You & I. The opener You Should Do Better shows the way with crisp drums and ringing guitars, and it just gets better from there. Hollow is fast and cheerful, with chiming guitars that radiate feel-good tunes. There’s more than a hint of the ‘80s with soft focus vocals and a ring to the melodies that brings back sweet memories of bands such as The Go Betweens. While the messages may be as despairing as those of The Smiths, there’s a vibe to the sound that is sure to make you smile and sway. Highlights include Nausea with its shoe-gazing effects of echoing vocals and guitar licks that follow a mesmerising repetitive spiral. There’s a distinct R.E.M. flavour to the opening bars of By Your Side, a sleepy tune punctuated by a deep bass line and wrapped up with cosy harmonies.

Catherine Traicos & The Starry Night

The third album from Catherine Traicos comes from the heart. Gloriosa portrays the Sydney-sider as a woman with an inner strength that has been won through trials. In doing so, it follows in the same groove as Catherine’s second album The Amazing, which was about love, painful breakups and inner conflict. Catherine has the gift of crystallising a wide range of emotions in an intense manner, but in the most delicate of voices.

There’s the thrill of flirting in Walk Into the Stars and the pain of love’s end in Don’t Leave Me This Way. Contrast this with the languid feeling of Australian Sun, so laid back with its stoned hippy vibe. The dark side of relationships is expressed in a soothing manner that says ‘I understand’. Her waiflike voice is at its finest in Stranger, about the death of a loved one. Catherine brought together musos from such bands as The Tucker Bs and Sketching Cato to form The Starry Night, to create the perfect mood for her songs. Melodies emphasise the tension in the lyrics, with a cello denoting heartbreak and a guitar expressing anger and hurt pride. Most of her pop/folk material has a slow tempo, befitting the serious themes, but the CD highlight is the brighter Beg for Love, with its skipping pace melody.  

Single Twin

Marcus Teague, formerly frontman of Melbourne based and now departed band Deloris, has named this album after himself but with Single Twin, his alter ego, as the artist. Confused? I was too. This highly personal effort was lovingly made and mixed by Marcus at home, over six years, armed with only one mic and Garageband software. The authenticity of the sound is attested to by the occasional hiss and the capture of background noise. The finish creates the intimacy of a living room chat.  It’s a delicate production, demanding close concentration to truly appreciate the engaging melodies and the poetry in the veiled lyrics. The music is acoustic guitar centred, with Marcus backing himself on a bevy of instruments including banjo. 

There’s a hefty dose of black humour in the songs which comes across strongly in Came Home Dead and Wandering, a post apocalyptic tale about being a survivor after nuclear holocaust, complete with a spooky wail. Brief instrumentals Slow Down Soldier and Smoke Trail on a Spring Day appear like bookends, dividing volumes in a library. Album highlights are The Blow (Fell Out the Window) and My Silken Tooth, a touching tale of bereavement crowned by the poignant lines “in my mind you’re beside me and singing”. Marcus plays at The Street on Tuesday August 2.

Friendly Fires - Pala - [XL Recordings/Remote Control]

Largely recorded in their garage over an English winter, this collection was destined to take the Friendly Fires crew and their fans away from the cold to a sunny paradise. This album is a little cocktail umbrella composed of pop, dance, funk and soul. The trio has captured the holiday escape feeling, from the brilliantly coloured parrot in the artwork to the samba like drum rhythm underlying the opening tracks. The mood is cruisey rather than berko dance party, with most tracks inviting luxurious reclining rather than frantic jiving. The party theme couldn’t be better expressed than in the opener Live Those Days Tonight, with its fresh, super groovalicious beats and shimmering multi-layered vocals.  Blue Cassette morphs the dance theme, harking back to the days of ‘70s tape machines.  It incorporates the quirky effects of that media including the tape squeal and fuzziness of a worn cassette.  Hawaiian Air is an album highlight, combining discotheque cool with the lush sensuality of languid tropical nights.  Members of the Harlem Gospel Choir provided vocal support in Hurting, infusing the track with a marvellous soulful feeling, making it another standout. The title track is a slow, ultra cool hip grinder, with a strong ‘70s feel brought on by the perky keyboard chords and its slow, sultry feel.  The sparkle in the songs fades somewhat mid disk, after track six. Nonetheless, Pala is a super soundtrack for your next tropical themed dance party, to take you a world away.  

Cilla Jane - Until Morning Comes - [Green/MGM]

Melbournian Cilla Jane’s second album comes after early recognition of her talent and sponsorship through a John Butler Seed Fund grant. It is a work of great beauty, to make the boys sigh and the girls shed a silent tear.

The opening title track is full of tenderness and a wistful yearning. One Deep Breath carries a gossamer caress to the soul, both soothing and seducing at the same time. Into the Woods displays impressive musicality, with the soft piano chords complementing the lovely timbre of her voice. This girl has a voice that just has to be heard to be believed, an alluring tone which is both sweet and tinged with a certain sadness.

However, in the capering Back to Me, Cilla sounds a lot like the bright voiced Regina Spektor. A special warmth is injected into the music by the cello of Andy Picker, who co-arranged the album with Cilla. Song messages revolve around love, hope and playfulness, and there’s a common thread running through them all, inviting you to take a deep breath and leap into new adventures.

The CD artwork is delightful and there’s even a charming simplicity to the song titles, such as On My Bike and Made of Glass. Cilla Jane plays The Front on Saturday July 9. It’s sure to be a captivating gig, guaranteed to make you leave your daily cares far behind.

Trial Kennedy - Living Undesigned - [MGM]

Since their formation in 2002, Melbournians Trial Kennedy, have been the dark horse of Australian garage rock. I have long admired their ability to throw together some great licks in killer melodic rock songs.

They gained some radio attention with their debut New Manic Art, but still remained under the radar. This, their second album, should help them gain the attention they deserve.

Opening with ever accelerating locomotive like drum beats, Sally begins with soft vocals before the full-on volume crashes in after the intro. The guys weave in tick-tock clock-like notes at the end, before the track collapses in a crackling radio fade out.

Strange Behaviour, the first single released from the album, has been enjoying some airplay. It is the highlight of a collection filled with great tracks, with its grand vocal harmonies and a super catchy melodic line that cements itself in you ear canal. Exology has opening riffs worthy of Gyroscope and soaring vocals in the same class as Birds of Tokyo. But this is no copy band, as Trial Kennedy have a distinctive sound all their own.

Best of Tomorrow enthrals with its overlapping vocal arrangements and the slower pace of My Own displays the quality of Tim Morrison’s voice. There’s a lot of youthful angst tied up in this collection, as exemplified by Arrest Room with its powerful cries of grief, establishing a spooky, mysterious atmosphere. I loved it!

Snowman - Absence - [Dot Dash Records]

Enigmatic experimental electro band Snowman had an unusual genesis, consisting of Europeans and an Indonesian who grew up in Perth and formed a band. They won the Next Big Thing competition in 2004 and a 2005 WAMI for Favourite Newcomer. Further awards, tours with big name bands and two albums followed, before Snowman relocated to London in 2008. Now they’ve decided to call it a day, but not before releasing their third CD Absence. This is a band that creates music like broad canvases, with the colours running together, rather than precise portraits. The opening track Snakes and Ladders features finger snapping percussion and hazy lyrics that drift in an amorphous cloud. Individual melodies appear and vanish, rising and falling rapidly just like the song title in this acoustic game. Hyena kicks off with a welter of clanging instruments in a percussive frenzy similar to that employed by Shearwater. The primitive chant “Hyena, hyena” stands out clearly above other vocals that are lost in a maze of echoes. White Wall uses a simple mesmerising melody, which morphs slowly into tribal drums. Séance dazzles with its screeching jungle sounds, ghostly lyrics backed by a rising operatic siren’s call, and gongs similar to the Gamelan orchestra employed by Mike Oldfield in Incantations. Absence is a deliberately mysterious, atmospheric maze of chamber filling sound. However, its allure is reduced by the similarly in song formats that dulls the listener’s attention. 

The Middle East - I Want That You Are Always Happy - [Spunk]

The Middle East’s debut is a thrilling collection of dramatic contrasts between light and shadow. The extreme range of themes, leaping between darkness and frivolousness, is well portrayed by the cover; the grim reaper, arm in arm with a clothed banana.

Opener Black Death 1349 achieves its ghostly atmosphere, as the music fades in and out in intensity like a plastic bag rising and falling on wind gusts. The similarly eerie My Grandma Was Pearl Hall, with a Tom Waits style stagger in the vocals, processes haltingly against a low tone that hovers menacingly in the background. Its lingering finish features tip toeing piano, its notes falling like tears into a bath.

The album then shifts up three gears into more up tempo folk, from the toe tapping playfulness of Jesus Came to My Birthday Party to the hand clapper Months. The deep, bluesy Mount Morgan portrays the band’s love of the experimental, exploring the limits of the folk genre. The Middle East’s music has a fragile quality, which can be almost overwhelmed by the background chatter at gigs, but this production has captured the full depth and richness of their sound.

The Ovals - Into The Eyes Of Those Who Sleep - [Independent Release]

The retro sound has become an increasingly popular genre, as witnessed by the success of Wolfmother and Tame Impala. While they have merely dipped a finger into psychedelica, The Ovals from Melbourne have gone for full body immersion. Their second EP fuses strong progressive influences with the tradition of atmospheric stadium bands such as Pink Floyd. The Ovals have adopted a more classical approach to rock, introducing long instrumental passages that are like a series of orchestral movements, replacing the standard song structures of verses and choruses. The senses are overwhelmed by complex musical panoramas that shape shift with shimmering keys and guitar arabesques.

The experimental nature of the music is immediately evident in the opener Refugees, which strikes an unusual note with a tempo that seems deliberately slightly out of time. Lost With Bones projects an atmospheric cocoon of space filling sound, with a strong underlying bass beat and a theatrical feel. Heretic is the standout track, exploring new bounds with long guitar passages overlaying chants of “Burn the Heretic, Burn the Heretic”. Persephone’s’ Groove foxes the listener, throwing echoing shadows in a dreamy lullaby, before becoming teasingly funky. This weird menagerie ends in an indulgently drawn out distortion. There’s a good 20 minutes of music in just four tracks. Into The Eyes Of Those Who Sleep is too involved for casual listening and is best appreciated reclining on a bean bag in a dark room.

Stolen Youth - Dark Century - [Clarity Records]

Established in 2000, Adelaide five-piece hardcore/punk band Stolen Youth draw their inspiration from a stable of acts including Propagandhi, Mid Youth Crisis and Mindsnare. In this, their second full length album, insane guitars and fiendishly quick drumming direct a storming tide of righteous anger at racism, injustice in occupied Palestine and the rape of the earth by the human race.

Like the battle between good and evil, Stolen Youth’s strident music exhibits a stark contrast between complete anarchy on one hand, and songs with a cleverly crafted complexity on the other. The opening track Whispers of the Past kicks off with a beginning like a sweetly revving V8, before the percussion leaps in with ever accelerating speed . Fear Amongst the Masses is a mindless chaos with no distinct melody, with the drums lording it all over the futilely battling guitars beneath. Then there’s the deliberate blending of opposites in Poverty of Love, with its gentle piano lead in before this is ripped to shreds by a buzz saw riff, with a crazy guitar at the tail. Humans and Swim to the Sun are the album highlights. Both are of epic length (for punk tracks), with long instrumental beginnings and complex formats that build the music in interlocking layers of ever rising intensity. It’s arguable which of the two has the best licks in the disk. What is certain, is the contribution to the album of the hyper fast drumming from Dave McCann.

Adalita - Adalita - [Liberation Music]

Having been Australia’s premier rock chick for many years as the front woman of Magic Dirt, Adalita has released her much anticipated debut solo album. While Magic Dirt was a bit schitzo, morphing between good hard rocking and powerpop, this music falls into neither category. Dedicated to the late MD bassist Dean Turner, who had a strong influence in its realisation, this collection brings together songs written by Adalita that didn’t fit the band’s format due to their slower tempo and deeply personal nature.

While other musicians contributed, this is essentially a one woman project, with Adalita playing guitar, piano, drums and percussion and taking most of the CD packaging photos. The supporting instruments are overshadowed by the strength and intensity of Adalita’s vocals and the roar and shiver of her guitar, which make for a heady mix. In a collection of highlights that pulses with emotion, Hot Air is the CD standout with its compelling background loop that holds the listener on a visceral level. Invite Me, with its reverberating guitar and layered vocals at the finish, is a riveting portrayal of intense physical longing. Good Girl, which teasingly promises better behaviour, charms with the backing vocals of Amaya Laucirica. Those who attended the 2010 Blondie show had a foretaste of Adalita’s debut, although most would have been mystified by her performance, probably having never heard of MD. For those who missed out, Adalita plays at the Transit Bar on 14 April. Four stars.

Scaramouche - Access Denied - [Independent]

Once Melbourne based, Scaramouche are now firmly entrenched in the ACT scene. Victoria’s loss is our gain as Pat Little and the boys are frequently seen gigging at venues such as The Maram and ANU. These local lads made good have delivered Access Denied as their debut EP of retro fuelled garage rock. The influence of their quoted sources of inspiration, Queens of the Stone Age, Led Zeppelin and Faith No More comes through clearly in the tracks. Scaramouche’s sheer energy bounds ahead in the opener Set Sail. Pat gives a screaming countdown before the band launches into the berko licks from the lead guitar and raging vocals that make this an EP highlight. With its ever varying melody and tempo the track is a musical journey through the age of long hair, fluoro colours and flares.

The score then flips over to the down and dirty blues of the title track, beginning with some juicy bass lines and a riff that’s a real foot tapper. Fistful is a psychedelic masterpiece, with just a tang of Wolfmother in the mix that follows a hippy trail of cascading riffs to a reverberating finish. Midnight Itch is another winner, starting with slow, mellow riffs before morphing into a complex web of sound with a hint of Zeppelin influences in the vocals.

Scaramouche are still in a productive phase as their website promises more to come with work on the next release already underway.

Shihad - Ignite [Roadrunner]

There are few bands around with a reputation for possessing as much sheer rock grunt as Shihad. They’re so good that there’s an ongoing fight between Australia and New Zealand as to who can claim ownership of them, and this CD will only serve to feed this trans-Tasman rivalry. Ignite, the band’s eighth album, brings with it a change of label and a flirtation with self-production which has seen the band gain more ownership of the end sound. The final mix includes the influences on selected songs of Dave Sardy, whose impressive credits include Nine Inch Nails, Oasis and Slayer.

After 22 years and several albums, most bands who have stayed that incredible distance are sounding stale, their creative spark having faded or died. Not so with Shihad, who have the talent to still be fresh and exciting. They achieve this while staying true to their signature sound, combining great melodies, ruthless riffage and the awesome vocals of frontman Jon Toogood. The epic, six minute opening track is a cracker, beginning with low, slowly grinding guitars combined with emphatic sighs from the backing vocals. It then builds up to form overwhelming concussive waves of sound. In a collection full of goodies, Lead or Follow is a fine choice for the single. But my favourites are the opener The Final Year of the Universe, and Sleepeater and Cold Hear, both of which showcase great vocal arrangements. 

Rory McCartney's Top 10 Albums 2010

10. Gemma Ray – Lights Out Zoltar! [Bronzerat Records]

The second album from UK singer-songwriter Gemma Ray pays homage to vintage pop. While the style harks back to the ‘50s and ‘60s, the tone has morphed from the chirpy tunes of that era to a much darker atmosphere.

9. The Shake Up – …if you have no shame [Nomorecords]

The Shake Up’s album is an attractive mix of alcohol-soaked themes, skin-tight riffs and an arrogance that’s spoiling for a fight. Songs combine infectious rhythms with clear lyrics and choruses you can shout along to.

8. Over-Reactor – Lose Your Delusion I [Independent Release]

Ezekiel Ox, the hyperactive frontman of bands Full Scale and Mammal, has returned! His hardcore/punk duo delivers eye-jabbing vocals, bone-jarring riffs and spine-tingling programming.

7. Shearwater – The Golden Archipelago [Matador/Remote Control]

Texan folk rock outfit Shearwater have created a new style of unconventional sea shanties in this avant-garde album that combines full-bodied, soulful vocals and music of astonishing beauty and inventiveness.

6. Tash Parker – Waking Up [Inertia/Little Buildings]

The indie folk-pop debut of Tash Parker is a pearl. With a soft and sweet voice that comes across with a strong dose of Dido and a few hints of Regina Spektor, it’s an attractive combo.

5. Alpine – Zurich [Ivy League]

In their extraordinary debut EP, Melbourne indie synth-pop band Alpine have crafted a captivating formula that blends clever, catchy tunes with inventive vocal patterns created by the interplay between the lovely Phoebe Baker and Lou James.

4. Dead Letter Circus – This Is The Warning [Warner Music]

Flying at you at breakneck speed, Kim Benzie’s impassioned vocals carry a consistent challenge to be true to your values. His voice has a cool, calming quality that stands out from the angry edge often dominating in rock.

3. New Young Pony Club – The Optimist [PIAS Recordings/Liberator Music]

Take a Tardis ride back in time with UK electro-poppers New Young Pony Club. Sound effects weave Tahita’s rich voice into this full-bodied, layered creation.

2. Gyroscope – Cohesion [Universal]

Their previous album Breed Obsession may have been so pretty sounding as to be almost verging on power-pop. Well, the rock is back! With Cohesion, Gyroscope have done a U-turn and emerged closer to their garage roots. The boys from the West have done it again and this is an album for the true believers.

1. Cloud Control – Bliss Release [Ivy League]

Cloud Control from The Blue Mountains have delivered an outstanding debut album, heavily influenced by world music sounds. Super catchy Afro rhythms and strong spiritual themes appear frequently. Combined with their vivacious live performance style, it results in a stand out, crowd-winning sound.

Alpine - Zurich [Ivy League]

In their extraordinary debut EP, Melbourne six-piece indie synth pop band Alpine, formerly Swiss (not to be confused with disco house/electronica merchants The Swiss), have crafted something truly captivating. Their successful formula entails the blending of clever, catchy tunes with inventive vocal patterns created by the interplay between the lovely Phoebe Baker and Lou James. Songs coalesce from random ideas, with an emphasis on grasping spontaneity, improvisation and a willingness to embrace less than perfect playing in the aim of capturing the vibe of the moment (and occasionally the vibe of alcohol).

Opener Heartlove sets the scene, with Phoebe and Lou’s vocal gymnastics re-inventing the alphabet. Too Safe summarises the artistic approach of the band well, with its message of the rejection of the monotony and comfort of stable relationships in preference for the inspiration which thrives on volatility. Tough Skin playfully combines disco beats with ethereal vocals that flow like whispered girly secrets. There’s a magic intermingling of dissimilar rhythms and beats, arranged artfully in the one track to produce fresh surprises. Villages juxtaposes floating vocals with deep guitar notes and bringing up the rear is the playful Icypoles, which the girls like as it gives them the chance to play instruments at gigs. Its drawn out boogie-licious finish extends for a lickable four and a half minutes. 

Flying Scribble - We’re a Chameleon [Queen Silver Records]

This inventive duo, comprising vocalist/drummer Gray Taylor and organist/bass pedal/back-up vocalist Louise Terry pushes the envelope in alternative indie pop.  Their wildly experimental instrumental journey explores the full range of what’s musically possible, when you’re armed with only an electronic drum kit and a midi organ.

The CD title is well chosen as the colours in the music alter constantly to suit the prevailing mood. Porthole’s tempo fluctuates like the gait of a staggering drunkard and Anyway provides a dramatic transition from frantic drumming to merrily ambling keys. The singing style swings wildly too, from the high pitched operatic style of the lead track (courtesy of Louise) to the balmy harmonies of Tree to Tree and Animation in My Head. The girls tease with lyrics whose veiled meanings delve into the riddle inside the mind of every individual. Still waters run deep and there are some sinister undertones underlying the superficially cheerful tunes. CD highlights include Keep Going, with its deep warbling keys overlaid with tingling glockenspiel tones, Don’t Follow Me and the Latin rhythms in Coconut Walk.

Gray and Louise’s imagination extended into the technical aspects too in this self- recorded album. Special effects included recording bass in a wooden lift shaft and amplifying electronic percussion sounds using cast off speakers inside a dog kennel.    Full of surprises, this enigmatic CD throws up a mix of unconventional rhythms and complex vocal arrangements that are a puzzle for the audience to fit together.

Ruby for Lucy - Catching Bream [Half a Cow Records]

In 2007 an online music site provided the means of a chance meeting between Julie Stenton and Kat Borghetti. Their friendship evolved into folk duo Ruby for Lucy and the creation of this, their debut release.  

The EP (it’s not quite an album, as two of the nine tracks last less than a minute) is as much a deep conversation between dear friends as a collection of songs. Whimsical tales explore the poetry that exists below the surface of everyday life, if only you bother to look. The beautiful lead vocals, which sound uncannily like Jessie Vintila from The Lucky Wonders, have the quality of being able to evoke either joy or sorrow with equal skill. In Grandma’s House, about leaving a friend behind, you’d be convinced that the singer was on the verge of tears. The sweet tone of Sentimental Porcelain brings to mind the style of folkies Tinpan Orange. Simple but infectious melodies, spun by the duo’s acoustic guitars, bring the alluring quality of the lead vocals and harmonies to the fore.  The one quality the EP lacks is variety, as the same vocal style and tempo is used on most tracks, making it almost ‘too pretty’.  The only song that moves faster than a walking pace is the sprightly title track, which is a highlight.

Everything about the release is a work of art, from the exquisite cover to the environmentally friendly, plastic-free disk cover, which holds the CD in place with a cool egg-crate and cork creation.       

The Deckchairs - Ur [Independent]

After a promising start with their 2007 EP Some Strangers Ship, this roots band from Brisbane hit a speed bump last year when the failure of their record label was accompanied by energy sapping legal wrangles. Now wiser in the ways of the music industry, they have bounced back with Ur. On My Way Back Home sets the bar high right from the start, displaying awesome musicianship as notes fly from Tim Loydell’s 12 string guitar, creating melodies of hypnotic intricacy. Moaning and wailing like a wild animal, as it cuts across this musical canvas, is the air shredding lap steel of Josh Catt. United with Alex Mitchell’s bass line and Joe Brisick’s many-faceted percussion, these guys form a potent combination. Look beneath the surface lyrics to find richly illustrated themes that dissect contemporary values. The muddy blues of Hello Friends spotlights the all prevalent self-centredness and other songs explore attitudes varying from the self-imposed manic pace of living to the bovine acceptance of the status quo. The band’s musical mastery and story telling ability, exemplified by such tracks as the beautiful The Owl, puts them up there with such roots stars as the mesmerising Jeff Lang. The Deckcahirs have adopted a revolutionary marketing strategy, sending the beautifully packaged CD to whomever emails them for a copy, with the request that, if you like it, please send money.  If you don’t, then pass it on to someone who does. I’m not giving mine away! 

The Shake Up - …if you have no shame [Nomorecords]

After gigging steadily since their 2008 formation, Sydney power-poppers The Shake Up have enlisted the aid of The White Stripes producer Jim Diamond to lay down their debut release.  The energy packed, super catchy opener She Read the Riot Act was made to jump around to and sets the pattern for the rest of the album. There’s an obvious ‘70s UK influence, with the Brit pop sound of Meet in the Middle and the punkish hacked off guitars in Everybody Loves It. Kiss the Pavement captures perfectly what it’s like to be at (insert fave nightclub name here) late on any Friday, with a skinful of beer and a head full of agro. Makes Me Sick and Unmade Plan, with their great guitar licks, are two highlights and the album winds up on a high with Pretty City with its cute female backing vocals on the chorus. Jim Diamond’s polished finish ensures that singer/guitarist Miles Selwyn’s pugnacious stage presence (hair plastered to his face, legs shaking in skinny leg black jeans and Mick Jagger-like snarl) comes across well in this crystal clear production. All tracks follow a similar pattern with simple but very infectious rhythms, clear lyrics and choruses that were made to shout along to. Variety is not a strong point here, but that does not detract from The Shake Up’s attractive mix of alcohol soaked themes, skin tight riffs and an arrogance that’s spoiling for a fight.  

The Holy Sea - Ghosts of the Horizon [An Ocean Awaits / Fuse]

This is the third release from an outfit originally known as Henry F. Skerritt and the Holy Sea. In 2007 they decided to forgo personal fame and pander to those who can’t remember long band titles, and retitled the group with their current name. With a lot of today’s FM fodder being pretty strong on the beats but rather low rent on the lyrics, it’s great to bask in this shining example of Aussie songwriting talent. Folk rockers The Holy Sea provide a distinctly Antipodean flavour to this fine collection, with themes gouged out from the savage history of this wide brown land. The colours in the album, with its frenzied, evocative rhythms, are fed by Henry’s passion for Australian art history, which is inescapably linked with the story of the nation. Skerritt’s forceful vocals are commanding, whether he’s howling out The King of Palm Island or roaring along to There Be Dragons Here, about the thrill and danger of exploring the seas in search of the great southern land. Album highlights are The Ten Rules, about the big dividing lines in life, and The Seafarer, in which the balmy vocals from Emma Frichot are contrasted by the eloquent agony of tortured strings from Gareth Skinner’s cello. The best word picture appears in Bad Luck with “The body of my lover stretches out just like the hills of Adelaide”. (Obviously not a curvy lass, as anyone who has seen the hills from the city would know).

Over-Reactor - Lose Your Delusion Vol. 1 [Independent]

Scale modellers and furry animal lovers rejoice!  Like a movie monster who keeps coming back, Ezekiel Ox, the angry, hyperactive frontman of bands Full Scale and Mammal, has returned! Well known for climbing over crowd barriers to spit wrathful lyrics into the faces of unwary punters, he’s as full of vitriol as ever. This time he’s teemed up with ex-Dukes of Windsor drummer/programmer Cory Blight to form a hardcore punk duo. For a two man team, they push out an amazing full-on sound with eye jabbing vocals, bone jarring riffs and spine tingling programming.

Tracks abound with political messages and the thoughts of Chairman Zeke. Track 11 could easily have been written about himself with its message of “Always got a point to push”. There is no quiet ballad lurking at the tail end of this generous 17 title track listing, as the fast and furious rampage continues throughout. The only minor breaks are a bit of surprise scatting in Honey Girl and anguished vocals accompanied by just the echoing tattoo of sticks on steel drums in the weird Cry Yourself Hard. From the head banging anthem The Chemical Sound to the hip grinding rhythm of Alienation Song, this is brilliant. Anyone hoping for a change from Ezekiel’s previous incarnations will be disappointed, but fans of his previous bands will love this. I can imagine how dazzling this would be to see live. Please visit Canberra soon guys. 

Dusker - We Flew Into the Updraft [Independent]

Recorded in a harbour side studio, this indie pop EP from Sydney five-piece Dusker is a ripper. The leading track is the highlight, immediately shouting for attention that this band is something special. Ellipsis has great vocals, backed by sparkling harmonies, and an incredibly catchy guitar line topped off with a tip-toeing piano. You’ll soon be singing along, vainly trying to match the magic timbre of Dee Hamilton’s versatile voice in the chorus, “They trick us into thinking / there’s no way / there’s always a way”. Switching from the brightness of the opener to a darker tone and from pop to rock, Dee comes on strong, punching out the passionate Disappoint Me. In Averting Tragedies, with its minimal instrumentation, she mixes the sweetness of Clare Bowditch with the harder edge of Alanis Morissette, resulting in an appealing bittersweet tone. Modern Wizardry, with its furiously chiming guitars, pays witness to our fascination with gadgets (yes, this is for all you iPad fiends). But we are brought crashing back to earth in the gentle Lake Cargelligo with a reminder that there are some things only people can do, in that “we triumph where machines fail”.  An impressive debut with songs different in approach but uniform in genius, it will be playing in your mind long after the disk has stopped. (By the way, the offer of beers scrawled on the bottom of the press release has nothing to do with the enthusiasm of this review.)  

Gemma Ray - Lights Out Zoltar! [Bronzerat Records]

3 ½ out of 5

The second album from UK singer songwriter Gemma Ray is unlike anything else you’ll hear this year. It pays homage to vintage pop, with a style harking back to the ‘50s and ‘60s, but the tone has morphed from the chirpy tunes of that era to a much darker atmosphere. This sombre feeling comes across in spades, although the nature of the threat is sometimes obscure. There’s a nameless terror in Death Roll and a smothering depression in the bluesy Dig Me a River. It’s not all gloom though, as Gemma lightens the tone with the use of a toy piano and there’s a tale of drunken romance in 1952.   

Gemma is incredibly versatile, playing many of the instruments and co-producing the record at home. It’s a very plush effort, with heavy use of special effects and strings to create a dreamy, theatrical effect. In Snuck a Peek the drone guitar sounds like a record being played at too slow a speed - weird but attention grabbing. The frequent use of layered voices contributes a choir effect and theatricality comes to the fore in Goody Hoo, which could be the soundtrack to a Western.

Top tracks are 100MPH, Fist of a Flower, No Water and album highlight So Do I. The CD’s style is an acquired taste, but it does have a special charm all its own.  

Cloud Control - Bliss Release [Ivy League]

Cloud Control from The Blue Mountains, with their vivacious performance and stand-out, crowd winning sound, were the surprise find as the support act for Josh Pyke in 2009.

The description of their style as indie pop doesn’t do justice to their debut album, which is heavily influenced by world music sounds. Super catchy Afro rhythms appear frequently, popping up in the chorus of Meditation Song, This Is What I Said and Gold Canary, which has been released as a single and achieved exposure in the UK.

There are strong spiritual themes, including the quest for the meaning of life in the opening track, a song in praise of Mother Ganga the River Goddess, and the eerie Ghost Story. There’s magic too in the vocal arrangements in tracks such as Hollow Drums and the sparkling My Fear. Al Wright leads the vocals in most songs, but Heidi Lenffer shines in the sultry closer Beast of Love.

The quality of the production is remarkable, considering most songs were recorded in family homes. Cloud Control will showcase their album at Transit Bar on Saturday June 5. It should be a special night. 

The Lucky Wonders - Thirteen O’Clock [Vitamin Records]

Songwriting duo Jessie Vintila and Emma Royle have released a stunning debut album with tracks ranging right across the broad roots genre. Song styles vary from the country tones of Nothing to Fear, to the blues-jazz combo of Rather Be Lovin You, to the folksy Closing In.  Whether by accident or design, themes follow the classic three part romantic movie format.  First they’re about getting high on love, then love going bad, then back to the triumph of love in the finale.

It’s a very emotional journey, with a mix of the good and the bad, just like real life. Happy Pill, about the downside of chemical release, and the anguished Please Don’t Break Me Down, are particularly powerful.

Jessie’s vocals are the highlight of this CD, with tones that really lift the heart. She sounds achingly beautiful in Emotional and in So You’ve Never her sweet voice brings to mind Frente’s frontwoman Angie Hart.  Melodies are beguiling in their simplicity and, combined with the crystal vocals and some nerve-tingling harmonies, they make a winning package.

The pair from Byron Bay are touring with their two compatriots and will be at The Front on Sunday April 18. The band put their wallets behind strong personal eco beliefs, with part-proceeds from CD sales going to environmental projects. So Thirteen O’Clock could help sweeten your day, whilst helping save some endangered critters at the same time.

Gyroscope - Cohesion [Universal]

Breed Obsession was a hard act to follow, with its melodic riffs and mega-catchy tunes. If there was any criticism, it would be that it sounded so pretty it almost verged on power pop. Well, you can forget all about that now, ‘cause the rock is back! With Cohesion, Gyroscope have done a U-turn and emerged closer to their garage roots. The gloss of the previous albumn has been shed to expose the glory of the band’s sharper core.
This time around, the band scorned a highly produced, silky studio finish in favour of a gutsier product, with more distortion and harsher vocals. Some of the Places I Know retains the formula of the last album, but the real highlights are in the screaming wall of sound presented by tracks such as Tunnel Vision.

There’s more fury than fine-tuning evident in I Still Taste Blood. Instead of riding a cleanly delineated vocal track, Dan Sanders’ voice has to compete with the guitars for supremacy in Don’t Forget Me When I Die. The CD doesn’t even slow down with a true ballad to draw breath. Working with Wood has a soft intro, before it changes its spots with strident vocals and hacked guitar notes. The last track often takes a gentle line and Spider fools you initially before zapping your eardrums with its echoing, fuzzed guitars. The boys from the West have done it again, and this is an album for the true believers!

The Dread Sky - The Dread Sky [Dread Sky Records]

The title may remind you of a white knuckle flight through turbulent air, but it’s the self titled album of three-piece The Dread Sky from Newcastle. There are strong aeronautical threads running through this collection, from the lyrics, to the great cover art (with its rivets and vapour trails), to the fact that two of the band members are ex-military pilots. Their overseas travel layovers (they’re now flying commercial jets) enabled them to debut the album in LA. The music harks back to ‘70s style rock with driving chords and brash, punkesque vocals.

The Pilot carries a regional vibe and there are strong alternative country and folk influences prowling under the skin of some songs. These guys use intelligent lyrics in their work, with historical references aplenty in the lead track, and an inventive variety of arrangements in the songs. Blind Minister is a caustic political tale, with the opening beat getting faster and faster in its imitation of the frantic electoral roundabout. Maria employs clever theatrics in telling the tale of an endless obsession with a girl. Take My Hand may be the seemingly compulsory comment on climate change, but it puts its message across so well, as in “So I’ll see you down in Kyoto / We’ll take that great group photo”. These guys have a cynical string finger on the pulse of the world and this upbeat album is an impressive debut.

The Tealeaves - The Tealeaves [Vitamin Records]

Like a strong cuppa of tangy lemon with a hint of ginger, the Tealeaves’ debut album will add zest to your day. This collection is light, sweet as cider and crisp as a virgin paperback, with simple but very appealing melodies inspired by the pop of the ‘60s and ‘70s.

The songs cover a panorama of emotions including joy, loss, comfort, devotion and goodbyes, yet the overall message is one of uplifting happiness. The Melbourne septet, which only formed in 2008, features the crisp vocals of James Van Cuylenburg and Jess Wilson. Singing singly they shine; in duets such as It’s Only Time, they sparkle. And the album is full of brilliant harmonies that magnify the passion expressed in the songs, as seen in the heart warming Beside Me.

The opener Barefoot and Beautiful is a great upbeat tune, with the crisp voice of James, the rich underlying sound of the accordion and swelling harmonies. Travelling Far is a fast paced folksy number, with Rochelle Bryson’s fiddle dancing as James and Jess take alternate lines of the song. Jess leads in the delicate The Little Ones with its glockenspiel feature at the hands of David Schmidt.

I Come Undone and Josh are more sombre tunes but, for all that, they are two of the most beautiful tracks. This brew is sure to put a smile on your dial. 

Dark Horse From Now On [Dark Horse Music]

After fine tuning their music for two and a bit years, Melbournian four piece Dark Horse have offered up their first EP.  The flavour is heavy melodic rock, with a strong blues influence, as seen in songs such as From Now On. The band’s favourite formula is the use of alternating waves of slow and fast tempos, with slow, quiet verses and loud, fast choruses. This is an effective recipe, as Adam Eaton’s bluesy voice dominates the lurking guitars which tick over menacingly in the background, before they explode in a rage of sound in the chorus. Beautiful Scene breaks this mould, going for broke right from the start. There’s no doubt that Apostasy, which spins a rich haunting atmosphere with its echoing guitars and was released as a demo single, is a CD highlight. But there are other goodies too, in the opener Right Son with the music rising and falling rapidly like a jagged saw, and Hurricane with guitars crashing repeatedly like waves on rocks before the shrieking guitar solo at the end of the song. Most lyrics are clear, although the inflections to Adam’s voice occasionally make the words indecipherable - a bit like Kings of Leon. Even so, I couldn’t really work out the themes. However, words are less important in this genre than the gutsyness of the guitars and Dark Horse are a good rock package, with roaring guitars and great vocal tones.

Secret Masters Words / Power Sound [Master Tunes]

The lion on the CD cover, done in the colours of the Jamaican flag, is a dead giveaway to the style of this album – it’s pure reggae mon! This is the second album from Australian duo Donnie Dub and Pieter Bourke. Recorded both here and in Jamaica, this international collaboration has guest vocals from a number of overseas artists. The white dudes from Melbourne have injected plenty of soul by featuring, amongst others, Jamaicans Kulcha Knox and Mad Doggy Dog. Whilst the core rhythm is always unmistakably reggae, there’s plenty of variety in the songs through the use of different tempos and the enhancement of melodies using various electronica. The pace varies from the chill-out Baby I Love You So (a definite highlight) with the cool voice of Australia’s own Kylie Auldist, to the fast and bouncy title track.  Dub influences feature strongly, with Hot in the Club being a notable highlight. Themes go from the serious topic of racism in Black Culture to the madcap ganja anthem More Weed. What If contains some stand out lyrics, including the enlightening “What if people never smoke cannabis, then I couldn’t write lyrics like this”. 

The fine differences between songs can best be appreciated on the second disk, which provides instrumental versions of all tracks. While those who can take or leave reggae may find it a bit of overkill, fans of the genre should lap this up. 

Adelle - Hello Sane Age Sins [Serotonin]

Behind the sweet name Adelle lies a mad symphony of vicious rock. This is the second offering from the four-piece band from Queensland and it’s a goodie. The emphasis is definitely on the heavy side but there’s a pleasing variety in the presentation of the various tracks, from fast and jagged in Under the Spotlight to the ballad Spider Fingers. The opening track, a CD highlight, employs a blues approach with a grumbling, slow bass.

At the other end of the scale, the emotional torment of The Informant is emphasised by a guitar that screams like the pulling of finger nails. The powerful and confronting lyrics are frequently enigmatic, leaving much to the listener’s interpretation.

What is certain is that the images employed by Adelle to impart their message read like a stroll along the top shelf of the thriller section of the video shop: mutiny, hostage situations, executions and home invasions. The most shocking image is that of crashing into a wedding procession in They’ve Said Triage.

Clever lyrics appear in Vella Lavella as in “I’ll leave my memoirs in the frost on your windscreen”. In Get the Gak (song titles are often as a big a riddle as the lyrics) the vocal treatment to the chorus has a Beastie Boys quality to it. Adelle is sure to make heads bang with this one.

A Broken Silence - All for What [MGM]

The Pains of Being Pure at Heart - Higher Than the Stars [Lost and Lonesome]

Potential Falcon Wings on Fire [Lost Rider Label]

This is an unusual wee beastie, akin to indie pop with an alternative country vibe and occasional injections of the experimental. It's pleasant to sit back and listen to, with themes revolving around hitting the turps and trying to win on (not always successfully). There are some unusual musical arrangements which make the CD stand out from the crowd, though not all of them add to the material. For Melinda is easily the CD highlight.

Jaimi Faulkner - Kiss & Ride [Mumble Music]

Jaimi is an accomplished guitarist with a ripper voice. He's dying to share his experiences and this album is full of beautifully written songs inspired by his travels, particularly in the US. Frequently written on the road, themes vary from the thrill of Highway Life to the heartache of long distance relationships in My Dear Girl. Genres include folk in Rooftops, a bit of soul in Light a Candle (a highlight), blues in Down and a hint of country in Five Flights Up (an interesting choice of style since it was written in Paris). The emphasis is on cool tunes, played at a pace between slow and cruising speed, that are as smooth as new motor oil. I love the rich sound of the electric organ that underscores several songs.

Tinpan Orange - The Bottom of the Lake

Brother and sister Emily and Jesse Lubitz have teamed up with Alex (who can play anything with strings you can poke a stick at) in this bouncy pop collection. The sound is akin to Sixpence None the Richer.  Emily's voice is very sweet, so syrupy in fact that you are left at times with that saccharin overload feeling, like when you're on that third donut and can sense the sugar crystallising in your blood. However, there are real gems here in Chinese Whispers with its wonderful wavering chorus and Every Single Day, about the ephemeral quality of life. In the closer Saudades (Portuguese for tender remembrance of absent people) Emily finds the right mix of sugariness and melancholy. Jesse's voice provides a good foil for his sister, with a snappy little latin number in Round 'n' Round and the edgy Fitzroy Street. 

Ophelia of the Spirits - The Secret Garden

Could this be the voice of the angels when they come to take you ? If so, I'm ready to go right now!  The fancy title is a pseudonym for Angela Little, who's siren's call would lure any sailor onto the rocks.  Simple yet alluring keyboard melodies feature in all songs, trickling down to create a wraithlike atmosphere.  These are punctuated for dramatic effect by a screaming guitar in Leave a Light On and by a raging fiddle in Greedy. Her voice weaves a wide range of emotions: passion, hope, wonder, doubt and even a chillingly vengeful tone, positively dripping with revenge. I was blown away by the sheer beauty of this EP. 

Jaimi Faulkner

In 2008 JAIMI FAULKNER won Australian Blues/Roots Performer of the Year (band category) and went on to represent Australia in the International Blues Challenge in Memphis. Although continuously on the go, playing up to 200 shows a year, he's had time to draw breath and lay down some tracks for his new Kiss and Ride album. I caught up with him as part of his album tour.

"It's been a whirlwind year," Jaimi says. "I only got back to Oz about a week ago and now I'm heading up the east coast!" On his recent fourth European tour he played 25 shows in Germany and one in London. "I've had people drive hundreds of kilometres to see my shows in Europe, which is crazy, and most of the time it's due to what they hear on MySpace or YouTube."

Asked if music covers the cost of touring, Jaimi replies "for the last five years I've been lucky to be able to live off the music I make. But I remember days when I used to wash dishes and work as a telemarketer to cover costs. I gotta say, I don't miss those days, but it's given me a strong respect for dish-pigs and telemarketers all over the world!"

Quizzed about travel experiences, Jaimi recalls the best was "meeting the legendary Al Green at his church in Memphis and watching him preach for three hours while a gospel choir backed him. The worst was my tour to Tasmania this year when half the band, including myself, got the Swine flu. We had to drive hundreds of kilometres around Tassie, coughing and shivering."

I ask Jaimi how he found representing Australia at the International Blues Challenge. "It was a lot of fun and opened up a lot of doors for me in Europe, funnily enough," he reveals. "To represent Australia in Memphis, which is steeped in blues and soul history, was a big thrill and an honour."

Touring has exposed Jaimi to legendary performers and music styles, including the sounds from the south in the early '60s, that have influenced his own music. "I'd always been into blues while growing up, but had never explored soul music that deeply," he says. "I took away the 'call and response' style backing vocals that feature on Kiss and Ride. Pretty much all of Kiss and Ride was written on the road, on napkins in diners or train tickets on long hauls through Germany. Experiencing new things on the road leads to song ideas. Kiss and Ride is kind of like reading through an old diary."

While frequently performing solo, Jaimi has formed an impressive lineup to support him for the Kiss and Ride tour, including Daniel Farrugia (drums), Tim Keegan (bass) and Berish Bilander (keys), who've all supported him in the past.

Jaimi will appear at the Chisholm Tavern on Friday October 16 - and it's a free gig!

Major Chord - The Rabbit Hole

True to the band's name, this CD is full of cheerful tunes (as major chords produce a brighter sound). Melodies are simple, but a richer texture is provided through the use of an accordion in Joy to Everyone and a '70s era organ in Hey My Name is Joe.   It's a great package, with Dan Flynn's mellow voice, minimal instrumentation cunningly combined to produce an entrancing melody, home-spun wisdom about life that has a real ring of truth to it and a liberal use of black humour.  Dan has drawn on his experience as a social worker, with song themes that include making the most of now (without worrying about what has gone before or is to come), and being your own person.

Patrick Watson - Wooden Arms

The music in this album showcases amazing imagination and artistry, weaving together a patchwork of sounds. Instrument tones are morphed and vocal effects employed to give the album a mysterious, theatrical character. Some musical combos are intriguing. Strings are mixed with tinpot percussion in Tracy's Water, while piano and bicycle sounds collide in Beijing (Jane Campion's The Piano meets Dresden Dolls). This experimental potion of musical effects delicately embellishes vocals that are even more ethereal than Jeff Buckley's. Whilst, beautiful passages of music appear throughout the CD (often from obscure instruments such as a charango or memotron), the wispy, overly dreamy vocal delivery detracts from the overall result. 

Me and the Grownups?

With about 15 of us (plus ushers) in the small courtyard theatre at The Street, it was like having a concert in your lounge room. The fairy lights above the three band members, arrayed on rugs, imparted a grotto feeling.

Singer-songwriter Anita had a wide-ranging voice, which was strongest in the lower register, sweet and thick like golden syrup.

The backing music, on Adrian’s guitar and Jonathan’s violin, filled the whole room with sounds to tingle your spine. There was a noticeable silence after every song, until the final note died away, before the applause came. No one wanted to break the spell.

The passionate vocals, extolling intricate tales of storms, tragic love and mermaids, was interspersed with magic orchestral passages from Jonathan’s violin. Me And The Grownups ended with an a cappella song, with the blokes providing a haunting background to Anita. Folk pop at its most beautiful.

Veto, Crushing Digits

Long known for their metal bands, Scandinavia has now diversified into electro-pop.  Danish five piece Veto’s album is aptly named as the band employs extensive use of digital effects and synthesisers. Lead track Blackout begins like an ‘80s electro fantasy, growling and menacing. Shake is great with its cascading beats. Whilst tracks one and two were European single releases, for my money You Say Yes, I Say Yes is the CD highlight with its awesome rhythms. But there’s also value in the softer tracks down the back. Spit It Out employs a simple beat combo with an almost conversational vocal delivery. The Quieter ‘Duck, Hush and Be Still is another gem, with its eerie ‘fingernails on a blackboard’ synth treatment.
RORY MCCARTNEY

Polo Club The 13

Polo Club's inventive electro-rap has spawned an attractive side to a genre I've previously scorned. Their experimental mix of rap with overlapping sound takes, heavy use of electro distortion and sampling combine to deliver an enticing new creation. The duo has a good ear for quality retro tunes and lyrics, with the funky beat from Janis Ian's Fly Too High appearing in Witness the Feeling and words from Bohemian Rhapsody used in Shouldn't Let Him Out. The poppy Million $, with its chorus delivered in chipmunk pitch, is a CD highlight, conveying the message that money can't buy happiness. It's a gas maze of assorted rhythms and effects, which even includes castanets!

Tiki Taane Past Present Future

Former Salmonella Dub frontman Tiki Taane takes dub to a new level of sophistication whilst making a strong cultural statement. His debut album is a collaborative effort featuring a variety of musos; songwriters and vocalists with Tiki playing a part in each song. Opening with a haunting spoken word M?ori welcome, the pace steps up to a wicked mix that combines the haka with tribal rhythms. There are cool beats aplenty, especially in Now This Is It, which are sure to set hips gyrating in sync. The ladies make a splash with smooth female vocals, particularly Julia Deans from Fur Patrol in Our Favourite Target. The CD contains two versions of Always on My Mind which was a huge hit in the Land of the Long White Cloud. The title track Past, Present, Future celebrates the M?ori tradition of recording history through song, mixing strings and haka cries with the taped voice of his late grandmother. An album of great depth and beauty.

Bertie Blackman

Word of the talent of Bertie Blackman has spread quietly but widely. So there was a packed floor in the Transit Bar, seething with anticipation. She wowed the crowd with the sheer passion of her delivery, with that deep, breathy, delicious timbre. There was a comprehensive coverage of her album with Thump, a personal favourite, coming early in the set. Black Cats and Come to Bed flowed across the room with an almost erotic force.  Bertie was unfazed by a broken string or by the guitar lead detaching mid song. This was actually a bonus for punters, as she ended Birds of Prey with an improvised a cappella version. There was an amazing, heartfelt cover of the Phil Collins classic In the Air Tonight and the set ended with the floating Sky is Falling.  She's back in town in August. Can't wait.

Sounitout Sounditout

Australia is blessed with a number of electropop male duos and another has arisen in the form of sounditout. Their self-titled EP is a fantasy of shifting moods and rhythms. Opening track Die Young Tonight invites the listener to plunge into reckless hedonism while Distraction takes on a more sombre tone. Control, with its sinuous, snake-like beats, contains an alluring concoction of rhythms that make it the highlight, while Circumstance imparts a feeling of menace, taking on a more serious geopolitical theme about the problems of post-colonial Africa. sounditout is very danceable, however at this stage their music lacks the mesmerising quality that makes artists like The Presets such stars.

Album Of The Week, Confetti [Universal]

 With their third album the band’s intention was to capture earlier sounds from the ‘50s - ‘60s and give them a modern flavour.  This approach comes across strongly in the lead and backing vocal treatment of songs such as Hairdo and Into My Arms. Katy Steele’s high voice is well suited to this style of delivery.  Most of the album consists of low key pop-ballads and it rarely takes off into something more lively.  The main exceptions are Summarize (which with its “Kiss-Kiss Bang-Bang” lyrics is up there with the band’s best) and the part ballad, part country stomp of opening track Brother.  The secret track at the end, an instrumental number with a beautiful blend of keys and cello, will appear if you keep Confetti running for nine minutes. Stay Wild with its poignant tones backed by string arrangements is another great song. Katy’s diction sometimes makes the lyrics hard to understand, but there is no mistaking the emotion invested in this record that runs through every song. The plaintive vibe will pull at the heart strings even if the words aren’t clear.  Fans of the band will love this latest effort.

Eleventh He Reaches London - Hollow Be My Name (Inertia/Goodcop Badcop)

In how many ways can you say I hate my life? In the case of Eleventh He Reaches London’s debut album Hollow Be My Name, it’s quite a few. This hour long epic comes across, intentionally or otherwise, as a rock opera about the misery of convict life, with other factors such as rejection of God and rebellion against the father thrown in for good measure. In spite of the consistently black themes, the music is addictive. Its secret is a core of heavy indie rock with underlying folk inspired tones. Plus, metal and hardcore elements are used to good effect, coming in as the level of rage rises. Son, You’re Almost an Orphan and Oh, Brother spin tragic tales of a toxic family while Hill of Grace celebrates the seeking of oblivion through alcohol. The power and passion in this album overcome the depressing themes and the music is captivating. The enigmatic messages that run deep in the lyrics are only partly revealed, with meanings open to individual interpretation, though a few sacrilegious lyrics in Gaze to the North and Girt by Piss, where the convict rails against his being abandoned by God, will offend some listeners.

Ben Lee

Ben Lee has gone in search if his female side in this light and creamy pop offering, chock full of upbeat melodies and feelgood lyrics largely concerned with the good things of life. You are invited to sing to yourself, surrender to life and rise up together, in spite of everything. A studio choir appears in a few songs, adding to the ‘happy, happy, joy, joy’ vibe, but not to the quality of the music. But under the fluff there are some deeper themes. I Love Pop Music introduces a list of global problems, environmental issues etc, on the basis that pop music is an avenue of addressing these as ‘philosophy that you can dance to.’ The issue of gender stereotyping arises in Boy With a Barbie and the album examines female sexuality from woman as earth mother to woman as an object of desire. I’m a Woman Too pays homage to Helen Reddy’s anthemic I Am Woman from the ‘70s. The album has plenty of catchy beats, particularly Yoko Ono, and some of the lyrics are pretty clever, but the overall theme is unlikely to appeal to tattooed, head-banging blokes.

Jen Cloher and the Endless Sea / Laura Jean / Julia Johnson @ The Front Gallery and Café Saturday November 22

Whilst the elements descended pitilessly on the outside stage of Trackside, a smaller crowd gathered in the much cosier location of The Front to enjoy a trio of female pop/folk singers. Red wine and chai lattes replaced bourbon and beer as a predominantly female crowd nestled knee to knee on the wooden floor. Local songstress Julia (tonight without her Deep Sea Sirens) opened with a solo performance, bidding the intimate audience to come thither and relax to sweet songs of longing and wistfulness. She employed an interesting variety of playing techniques with songs of variable, but soothing tempo, that left a few people (who had partied the night before at the Jester Ball) looking like they might nod-off.

Jen Cloher maintained the theme as she kicked off with Longing Song in a solo performance, before her backing band (including Laura Jean on keys and vocals) joined her from the second song onwards. Her lower, more resonant voice took us on an intensely personal journey that included the poignant Watch Me Disappear about her mum’s battle with Alzheimer’s Disease. The extensive backing of keys, guitar, bass and violin wove a rich, beautiful sound that kept the punters entranced. The violinist proved to be a mean hand with the musical garden saw too, adding further eerie sounds which deepened the emotionally-charged atmosphere.

Laura Jean was the consummate story teller as her soft, floating and ethereal voice spun tales of her life, ending with the emotional Marry Me about her own relationship. Sometimes her delivery is so delicate, you’d think any intruding sound might shatter it. Laura had to adapt her set slightly as her drummer, and partner, was off crook. The tapping of her shoe against the wooden floor rang clearly as she maintained the rhythm. However, the quality of the sound, including clarinet, bass, violin and accordion was magic. The clarinet in particular really enriched the feel of the show, as amply demonstrated in the ever popular I’m a Rabbit, I’m a Fox.

8 Women @ The Centrepiece Theatre, ANU Arts Centre Wednesday December 10

The Christmas cabaret theatre season began early with Centrepiece Theatre’s production of Robert Thomas’s 8 Women. Small tables nestled close to the stage in the ANU Arts Centre provided a cosy viewing platform for this melodrama about eight women trapped in a house with a murdered man. There was action a plenty with heaps of screaming, hysterics, feminine spite and red herrings to keep the audience guessing. There was quite a twist in the plot at the very end too - which I won’t reveal so as not to spoil the story for future potential punters. The play is filled with a range of strong characters, and were well portrayed by the cast. Local songstress about town Cathy Petocz was great as the scheming Catherine, and the part of the victim’s sister was deliciously played by Jenna Roberts, who has a blues voice guaranteed to melt the jelly in your Christmas trifle! Teatro Vivaldi provided the catering which was of the usual dinner ‘n’ show standard.  The beans may have been undercooked, but the crepes were fantastic!

Ivoj Nob (Bon Jovi Tribute Band) @ The Greenroom Friday July 4

What better way to celebrate the Fourth of July than with a tribute to a red-blooded American band.  Bon Jovi tribute band Ivoj Nob featured a number of well known local musos, including Matt (the local champion of retro rock) from Renaissance playing the part of Jon Bon Jovi and a guitarist from Tonk acting as Richie Sambora. Ivoj Nob, with its five member line-up, portrayed Bon Jovi in its earlier years, before the departure of Alec Such reduced the band to a quartet. The Green Room stage was set up with a flash light show and regular showers of gold foil, to give us some of that ‘big arena’ feel.

Matt gave a bottler of a performance with his ability to draw out those long, screaming notes. It was a very creditable rendition of the voice and vibe of JBJ himself. Bon Jovi has transcended the period from the ’80s to the 21st century well, with songs that urge fans to make the most of life. Matt’s passionate performance was reflected in the enthusiasm of the good-sized crowd, which sang along to every song. He was great on Bad Medicine, and brilliant on acoustic guitar on the softer Ride Cowboy Ride. The two-part set list featured 23 songs, drawing on the hits from most of the band’s albums. Set highlights were Wanted Dead or Alive, I’ll Sleep When I’m Dead, Livin’ on a Prayer and Shot Through the Heart. I’ll bet the second show on Saturday night will be even better.

Rocket Science / Peabody / The Shake Up @ The Greenroom Saturday August 30

Sydneysiders The Shake Up certainly shook in their black, skinny leg jeans as they rattled off a set of fast paced toe-tappers, beginning with Crawling. Hair plastered to his face, vocalist Miles delivered his message with a Mick Jagger-like snarl. It was all good stuff and the band received a solid response from the audience.

The masters of songs with thunderous openings, Peabody deliberately inject sporadic, jarring sounds into their music for effect. Random feedback and piercing squeals from the guitars are all part of the battle plan. Lead vocalist Bruno punctuates lyrics with screams of passion whilst going into spasms of delight with his guitar. Meanwhile, guitarist Tristan is frenetically twitching his instrument back and forth as the entire band totally loses itself in the music. Subtlety has no place in their fierce guitar work as melody and randomness combine to form a musical package that is always riveting. Peabody pushed heavily their soon to be released album Prospero, which includes a few tracks from the 2007 The Devil for Sympathy EP. The only orphan in the set from previous releases was Stupid Boy from 2002. They finished powerfully with The Only Way I Know.

Like Peabody, Melbournians Rocket Science were peddling their latest album, Different Like You, which represents a continuation of the band’s garage rock with its unique untamed, alien vibe. They opened with an instrumental oldie 3C10, with strident chords from the keyboard backed by racing guitars, before bursting into Love, Love, Love from the new release. Rocket Science are unusual in being a non-eletcro dance band that has an organ as its lead instrument. The other unique feature is the heavy use of the theramin. This first appeared in the set in Weekly Dreams, with Roman weaving magical notes from the instrument, palm outstretched in appeal to the screaming electronic devil. Such is the fascination of the electronica that you have to drag yourself back to the other band members.  There is plenty of very intricate guitar work that is not to be missed, such as the blur of Paul Maybury’s flying fingers in Jukebox Junkie. Roman is a wild performer, dancing and gesticulating behind his keyboard, before dragging it round the stage and tilting it at odd angles. During the final song Crazy he left the stage to play an old upright piano at the rear of the room, while the rhythm section kept up a subdued beat from the stage, to which he returned for a final manic crescendo. The fans lapped up the new tunes and went feral over older material including favourites Burn in Hell and Being Followed.

Frankenbok / Synperium / Rake Sodomy / Point 17 @ The Greenroom, Friday August 22

It was a big evening for the genre that seeks to punish as much as it does to entertain. The flavours were predominantly death and black metal with tales of evil and disaster. A surge of blast beats announced the start of Spitfire as locals Point 17 began their set. The addition of a vocalist has greatly enhanced their act. They are also busy generating material as their singer had lyrics sheets spread on the stage to assist with the new songs. Guitar notes with a Middle Eastern twang announced the start of Osama and Destroyer of Masses featured random solos by alternate guitarists.

Three piece Rake Sodomy lacked the punch of the opening band’s three guitars, but compensated for it with thundering drums and vocals delivered with an infernal snarl, as featured in Dreams of Torture. Their style introduced a new level of rhythmic anarchy and they featured a couple of covers including the Morbid Angel song Day of Suffering. The crowd responded to Hammersmash Face with an enthusiastic melee.

As the guitarists from Synperium tuned up, their vocalist gave a few warm-up growls in preparation for the onslaught to come. The discordancy went up yet another notch and the power of the sound caused my beer glass to move of its own volition across the wooden covering over the stairs. Through their maelstrom of noise, epitomised by Parasite, the band demonstrated that it’s not the variety of the songs that counts, but the power and sustained intensity of the sound that matter.

A sample of sinister sounds then set the scene as the bearded ones took their places. The black gloom that had dripped from the preceding bands lifted a bit as headliners Frankenbok took one step back from black metal. The journey through their set list began in hell but ended in redemption, with a theme that you can still win through in the end, in spite of it all, as epitomised by Triumph. These showmen of metal demonstrated how ten years of polishing your act on stage can result in a tour de force of furious music. Their vocalist paints a powerful picture, with tattooed portraits covering his bare upper torso, as he literally screamed his message into the faces of the crowd. The rhythms were slightly more melodic, which is better for head-banging than totally random sounds. Victims, with its opening hypnotic riffs, was a personal favourite.

Sonorcast / Moh Van Wah / Na Maza @ The Greenroom, Saturday June 14

Metalheads Na Maza made their first reappearance after a break from playing and a line-up change. Frontman Mila paced the stage before launching into opening number Trauma. Their full-on performance punctured our eardrums with the hypnotic riffs of Whisky Song, the thunderous drumming of Chris on Rancid Orchard and the madness of Pressure. Mila projected himself well with swinging hair and mad gyrations, but would have improved the show by singing more to the general crowd, rather than to one girl by the barrier.

Moh Van Wah combines gut-ripping guitars with clear, powerful lyrics and shows that heavy stuff and melodic vocals can go well together. Ben’s voice has a great, gritty rock timbre and the ability to draw out long notes, injecting extra passion and intensity to the show. Fire Inside and the slower, heavier Stoner were set highlights. Silhouetted by the blazing backlighting, Ben and the two crazy guitarists made an inspiring sight.

The name Sonorcast sounds like a cross between a brand of drums and one of Fender’s guitar models. These funk rockers put on a vigorous show with danceable tunes and striking blend of female and male vocals. Lead vocalist Melissa-Jayne gave a hyperactive performance that was part interpretive dance, part aerobics session (including a cartwheel). She was keen to join the punters on the floor and boogied with the Sonorcast groupies in their band named t-shirts. All this activity soon warmed her up, and the furry boots and a couple of tops from her many-layered outfit were soon cast off. The cool, composed singing by Rab on keys and samples was a foil for Melissa-Jayne’s wild vocals. Just the thing to warm the blood on a cold winter’s night.

Ivoj Nob @ The Greenroom, Friday July 4

What better way to celebrate the fourth of July than with a tribute to a red-blooded American band.  Bon Jovi tribute band Ivoj Nob featured a number of well-known local musos, including Matt (the local champion of retro rock) from Renaissance playing the part of Jon Bon Jovi and a guitarist from Tonk acting as Richie Sambora. Ivoj Nob, with its five member line-up, portrayed Bon Jovi in its earlier years before the departure of Alec Such reduced the band to a quartet.  The Greenroom stage was set up with a flash light show and regular showers of gold foil, to give us some of that ‘big arena’ feel.

Matt gave a bottler of a performance with his ability to draw out those long, screaming notes. It was a very creditable rendition of the voice and vibe of JBJ himself. Bon Jovi has transcended the period from the ’80s to the 21st century well, with songs that urge fans to make the most of life. Matt’s passionate performance was reflected in the enthusiasm of the good-sized crowd, which sang along to every song.  He was great on Bad Medicine and, going it solo on acoustic guitar, brilliant on the softer Ride Cowboy Ride. The two-part set list featured 23 songs, drawing on the hits from most of the band’s albums. Set highlights were Wanted Dead or Alive, I’ll Sleep When I’m Dead, Livin’ on a Prayer and Shot Through the Heart.  I’ll bet the second show on Saturday night will be even better.

Trial Kennedy / Calling All Cars / Kempsey @ The Greenroom, Saturday May 10

Locals Kempsey presented a set of new tunes and bravely asked the audience for feedback on them. The opening song Dizzy Head sounded great with a catchy tune, simple lyrics that stuck in your mind and great vocal harmonies. The set ended with Turn the Radio Up which had a similar appeal. However, I noticed that the band has lost some of the punch which I appreciated the first time I saw them. Whilst I enjoyed the gig, there was not much memorable in the middle of the set. The new tunes need a bit more polish and the presentation was not assisted by the rhythm section drowning out Flynn’s voice on several occasions.

Going off like a bomb after the more restrained sounds of Kempsey, Calling All Cars blindsided us with a killer collection of punk songs that reminded me of a punkier The Living End, minus the double-bass. Through the miracle of modern electronics, they made their single guitar and bass sound like a swarm of angry instruments. Lead by Haydn on vocals and guitar, the guys from Melbourne stopped briefly mid-set to down a quick shot before screaming into Shake Up, which really got the punters leaping.

With their drum kit resplendent in fairly lights, Trial Kennedy opened up with the energy that bands usually reserve for the final song of the night. They have an awesome, arena-filling sound that is mind-blowing in the confines of a more intimate venue like the Greenroom. This intensity is achieved largely through the incredible voice of their vocalist, who had an amazing ability to hold a note whilst his partners in crime deluged us in incredible waves of insane rock (This inspired some insane ‘interpretive dance’ in the audience). Set highlights were the opener Broken Lens and the radio friendly Neighbours.

Chasing Gravity / Stereophile / The Happy Endings @ The Greenroom Friday April 24

Once again, a Canberra long weekend proved deadly for a gig. Everyone must have been at the coast for the last patch of good weather before winter. Joppy, The Happy Endings vocalist, cheerfully welcomed the mainly band-member audience to an ‘Industry Only’ show. We got music mixed with stand-up comedy as he made personal remarks about most of those present. However, determined to rock out, The Happy Endings put the same energy into their show for 20 as they would for 200. On the surface, they played feel good pop-rock with a pleasing mixture of catchy melodies. Underneath, there was social and political comment, with songs such as Mr Minimum Wage. Talking to You and Get Around This were set highlights.

Beginning with Red Card, Stereophile kicked in with more serious, heavier rock that lit up the audience. Their songs featured thumping, head-banging riffs that, whilst appearing simple on the surface, employed some pretty clever guitar work underneath with the flying fingers of Owen on lead. Their sound combined with the new Greenroom rotating overhead lights to great effect. Song themes, featuring lost loves, missed opportunities and the vagaries of life on the road would go down well at an all ages gig. Top songs in the set were Junk and Superfly.

Chasing Gravity set up their drum kit at 90 degrees to the audience, giving us a rarely seen aspect of drummer Dominic. Beginning with Bright Lights, vocalist Peter wowed us with his rich, seductive tones. The PA had the perfect set-up, so his voice rang through clearly, without being over-ridden by the instruments. After a rapid-fire series of songs, there was an instrumental interlude before Peter set to it again with Epilogue. Towards the back of the set, the beautiful Risk began gently with only acoustic and lead guitars, before the bass and drums stormed in for the close. There was audience participation for the finale as Peter roamed room with the long mic lead, getting us to join in the chorus of Bring it On. Chasing Gravity entrances with forceful lyrics, underpinned by complex yet eminently danceable melodies. The atmospheric guitar playing soars and cries out from the depths of infinite caverns. A class act!