Diary 1 2 3 4 5 LP2 1 2 3 4 5 reviewed for FasterLouder
Sunny Day Real Estate were a ‘best kept secret’ for many years, especially in these parts of the world, so it is interesting to see the attention they are now getting and the level of cult fandom they have achieved. I first came into contact with them in the mid 90s when a friend returned from Seattle raving about this amazing band he had seen. Dodgy name I thought but pretty soon the CD had circulated around town and everyone was sold on them.
With the re-release of their first two albums (with the original lineup of Jeremy Enigk, Dan Hoerner, William Goldsmith and Nate Mendel) time also gives us the opportunity to put them in the context of the times. Their debut Diary was released in 1994 and it stood out from the prevailing winds of grunge by incorporating the quiet/loud dynamics patented by the Pixies (and taken to the masses by Nirvana) and more intricate and dextrous musicality of indie and the post rock stylings of bands like Slint who were stretching punk rock’s possibilities.
Diary contains one of the band’s best known songs in Seven with its landslide rhythms and the incessant riffing of Hoerner. Each member of the band brought their own signature style to the album. Goldsmith played every beat with manic intent while Mendel was almost the antithesis, coaxing and massaging the notes out of his bass. Seven personifies their early songs with the stop/start dynamics and Enigk’s voice reaching into the stratosphere when he strains and sings, You’ll taste it, you’ll taste it, in time”. Its a glorious moment.
the rest of Diary has its moments of greatness, none quite matching Seven and for that matter In Circles. The song with the eternal riff that circles and squeals until the verse brings relief, the calm before the chorus. SDRE pull back slightly for the gentler waters of Song About An Angel, add some metallic crunch to the Pumpkins-like 47 and add some wonky sideshow piano on Phuerton Skuerto to prove they weren’t just angst and bombast.
Looking back 15 years later, it is impressive that on Diary they could bottle and maintain their tension across the whole album. They seemed to be giving so much in each song, something most bands struggle to master in just one song.
The relative success of Diary meant touring became a priority and eventually a chore to some members of the band. Enigk in particular struggled with the lifestyle, culminating in him experiencing a ‘religious explosion’, contributing to the dissolution of the group. Thankfully they managed to scratch together some existing songs and wrote a bunch more that became the basis of LP2 or as many refer to it The Pink Album.
LP2 is a superior example of what SDRE were capable of creating in that it strips back the layers to reveal the essence of their sound. From the opening lullaby notes of Friday there is a greater sense of calm and maturity. They sound more comfortable in their skin. The screams and exultant wails of Enigk are still there but they are more controlled, settled and tamed.
The melodic guitar playing of Hoerner rises to the surfaces on LP2. His mastery of riffs that just fall into place and work so perfectly with the other musicians is magical to listen to. Theo B twinkles and has a chiming quality that sounds effortless. His clever shifts and changes in 5/4 betray the post rock influence of bands like Slint and Fugazi, showing that SDRE was unfairly lumped in with the so called grunge movement. They offered quite a different emotional feel to those other bands.
Enigk made up a lot of the lyrics during the recording of LP2 and many of his words are hard to grasp the meaning of. This isn’t a bad thing as it turns the spotlight onto the music which has the ability to paint a million shades of meaning with its time signatures and contrasts. Iscarabaid is schizophrenic and at times queasy as the verses snake along. As the chorus crashes in the fog lifts and the mood shifts to a determined rallying cry.
Though SDRE went onto release further albums with different members (all worth checking out) it is Diary and LP2 that remain closest to the hearts of their fans. Inspiring and instilling passion in the audience is the much sought after holy grail for bands and SDRE certainly achieved that. It was evident in the way we hunted down their music in the 90s and the level of excitement that has been generated by the 2009 reunion of the original band. Great music never dates and SDRE still sound as vital and invigorating as ever.
A benefit gig has been organised in Sydney to raise money to help youth avoid a life on the streets.
The gig happens at the Annandale in Sydney on December 10th and will feature:
Lions At Your Door
Ghoul
Parades
Bird Automatic
The Winter People
Tickets are only $12 HERE or $15 at the door. Get out and support a great cause with some great local bands.
Due for release in January 2010, here is the trailer for the Blur doco No Distance To Run… Looks like its all love and cuddles!
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Reviewed for The Dwarf
Shoegaze is genre that has been going through somewhat of a renaissance in the last few years. On the local scene you have the likes of The Laurels admirably resurrecting a sound that was at its peak when the band were probably still in nappies. Internationally there has been a revival led by acts like A Place To Bury Strangers, The Horrors, Brian Jonestown Massacre and Black Rebel Motorcycle Club to name a few.
Exploding Head is the second release from A Place To Bury Strangers and it continues their recycling of the harder side of the genre. They prefer cold and dark places, automated emotions and abrasive sounds. Their debut was a more caustic experience so they have allowed some light and melody to emerge through the cracks on this more satisfying follow up.
It Is Nothing sounds like My Bloody Valentine in a roller derby with Swervedriver with its incessant drums and wailing and screeching guitar battling to be heard. Its an energetic and succinct start to the album that is expanded upon in the second track In Your Heart where melody emerges via a soaring riff and Oliver Ackermann’s vocals are more prominent in the mix. They channel Joy Division and they do it well.
Garage rock influences raise their head on Dead Beat with the mangled surf guitar stylings taking it to a more American psychedelic place. That shapeshifting continues with Keep Slipping Away and its early Cure chords again placing their sound back in the UK at the dawn of the 80s. At times it is as if they are trying to cover their formative bases rather than settling on their own sound; though they do it all so well it is hardly a criticism.
So as to avoid any accusations of lightening up, A Place To Bury Strangers load the back end of the album with some white noise distortion and a narcotic haze that perfectly mirrors the black and white TV static imagery of the album’s artwork. Amongst the sonic scree there is the title track which is perhaps the most accessible song on the album. There is a discernible chorus, an infectious guitar riff and a danceable post punk, jerky rhythm.
Exploding Head is a big leap of confidence for the band, probably born out of touring experience and the more generous production sound on the album. The distortion burns in a nice way compared to the sharp, icy blast of their debut and the melodies have been slowly coaxed out of the chaos. Amongst the beautiful noise, A Place To Bury Strangers show they can also create something with beautiful poise. One hopes that Album #3 will see them balance their extremes even further and deliver the great record they are heading towards.
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Richard Youngs is an experimental, avantgarde English musician based in Glasgow who has been releasing both his own music and the recordings of others (via his No Fans Records label) since the 80s. His latest release on Jagjaguwar is a hypnotic collection of songs that hang in the air and focus primarily on the voice.
Youngs’ voice has a haunting, keening tone that brings to mind Mark Hollis of Talk Talk, Robert Wyatt and David Sylvian. He is in that tradition of restless wandering English musicians who are both prolific and exploratory in their method.
Under Stellar Stream utilises very sparse musical backdrops. All Day Monday And Tuesday is a relentless repetition on the theme of time with a melancholic organ and bass soundtrack. With Youngs’ voice up loud in the mix it builds a feeling of intimacy and a slightly unnerving closeness to the artist.
Cluster To A Star returns melody to the moment allowing the listeners attention to work in behind the vocals and explore the shimmer and floating ambience in Youngs’ compositon. The chords in Arise Arise hang in the air ominously like Twin Peaks filtered through Mogwai while a distantly faint bass drum pulses almost inaudibly like a fading heartbeat. The song is the album’s most engaging moment.
Youngs’ has put together an album of grand and austere avantgarde pop music that can be traced back to Cale’s solo work and on through the serious and weighty efforts of the artists listed at the start of this review. His skill lies in minimalism and mood and a certain feeling of strength via loss. It is bleak music that awkwardly comforts.
Under Stellar Stream is out now on Jagjaguwar via Inertia
Ahead of their Australian Doolittle Tour next year the Pixies stopped by Fallon to promote their current USA shows…
Here is the latest update of what is turning into a ridiculous summer of festivals, sideshows and tours…
The Original Wailers – 26th November @ Metro Theatre
Songs – 26th November @ Oxford Art Factory
Salmonella Dub – 27th November @ Metro Theatre
The Veils – 27th November @ Oxford Art Factory
Underground Lovers – 4th December @ The Annandale
Tiki Taane – 4th December @ Forum
Thee Oh Sees – 5th December @ Oxford Art Factory
Mono – 5th December @ Manning Bar
Jarvis Cocker – 7th December @ Metro Theatre
Patrick Wolf - 9th December @ Metro Theatre
Crocodiles – 9th December @ Oxford Art Factory
Skunkhour – 10th December @ Metro Theatre
Pitch Black – 10th December @ Civic Underground
Animal Collective – 11th December @ Enmore Theatre
Akron/Family – 12th December @ The Annandale
The Church – 12th December @ The Factory
Heavy Trash – 13th December @ Manning Bar
Why? – 16th December @ The Annandale
Castanets - 27th December @ Excelsior Hotel
Biffy Clyro – 3rd January @ Metro Theatre
Seasick Steve – 4th January @ Metro Theatre
White Rabbits – 5th January @ Oxford Art Factory
King Khan & The Shrines – 6th January @ Oxford Art Factory
Editors – 6th January @ Metro Theatre
Yeah Yeah Yeahs – 8th January @ Metro Theatre
Brightblack Morning Light – 14th January @ Oxford Art Factory
John Cale – 16th January @ Enmore Theatre
The Decemberists – 19th January @ Metro Theatre
The Horrors – 20th January @ Oxford Art Factory
The Mars Volta – 20th January @ Hordern Pavilion
Kasabian – 20th January @ Enmore Theatre
Mastodon – 21st January @ UNSW Roundhouse
Fink - 22nd-24th January @ The Spiegeltent
Devendra Banhart – 24th January @ Metro Theatre
Dizzee Rascal – 24th January @ Enmore Theatre
Dirty Three & Laughing Clowns – 26th January @ Enmore Theatre
Florence & The Machine – 26th January @ Metro Theatre
Them Crooked Vultures – 26th January 2010 @ Hordern Pavilion
Hockey – 28th January @ Metro Theatre
Wild Beasts – 1st February @ Oxford Art Factory
Grant Hart (Husker Du) – 11th February @ The Annandale
The Dodos – 13th February @ Oxford Art Factory
Yo La Tengo – 18th February @ Metro Theatre
Soundwave 2010 – 21st February @ Eastern Creek Raceway
The Pains Of Being Pure At Heart – 21st February @ Oxford Art Factory
Jane’s Addiction – 23rd February @ Enmore Theatre
Isis – 23rd February @ Manning Bar
Placebo – 24th February @ Enmore Theatre
Clutch – 24th February @ Gaelic Theatre
HEALTH – 1st February @ Oxford Art Factory
Black Lips – 8th February @ Manning Bar
Calexico – 3rd March @ Metro Theatre
Pavement - 4th + 5th March @ Enmore Theatre
The Big Pink – 7th March @ Metro Theatre
Dinosaur Jr – 11th March @ Metro Theatre
Pixies – 14th + 15th March 2010 @ Hordern Pavilion
The Dead Weather – 26th March @ Enmore Theatre
Wilco – 1st May @ State Theatre
Wilco – 2nd May @ The Factory
Every year, Neil and Pegi Young host the non-profit Bridge School Concert, benefiting the unique learning complex which assists children with severe physical impairments and challenging communication needs. The first was held in 1986, and the event is known as a totally unique musical event. Over the years the line-up of participants reads like a history of rock & roll.
Volume IV, 22-track collection of live performances will be available digitally at iTunes on Nov 24th and features a wide range of artists including John Mellencamp, Josh Groban, Trent Reznor, John Mayer, Tom Waits & Kronos Quartet, Jerry Lee Lewis, Ministry, My Morning Jacket, Norah Jones, Tegan & Sara, Death Cab for Cutie and Band of Horses.
Tracklisting
Ministry – Here They Come
Ministry – Paisley
John Mellencamp – Jackie Brown
Jerry Lee Lewis – Whole Lotta Shakin’ Goin’ On
Trent Reznor – Fragile
Trent Reznor – Hurt
John Mayer – Heart Of Life
John Mayer – Waiting On The World
Regina Spektor – Ain’t No Cover
My Morning Jacket – Gideon
My Morning Jacket – Just One Thing
Tegan & Sara – Dark Come Soon
Tegan & Sara – Like Oh, Like H
Tom Waits & Kronos Quartet – What Keeps Mankind Alive
Tom Waits & Kronos Quartet – The Part You Throw Away
Band of Horses – Marry Song
Band of Horses – The General Specific
Norah Jones – Jesus Don’t Cry
Death Cab For Cutie – Cath
Death Cab For Cutie – I Will Possess Your Heart
Josh Groban – Changing Colors
Josh Groban With Neil Young – Harvest Moon
ALBUM REVIEW: THE MALADIES – With You Right By My Side, Baby The Deal Just Can’t Go Down
1 2 3 4 5 Reviewed for FasterLouder
Sydney’s The Maladies have been playing together for a few years now, taking their time getting around to recording an album. That has worked in the listener’s favour as the clumsily titled With You Right By My Side… is 40 minutes of consistently brilliant songwriting, lively playing and the exceptional voice of Daniele Marando.
The thing that hits you straight away is the big warm sound and production courtesy of Jamie Hutchings. He has nailed the mood and controlled chaos of their live show and at the same time allowed the songs to flex and breathe. There is a tumbling feeling through many of The Maladies songs that conjures up images of danger, darkness, wracked souls and dances with the devil.
Continuing the southern gothic streak that Nick Cave has trademarked, The Maladies tell stories of lost love and life’s trials and tribulations. Their swampy blues incorporates chain gang vocals on This Wood & This Wire, Take Me Down and I Feel So Fine. All three songs are so infectious I’ve woken the next day still humming and singing their echoing refrains.
The immediate star of the show is singer Daniele Marando who truly possesses one of the most life affirming voices I’ve heard in a long time. His ability to switch from a delicate and sweet croon to an aching and tortured wail of a scream is spine tingling. When he sings ‘I feel so, feel so, feel so fine…’ it is as if he testifying to save his soul. So many singers these days can harness similar elements but Marando’s range and conviction are compelling.
Marando’s singing is like a much more realized and gospel-ized Finn Andrew of The Veils. It also has the warm falsetto of Roy Orbison as well as a sweet, sweet country croon that he uses beautifully on a cover of Don Walker’s Silo.
The rest of The Maladies are crucial components to their intoxicating sound. They know when to play with passion over technique and when to play with sensitivity restraint. Drummer Josh Harvey uses more than his standard kit to build clatter and harsh percussive sounds into the music while Daniel Babekuhl plays with a diversity that shows a strong knowledge of different guitar styles and emotions.
With You By My Side… isn’t all doom and gloom, the final track You And Your New Tattoo… is a fun waltz-like shuffle sounding like a Greek gathering in the back room of a bar, possibly a tip of the hat to some of the members cultural heritage.
The Maladies have produced the strongest possible renderings of their songs and captured what makes them such a great live band. Hard to believe it is their debut, it confirms them as undeniable talents on the local scene with a sound that will also transfer well to international audiences. Listen and you will be singing along to one of the best Australian debut albums of 2009.
