Back in the Game!

Evening, folks. Sorry it's been a while between drinks here. Lack of technology and a few other things have kept me at bay from the blog over the past few months. Posts will appear more frequently in the foreseeable future. 

Check out a really good interview from Bristol stalwart, Tricky, over at fasterlouder.com.au (his new album False Idols, is great too, so check that out while you're at it!). 

Quick message to Faster Louder;  Concentrate on putting more material  like this on your site instead of speculating who will join the likes of Mumford and Spawns on the Splendour In The Grass line-up. Tom Waterhouse probably has odds on his website for such things, so quit bowing down to mass demand and continue providing some quality such as the interview linked above. 

Back to the cricket: keep checking this blog; some more material will appear in due course.

Simon K.

Live Review - ...And You Will Know Us By The Trail Of Dead

Band: ...And You Will Know Us By The Trail Of Dead
Date: May 24, 2013
Venue: Coniston Lane, Brisbane, QLD

Bands playing albums in their entirety  has worn quite thin with me, I have to tell you. I believe it takes away the element of surprise. "Will they play this or will they play that". Yes there's such as thing as setlist.fm, however there is another thing called self control and I've always been one of those guys who steers clear of set lists prior to a gig.

In ...And You Will Know Us By The Trail Of Dead's case my scepticism is even more so. Playing their seminal opus, Source Tags and Codes appeared to be an odd call. For one, their latest outing, Lost Songs, slew and in a big way. Second of all, I felt that such events appeared to be a slap in the face to the likes of former members, Kevin Allen, and Neil Busch. The former, in particular as he was such an integral force of the band for a lot of years. That's certainly not saying Neil Busch wasn't. For the record, 'Monsoon' and 'Mark David Chapman' are amongst my favourite ... ToD songs; both of which Busch wrote and performed vocals. Busch's departure seemed a little more clear cut than Allen's (the former leaving due to a string of personal issues). Allen's departure still appears to be clouded in uncertainty. 

In any case the latest incarnation of the Deads seems to be on the upward tilt. Conrad Keely and Jason Reece have always been the one-two punch in which make Austin's finest band tick. And with that last statement I guess I'm throwing my eggs into one basket; yes, this is probably my favourite band. That's why the nagging feeling of apprehension is all the more strange.

However, my initial reluctance is put to bed after the band (now consisting of Autry Fulbright II on bass and Jamie Miller drums, guitar) come out to the Source Tags... piano interlude and kick into 'It Was There That I Saw You', which from the very first strike of the chord from Keely, sounds tone perfect.

The stripped back nature of the band's last two outings, Lost Songs and Tao of the Dead certainly filters through to songs from Sources Tags... 'Heart In The Hand of the Matter' and 'Relative Ways' seem to swap the arty scapes for feedback and fuzz. The same feedback and fuzz which make new tracks such as 'Catatonic' sound so fucking good. It's an interesting juxtaposition with these songs. I was lucky enough to see them in the heart of Source Tags and Codes era back in 2002 so to see the songs performed with more balls and less grandeur is an interesting proposition. 

After the album is played from front to back, the band takes a break for 10 minutes then returns to the stage, leaning into  'Catatonic'; personally, my favourite song of last year. Jason Reece has always been capable of penning a gem and this is up there with the best he's done, rendering a snapshot of the modern age and coupling such polemic themes with power chords that would make Fugazi proud. 

I was a bit bummed that they didn't play more from Lost Songs; 'Heart of Wires' and 'Awestruck' would've fit the mood perfectly. But instead we were treated with oldies such as "love song", 'Claire De Lune' from Madonna and the anthemic 'Caterwaul' from the severely underrated Worlds Apart. 

In the end it doesn't really matter what ..And You Will Know Us By The Trail Of Dead play. What you see is what you get. Up front, intricate riffs and brawn chords coupled with heavy pounding and weaving bass lines. Keely's a lyrical genius in my books; always has been. His partnership with Reece is undoubtedly spell-binding. The latter could probably fall in the genius category himself, too. If only he penned a few more songs, though (solo album, perhaps Jase?) I'm sure other Deads fans yearn for such a thing. 

A night that was originally met with wariness, I walked away pleasantly surprised. Almost amazed in fact (and I detest using such superlatives). That's what your favourite bands should do to you, though. After all, that's what make them your favourite band.

By Simon K.

Tour News - The Drones

 

In support of their thrilling new opus, I See Seaweed, Australia’s finest, The Drones, will be going for a trot around the country starting next Thursday night at the Spotted Cow in Toowoomba.

I once read a quote about front man, Gareth Liddiard, which goes like this:

“Gareth Liddiard could make going to the corner shop to buy a loaf of bread sound cataclysmic”.

In nutshell, this is spot on. I’ll say it now, If Gareth Liddiard isn’t one of the best songwriters to ever come out of this country then I’m missing something. In music, there’s no one more polemic when it comes to asking the big questions in this country. Nick Cave? More poetic, and if anything, has avoided topics pertaining to his homeland. Peter Garrett? I personally think he lacked the fire and brimstone that Liddiard has.  

I See Seaweed is a conquest. It’s The Drones at their ferocious best. Is it their best effort, thus far? Many will say yes. I’m not so sure. This band is a slow burner for me. Wait Long by the River and the Bodies of Your Enemies will Float by took a good six months to sink in on my watch, as did Gala Mill. ISS hit me straight up. Whether that’s anything to go by, again, time will tell. As it stands, it would be fair to say that it’s a close run thing.

The best review I’ve read of the album is over at Mess and Noise. Written by Kate Hennessy, I’d go as far to say it’s one of the best and most thought out album reviews I’ve had the pleasure of reading. Check it out here:

Also, Liddiard has given an insight into each song on the album in an interview with Faster Louder earlier this year. A lot of the time, I’m not so keen on artists doing this, as songs should be open to interpretation, however Liddiard being the master that he is doesn’t give the whole lot away in his answers; typical of the man, really. Check the interview out here.  

The Drones Tour Dates:

Thursday April 11 @ The Spotted Cow, Toowoomba

Friday April 12 @ The Tivoli, Brisbane
Saturday April 13 @ Tanks Art Centre, Edge Hill
Friday April 19 @ Astor Theatre Mt Lawley
Saturday April 20 @ The Governor Hindmarsh, Adelaide
Friday April 26 @ The Forum Theatre, Melbourne
Saturday April 27 @ The Opera House, Sydney

By Simon K. 

 

Fan Boy Rant - Pissed Jeans

It’s refreshing when your own feelings are resonating within someone else’s art. It’s actually the best feeling you can have when listening to music, in my opinion. Pissed Jeans frontman, Matt Korvette, rips the words from the pits of his stomach and spits them in his listeners' faces. And what lovely saliva it is in the truest acerbic sense, too.

Waxing revulsion to stickmen families plastered on the back of cars, which infuriate the ‘perceived’ misery riddled primates of society (guilty as charged, folks), not to mention giving the two finger salute to systematic health plans, Pissed Jeans have rendered their finest work yet with Honeys. It’s raw, ruthless and bludgeoning. It’s stirring when the topics Korvette writes about really shouldn’t be. Pissed Jeans have basically taken the commonplace meanderings of day to day life and transformed it into the perfect art form.  It hits like the first beer the bearded chain-smoking blue collar worker sinks after enduring a day of carting scrap metal or the like. Ironically, Pissed Jeans have probably already written about that very dude, as such.

Not only is it great that Pissed Jeans hit the spot in every sense of the word. It’s great that people in high places have got what Allentown’s finest rock band has delivered. Pitchfork has nailed it in their review of Honeys. I’m not normally one to give a head nod to a quasi-mass music publication, but when something’s good, there's little ground in denying it. Plus, it further highlights the fact that you shouldn’t just take note of a review’s score without bothering to read the review itself. I know you people are out there! Check it out below, along with an interview with Korvette.

Honeys Review
Interview

By Simon K.

Live Review: Bruce Springsteen & The E Street Band

Artist: Bruce Springsteen & The E Street Band
Venue: Brisbane Entertainment Centre
Date: Thursday, March 14, 2013 

I’ve never been one for the big spectacle. You know, the big show, the lights, the clichés and the lack of intimacy. I’m more about the modest settings. Still, there’s a first time for everything, or so potential would have it. And before you ask; no, I don’t include Radiohead in that company.

Bruce Springsteen is an interesting proposition. There are not too many artists who were seemingly dead and buried as Bruce supposedly was during the ‘90s. In any case, the ‘90s seemed like a point he needed to reach before he could get to where he is today, namely back with yet another incarnation of the revered E Street Band.

As we embark upon our seats – situated to right hand side of the stage in the nosebleeds – it becomes clear that Bruce isn’t so crazy about the ‘spectacle’ after all. Again, the lights, the clichés and the lack of intimacy along with all the fancy stage props that would take a fleet of trucks night and day to load and travel up and down the coast line. There’s none of that rubbish. The stage could be described as bare bones even, or as bare bones gets for a 17 piece band.

As the lights go out a massive hubbub erupts, probably the loudest I’ve ever heard from a crowd that is the most demographically widespread I’ve ever been a part of. Bruce hasn’t even hit the stage and yet mundane pinnacles are met.

Bruce and the band enter and break into Wrecking Ball opener, ‘We Take Care of Our Own’. The sound is inch perfect. There’s no sign of Bruce or his band acknowledging the sound techs to adjust volume. In fact this doesn’t happen once throughout the show (they’re obviously paid well and have been with the Boss for years).

He then breaks into a Saints cover, ‘Just Like Fire Wood’ which is yet another added to the long line of covers he and the E Street Band have delivered over the years. Following this is Wrecking Ball’s title track, perhaps the highlight on the album, with its anthemic chorus containing the slashing power chords, tonight provided by Rage Against the Machine’s Tom Morello, whom is assuming the role in place of Stevie Van Zandt, who is off playing mobster in Norway, filming the second season of Lilyhammer.

There were many eyebrows raised when it was announced that Morello would stand in. More power chords and less wah-wah doesn’t seem like Morrello’s gig, however he shines even producing backup vocals, and brilliantly too, to ‘The Ghost of Tom Joad’; almost his surrogate child, as it becomes clear that it was Tom’s decision to include it on RATM’s Renegades cover album back in 2000.

Highlights still fill the memory whilst writing this. Without running through the whole set list (believe me I could), ‘Spirit in the Night’ and ‘The E Street Shuffle’ is a one two punch of soul rock, obviously bulked up since their respective births in the early ‘70s. Jake Clemons (nephew of the late Clarence Clemons) shines as much as Morello, leading the brass section with his unremitting skronk-a-thon. Preceding these two tracks was The River’s ‘Human Heart’ which led Bruce to join his fans at the front in crowd surfing from the back of the general admission all the way back to stage. Yet gain, it’s another first; a 63 year old crowd surfing. I don’t even think Iggy Pop has done in his '60s, although I’m happy to be proven wrong.

‘Johnny 99’ is one of Springsteen’s most opaque tracks even written, in my opinion. Even on Nebraska is seems an odd fit. On record it’s a stark folk number, however live, it’s transformed into this rainbow coalition of sound led by brass and soul, the whole band at the front of the stage as one doing their thing. 

 

During the night each E Streeter has his/her own moment of glory. Sooz Tyrell, earlier in the night, with ‘We Take Care of Our Own’. Garry Tallent - Mr. Consistent - providing tempo in conjunction with Max Weinberg. Roy Bittan’s moment is definitely ‘Thunder Road’, as Bruce unleashes his tirade of narrative intertwined with Bittan’s melodic piano fills which are prominent throughout Born to Run.

The encore is filled with Sringsteen's hits. Preceding another Wrecking Ball number in ‘We Are Alive’, ‘Born to Run’ is phenomenal, packed with the panache of Nils Lofgren and Morello’s guitars, while Clemons once again displays a confidence on saxophone which appears to be beyond his years.

‘Dancing In the Dark’ is met with the biggest cheer of the night (the 90 year old man sat in front of me is up as quick as Jack Flash, bless him!) while ‘Tenth Avenue Freeze-Out’ is a welcome surprise that closes the night with Bruce once again getting friendly with his audience.

It’s one of those gigs that no matter where you are in the audience, no matter what is played, it astounds. Simply put, it’s the most democratic show I’ve witnessed. Bruce Springsteen, although maligned in some quarters, is as close to a lovable ‘rock star’ as you’re going to get these days. No ego, he is who he is. His ideals are sincere and whether you cast him off as a nostalgic pin-up boy for baby boomers or a limousine liberal is pretty much irrelevant to the essence of the man himself. The ideals Springsteen presents will perpetuate throughout generations. He’s about the music and that's what matters.

It’s fair to say that Bruce Springsteen wouldn’t be where he is today without the wonderful E Street Band. In turn, they wouldn’t be where they are without him. Springsteen needed to do his own thing in the ‘90s. It’s almost as if he had the realisation of “you don’t know what you’ve got until it’s gone.” We wouldn’t see the Bruce Springsteen of today in the same light otherwise.

As a unit, Bruce Springsteen and the E Street Band is the tightest band I think I’ve ever seen. Bruce seemingly orchestrates every note. It’s a proper ‘show’. It’s something special and I feel privileged to have witnessed such a thing. I’m still not sure whether you could call it a spectacle. That’s what makes it so damn good.

Photos from: www.brucetapes.com.

By Simon K.

 

Live Review: The Wedding Present

Artist: The Wedding Present:
Venue: The Zoo
Date: Saturday, March 2, 2013

The Wedding Present is one of those acts who don't gain the attention they truly deserve. In terms of their British counter parts from the same era, acts such as A.R. Kane, Pale Saints, and The Chameleons also have the right to be aggrieved at their lack of appreciation over the years.

David Gedge is something of the wordsmith. His perpetual topic of love and relationships never grows old when you hold an ear to a Wedding Present tune. I once remember reading an article in the NME about Jason Pierce of Spiritualized and Spaceman 3 fame. Paraphrasing, it basically stated that he was a one trick pony, but what a trick it was. David Gedge performs that very same trick, however I think he had the baton before Mr. Pierce, who added his own take to the misery his subjects portray right after taking it from Gedge.

Around 70 inhabitants occupy the floor space of The Zoo. Another poor turnout, which is becoming more prevalent as each day passes in rainy Brisbane. I could blame it on the poor weather but I won't, as it wouldn't have altered the punter figure for better or worse. No, this crowd was filled with baby boomers letting their hair down, clapping after Gedge announces a song before even playing it. It is clear fandom with pretense left to flow down one of the few drain ways on Ann St.

The Wedding Present live is more of an abrasive experience. It reminds me of when I had the privilege of seeing The Constantines shortly before they called it a day. Even the feel is similar, that heart and soul attitude. David Gedge and his band, whom of which hail from three respective countries, are tight. Very fucking tight, actually. They give each other warm acknowledgements throughout, as George Best and Hit Parade 1 & 2 are heavily relied on from TWPs catalogue.

Among the highlights include 'Everyone Thinks You Look Daft', 'My Favourite Dress, 'Flying Saucer' and 'Blue Eyes'. The material from the band's newest release, Valentina, is almost scarce, apart from the album's highlight and closing track, 'Mystery Date', which sounds every bit as good as as it does on record. 'Brassneck' from the venerable Bizzaro is also rollicking.

David Gedge interacts with the crowd quite well throughout. You can tell he is proud and confident of his art and why shouldn't he be? Asking for a tissue to blow his nose (first time for everything) while also having some banter with a Stone Roses fan who still appeared to be buzzing from their performance at the Riverstage 24 hour earlier. Despite the almost skeletal "crowd", Gedge appears to be enjoying the night for what it is.

There's something dehumanizing about seeing a bunch of 50 somethings of the male variety wigging out at the front of stage. It's almost like a bid to relive their youth. That's not me having a pop and throwing a blanket over a generation, either. Quite the opposite, in fact. That will most likely be me in 20 years. And that's more than okay. These dudes are all about the music. Something that's currently lost among the masses these days. I thank The Wedding Present for bringing it to the people for the people. They owned, so much so that considering the sparse amount of material I was familiar with (hadn't heard a note of the Hit Parade material), I'd rate this as one of the finest gigs I've been to in the last couple of years. Brilliant. Just brilliant. 

By Simon K.

All Tomorrow's Parties - I'll Be Your Mirror Curated by ATP & The Drones: Day 2 Journal

Now then, it’s time for day 2. I must say after a good night sleep I’m really looking forward to today. I noticed at the end of MBV that there were a lot of weary people dragging themselves around. I guess that was the heat. The lovely cleaning lady at our motel left the air conditioning on, so we were welcomed with some luxury. Even the floor was quite comfortable, although I must confess; I do like sleeping at the foot of the bed most of the time!

Today is a little different for me. I’m in my old man's backpack. It’s a better view from his shoulders, too, I must say. We get the same security guard who starts talking to me upon the entrance. He’s talking to me in a way that he thinks I don’t understand him. Wrong. Seems like a nice chap, so I’ll let any potential disdain slide.

As we’re through the entrance, I hear a lot of people whining about the transport. We were quite fortunate last night. Dad’s friend (and a really cool customer) pre-booked a taxi so we were catered for straight away. Easy. Judging by all this complaining, my dad might be right in his theory that people aren't happy unless they’re complaining about something. Anyway, again, I’m digressing. I’ll try not to do that too much.

Cam Butler and The Shadows of Love are first cab off the rank. I have to say that I'm impressed. It’s nice meandering music. It sounds like another band that my old man plays, the Dirty Three, I think their name is, but Cam and the Shadows are a little straighter forward. But straight forward’s good for me. Don’t get me wrong, I dig my Godspeed and that but for this time of the day Cam gets the job done.

I stick my head out and see we’re in the main arena again. It seems a lot cooler than yesterday. That will quell the masses having a whinge. My Disco is pretty great. My first experience of laser lights and it’s a riot! This My Disco lot is a hard bunch to pin down though. That can only be a good thing, accordingly to my old man.

Crime and the City Solution is yet another band my old man has been giving considerable attention to this past four weeks or so. There’s a big dude on the guitar and he has a lot of tattoos. He doesn’t look as scary as those cats from Swans, though. My dad keeps telling me they’re nice guys but I’m not so sure. You know those dreams I wanted about Tex? More like nightmares about Michael Gira.

Anyway, CATCS sound like a good Sunday afternoon band to me. This Simon Bonney character really knows how to sing while the lady on the violin - Bronwyn Adams - really plies her trade with some finesse. Simon must be damn hot up there, though, with his skivvy underlay. 'Six Bells Chime' might just be my new favourite song!

Next thing I know, I’m bouncing around in my old man's backpack. Guessing he’s in a hurry, and it quickly dawns on me as to why. The Stickmen. I think it’s the band he's most looking forward to. That’s all he’s talked about in the last week. It’s driven my mum insane, although she’s also admitted prior to the event that she’s rather smitten with these dudes. After a couple of notes, I have to say that you can throw me in the same boat. These guys are rocking. They play a song called ‘Shoot to Kill’. Wow, really my saucer of cat milk, this. Apparently it’s the first show they’ve played since the nineties, too! My old man’s bobbing up and down in a room that’s emptying by the song. I can dig that though, I start jiving in the backpack, too. It’s fun!

So, why are people clearing out by the song? I think it’s because The Drones have started while The Stickmen are still doing their thing. Again, the old man is going all crazy, rushing back toward the main stage for The Drones.

We find out that Kev Carmody couldn’t make it and Gareth Liddiard (another of my favourites) announces that The Drones will be playing ‘River of Tears’ as a sort of tribute to the man. It’s damn good, too. My old man once again becomes disgruntled as it’s confirmed from a bystander that he’s missed his favourite Drones song, ‘Sitting on the Edge of the Bed Cryin'’. Well, pops, you can’t have your cake and eat it, I think to myself. I see my mum rolling her eyes. Man, she puts up with some petulance from this guy. Still, The Drones are pretty damn hot. Although my old man was sore I wasn’t, as they played my favourite song to finish, ‘I Don’t Ever Want to Change’. I didn’t tell dad, though. Anyway, it still looks as though he’s wigging out to The Stickmen. That’s all he’s telling anyone willing to listen. Saddo.

Fresh air appears to be the call, as we move to the direction of the restaurants on site. I am feeling peckish again, although I’m not really keen on cheesy chips, despite how awesome they tasted yesterday.

I’m not too keen on pizza either but that’s what I get. Ham and pineapple. The ham is a little dry. Mum gives me the leftovers of her cappuccino. Don’t you just love the froth? We hang out here for a while. The ‘rents are shooting the breeze with various associates. It’s cool. I’m glad for the fresh air and all their friends seem really cool. Being little and dare I say it, cute, I attract a bit of attention from the local punters. What can I say? I can’t help my looks, as egotistical as that sounds.

It doesn’t appear that the ‘rents are too keen on Pere Ubu. What can I do? I’m not driving this bus. In any case, my boy and his band are next up. Beasts of Bourbon. My man, Tex Perkins. Kim Salmon’s back too. I like his surname, but that’s just because I like the food. Fancy Feast do a good salmon broth, just for future reference. Anyway, Tex and the boys roll out and start crashing into "The Axeman’s Jazz". Tex is up there all manly, singing about rail works and being a drop out. He’s not moving too much, but what do you expect? Iggy Pop? There’s only one Iggy, folks. No, I’m happy with Tex, his voice is something to be reckoned with it. It’s fierce, but a good fierce. I like the song about living in Yobsville surrounded by asbestos houses. I can kind of relate to that, but don’t tell my dad; he thinks the builders took all the asbestos from our roof!

So the crowd’s thinning. It doesn’t look as packed as yesterday, but from the view of the backpack, I could be wrong. Einstürzende Neubauten is the act closing out the event. I’ve seen a few people wearing their shirts from my various peaks this weekend.

Blixa Bargeld is kind of the epitome of bourgeoisie in an ATP sense. Whatever that means. I like the first song. He’s singing about meeting up in the garden. Well, Blixa, if I wasn’t subject to strictly being a house cat (this trip aside, of course), I’d be there shooting the breeze with you, man. The third song is rocking too. I’m starting to dig this European thing. Four songs in and the ‘rents call it a night. I consider getting a little teenager and start stamping the paws, but what can you do? Fair’s fair, they’ve exposed me to the outer worlds of ATP and for that I have to say I’m thankful.

We leave the premises and there’s more buses than you can poke a stick at. What’s with the complaining earlier? Guys need to chill a little more and enjoy the experience. It’s certainly that. I had a ball. I hope I can come to ATP again. Who knows, maybe ATP can have a pet area where we’re all subject to hanging out listening to some post-rock and feasting on some cat buffet? Now that’s something I’d endure another horrendous plane journey for. Thanks, ATP. You’re the greatest!

By B "BB' K-M