CD Review: The Happy Ghosts, 2012 CD “Reverence for Life”

The Happy Ghosts is the current musical vehicle for multi instrumentalist Andrew Muecke, and this release ‘Reverence for Life’ is a collection of songs composed around Albert Schweitzer’s philosophy of the same name.

Personally, I enjoy the discovery of new horizons through music and applaud composers who seek to enlighten listeners by introducing them to new concepts that they might otherwise have never explored. For those who just want the music, this album stands on its own as a well produced collection of pop songs that are easily accessible to most listeners. Those who look for the story behind the music will enjoy this album more if they familiarize themselves with the works of Dr Schweitzer and then seek to relate the music and songs to the theory underpinning their construction.

Andrew Muecke has a long history expressed across several musical projects (refer www.andrewmuecke.com); on this album he has written the music and lyrics and played most of the instruments on all 14 songs. In many ways this is an Andrew Muecke solo project, but with contributions from Matt Cahill (vocals on “Voices”) and Carrie Barr (vocals on the others tracks). Brother Jon Muecke also makes a cameo appearance on guitar on one track.

Opening track “Voices” evokes David Bowie of the late 90s’ and serves as a bookend for the album, with the final track being a short reprise. With its catchy rhythm and Matt Cahill’s mellow vocals, this is a strong but deceptive opening, as Carrie Barr then takes over vocal duties for the rest of the album.

Most of the tracks have quite a mellow mood to them, with synthesizers, funky bass, programmed beats, flutes and sundry sound effects overlaid as the mood dictates. This is a well constructed album that does not fit into an easily defined genre. There is enough variety to ensure that the music is not repetitive, but enough consistency to ensure that each song feels like it fits. This consistency and the upbeat nature of the albums mood reflect the Schweitzer philosophy in musical and lyric form. A joy to listen to and contemplate.

Don Morrison – This Could Be Big. Fringe Show Review. 11 3 12

Www.donmo.com

Don Morrison is a larger than life character who is smaller than he should be in terms of fame and success. He could have been Paul Kelly, or John Mellencamp, or Bruce Springsteen, and to some loyal followers he is in the same category as these well known troubadours. Circumstances have prevented Don from achieving similar levels of fame, but he is a local treasure none the less.

His 2012 Fringe show “This could be Big!” is a spoken and musical performance around his book of the same name. Assisted by “Dingo” on acoustic guitar, Don charmed the Sunday afternoon Wheatsheaf Hotel crowd with witty anecdotes and readings from the book, interspersed with a variety of songs ranging from Elmore James “Dust my Broom” to a song he had only just written for this show. Don plays harmonica like he tells a story; with passion and with flawless delivery. He also plays a DonMo Ukele and Guitar, made by Don out of old corrugated iron fencing.

The journey from his first folk Band in the mid 70s through the punk Blues of The Bodgies, the adventures touring the country supporting some of the biggest Australian acts, life working in a foundry, the tax office, to later life musicianship is wry, humorous, and at one point terribly sad. Don never gave up hope and is now a living treasure in the Adelaide music scene.

If you missed the show, get the book, or one of Dons CDs, or listen to him on 3D radio Fridays. Www.threedradio.com

CD Review: The BordererS, 2011 Double CD “Tales of Love and Loss” + “Rise Up!”

http://www.theborderers.com.au

Adelaide Celtic Folk Rock band The BordererS have been around the Adelaide music scene for some time and have an impressive catalogue of CD’s to their name. This release is their first double album, although it is really two distinctly different CDs released in one package.

The first disk “Tales of Love and Loss” has its roots in the grief Alex and Jim have for the loss of their teenage son Rowan, who sadly took his own life, and also in the loss of Jim’s mother, Betty. Understandably, the songs on this CD have an unifying theme and it’s a somewhat more sober CD than the second disk, “Rise Up!” which is a more traditional collection of songs originating from the daily experiences life serves up.

The band has enjoyed reasonable international success, particularly by Adelaide standards, yet they seem to defy trends and are difficult to pigeon-hole. A bit folk, a bit pop, a bit traditional, a bit Peter Paul and Mary, they just seem to write nice songs that could be sung in the back yard, the front bar, or on the world stage.

TALES OF LOVE & LOSS
This CD opens with a cover of the classic “You’re My World”, one of three covers on this disk, the others being “Changing Fortunes” and the traditional “Danny Boy”. The other seven songs are BordererS originals which have mostly been unearthed from previously recorded but unused material. A couple of songs seem to have been written specifically for this release. Whatever the origin, these 10 songs all seem to belong and are appropriate to the theme.

Jim Paterson steps up to the microphone on two songs. “Jesus by my Side” is a rollicking old-time, up-tempo, swing-blues song that you just have to clap along to. “The Meaning of Life” which is a hokey knee-slapping banjo tune which evolves into a southern church soul tune, infused with a touch of zydeco. Jim’s vocal contributions seem to have a bit of cheek to them and are sung with a mischievous grin.

The balance of the album is sung by Alex, except for the simple mood instrumental “Rowan’s Theme“, which has no lyrics. Sometimes there are no words to express how you feel.

Alex has a sweet voice which she uses to great effect on “One in a Million”, expressing the emotions and joy of a mother rejoicing in the birth of her son. She then plays the role of the daughter singing to her father of her enduring love on the uplifting ballad “My Fathers Love“. The generations are bridged by the song of a woman.

As much as this disk conveys messages and meaning borne from grief and loss, there is no pervasive cloud of darkness and sorrow here. The songs are still mostly upbeat, and if you were not aware of the context you might not make the link between these tunes and the loss of kin. It’s a fine line for an artist to tread, and The BordererS have got it just about right.

RISE UP!
This disk serves up a collection of songs that lack the unifying theme of “Tales of Love and Loss“, but still sit well together as an album. Apart from the two traditional songs “Tell Me Ma/Africa” and “Ye Canny shove yer Granny Aff the Bus” these are all original BorderS tunes.

“Tell Me Ma/Africa” is a freewheeling foot-tapper that fuses reggae, Celtic folk and Mbube around a traditional British song. As strange as it sounds, it actually works and you find yourself grooving along without knowing it. “Ye Canny Shove yer Granny Aff the Bus” is also a traditional number, sung to the tune of “She’ll be coming round the Mountain“. For this reviewer the Dixieland jazz style conjured up images of Keith Conlon drumming with his band on the back of a Christmas Pageant float – but don’t let that put you off! It’s all done with a large grin. And it’s a lot of fun.

“I’m a Work in Progress” and the title track “Rise Up!” are political statements, with the former referencing the Credence organization, and the latter taking up the cause of the Get Up! movement. (Wo)Man is a political animal, so artists searching their life experiences for material are going to touch on the subject of politics sooner or later. I’ve never been a fan of “shove it down your throat” political message bands, but two “message” songs in twenty is a fair enough ratio in my book.

“St. Antonin” a song about a town in France that has a bit of Gypsy feel, with the occasional nod to the Parisienne accordion, and a healthy dose of 80’s ska out of London. This is another unconventional song that seems to fit in because it’s fun.

There are a couple of songs that really do depart from mainstream BordererS material. “Gimme That Rhythm” is sung by Jim and is in the style of rockabilly. Whilst it rocks along and serves up a pretty authentic guitar solo, this genre does not really play to The BordererS strengths. The other variation is “Finding Your Own Way“, which stands unique in this collection as a piano ballad that could just as easily have been sung by Cold Chisel or Bruce Springsteen.

Overall the BordererS just seem to be having fun putting down tracks. “Temptation” is a live recording from the Woodford Festival where it is clear that the BordererS rock-out live. “Sober” is a classic Irish jig that belongs in the front bar, and “OI, OI, OI We’re Going Down the Pub” is a live recording of an up tempo drinking song, replete with a Clarence Clemens style sax solo and a chorus even the drunkest blarney stone kisser could wrap their lips around.

Emerging from the depths of sorrow “The BordererS” have put together a double album that says life is fun, let’s get on with it.

CD Review: The Black Diamond Band 2011 CD “Black Diamond Band”

Genre: Blues, Alt Country, Rock

The Black Diamond Band (BDB) hails from the IronTriangle region of South Australia and proudly proclaim themselves as “real live musicians from the great Southern State of Australia” on the rather rustic CD cover. The band is soaked in roots, blues, boogie and country music, blending growling male and lilting female vocals to deliver a collection of eclectic songs that will be of interest to listeners who enjoy this genre. Like me.

Recorded and mastered at Sody Pop studios, this CD could just as easily have been recorded off the mixing desk during a live performance at a working class pub in Whyalla. The overall sound of the CD is that of a very tight band playing to a lively and responsive audience, but without the added noise. The recording is excellent and the songs are well written and performed.

The band is nearly a family affair, with John Jagt on guitar and vocals, Julie Marie Jagt on vocals, and Alana Jagt on guitar and vocals. Friends Wayne O’Malley on guitar, Robert Ziegler on bass, and Mark Meyer on drums complete the band, with Brendan Williams joining the band for harmonica duties. There is a keyboard in the mix too, but I’m not sure who the musician is.

John and Julie share the song writing duties, and do a mighty fine job of constructing interesting tales from a down-to-earth character-driven region of this vast land.

With 16 songs and the lyrics included in the CD Cover, this is a good value release evoking touches of the growling Tom Waits, the swagger of The Cruel Sea, the guitar interplay of the Stones, the storytelling of Dylan…this release spits forth that which is born of the earth, forged in fire and sweat, and shouted from the corners of rooms where bourgeois urbanites and DJ’s dare not tread. These sixteen Vignettes explore life and the authentic characters that inhabit the parts more grim.

Half of the songs were written by Julie, and most of these have female vocals (I will assume its Julie), delivering a female perspective to life in the Triangle. The exceptions are the opening track Satisfied, and The Way it Is, both of which share vocal duties between John and Julie.

The six songs with female vocals tend to be a touch more mellow and make greater use of acoustic guitar in the mix. They include the bluesy ballad Burn, Gulf of Mexico with its slide guitar, and Dry Ground, which is the story of English immigrants (relatives) arriving in Perth.

John Jagt contributes six songs and takes vocal duties on all of them. His gravelly, growling, bluesy style is reminiscent of Tom Waits, but not to the point of imitation. It works perfectly with the stories, characters, and tunes served up by the BDB. The appropriately named Boilermakers Song tells the story of a foundry in Whyalla, complete with a collection of characters plucked from Bukowski verse or a Fante novel. The Napperby Song is a rolling blues tune about a small place outside Port Pirie, and Beyond Blues, Greenfingers, and Roger also deliver up more fine prose set against a growling blues background.

In a nod to the influence of Tom Waits, BDB performs one of his songs, Walkaway, which is sung by Julie rather than John. The female vocals work, and the song slots in with the original material such that it sounds like it could have been written by BDB. Rounding out the album is Brother, a slow bluesy ballad sung by Julie and written by K Steele.

Overall, this is a no-nonsense collection of gritty blues and compelling stories driven by authentic characters and experiences. A great release by the Black Diamond Band.

CD Review – The Worrymen 2010 CD “The Worrymen”

http://www.cdbaby.com/cd/Worrymen

I found The Worrymen on CD Baby when searching for Alt Country music. I am a fan of Uncle Tupelo, Son Volt and WIlco, although I find Wilco is a bit too middle of the road and mellow for my tastes nowadays. I like guitar bands with gritty sounds, but not heavy, so the UT and SV sound is right up my alley.

I find that a lot of Alt Country artists hitch themselves to the UT, SV and Wilco post on CD Baby, but most of them are either the softer Wilco sound or twangy country rock.

I was so pleasantly surprised when I came across The Worrymen, a four piece band from Arizona. I know little about them; they have a Myspace page but it doesn’t reveal very much, and there isn’t much in the way of video.

They do have an excellent CD though. Sure its a bit raw at times and could do with a bit of remixing in parts, but that’s only really noticeable if you apply a critical ear. I applied my happy listening ear and was delighted with what I heard.

I hope The Worrymen record more songs, and I’m only disappointed that they are in Arizona and I am in Australia, otherwise I would be a regular at all of their shows.

Best of all, this is a $2 download, so shame on you if you don’t grab a copy and enjoy this little gem.

By the way, all of my CD Reviews are for local Adelaide bands. This is the first unsolicited review I have written for a band not in Adelaide. Needless to say, The Worrymen moved me to put pen to paper.

CD Review – Imogen Brave 2011 EP Open Heart

http://www.reverbnation.com/imogenbrave

Imogen Brave is a 4 piece hard rocking original band and this 5 track EP “Open Heart” is their first release.

This is a band that should not be taken lightly, with vocalist Stef Crowley standing out front and delivering the goods with a classic rock-chick attitude reminiscent of the likes of Joan Jett, Suzie Quattro, and Chrissy Amphlett, Steffi oozes power and raunchiness from the scorching opener “Walk Away” through to the powerful “Love is like (Open Heart)”.

“Open Heart” is an unpretentious studio quality presentation of Imogen Brave live on stage. The full sweat and energy of a live show is palpable, and the (few) overdubs are limited to harmonies and additional rhythm guitar tracks.

The passionate ballad “Missing You Dearly” is somewhat more restrained with its acoustic guitars, yet even this song builds to a powerful crescendo and a Led Zeppelin style solo. Strangely this song seems to end a few bars earlier than expected.

“Desperate Lines, Open Doors” launches back into more familiar territory with its heavier Marshall/Les Paul backdrop and the use of pinched nodes. This is the bridge between two ballads, with “Exit Collapses” following and providing the perfect platform for Steffi to demonstrate her wide vocal range and ability to deliver her lines with strength and personality.

These five tracks are enough to shine a light on the strengths of Imogen Brave. Punchy rhythms, powerful guitars and pouting vocals combine to deliver a blend of original rock that draws from a range of influences, yet bravely defines itself as original – Imogen Brave.

CD Review – Surviving Sharks 2011 CD “Bleed &See”

http://survivingsharksblog.blogspot.com/

Local Adelaide rock band “Surviving Sharks” has released a single “Bleed & See”, and a b-side “Sever”.

I first listened to the songs on Sound Cloud, then watched the Video Clips and a live performance on YouTube, and finally found the artwork and band information on the Music SA website.

Then the CD arrived for review.

That’s the way of it these days. A digital on-line presence is essential to the distribution of content, and the CD is almost incidental.

Musically, I guess I’m a bit of a Methuselah. Perhaps my first experience of owning my own music was finding the single “Bend It” by “Dave Dee Dozy Beaky Mick and Tich” (look it up) in my 5KA Show bag in the late 60s’.Nearly 45 years later and I still fondly remember this one-hit-wonder because it was free (show bags were free then), catchy, and single. The release of a single and free distribution of samples has stood the test of time, and still in this digital age it is important, but enough digression and back to “Surviving Sharks” and their release.

This 5 piece band sits on the heavier side of the rock continuum. Built upon a solid rhythm of drums and bass, the driving chords, slashing solos, and heavy keyboard undertone, this band doesn’t quite cross over to Metal, but it is definitely a heavier rock machine. Like the classic “Smoke on the Water”, it is the keyboard that deceptively adds the power and heaviness to the riffs.

Drew Kemp takes the lead vocal work with other band members providing backups. His vocals are strong and appropriate for the songs without being distinctive. The songs “Bleed and See” and “Sever”, whilst strong in their own right, are possibly too similar in structure, tone and key to be released together, however, they are very effective in defining and communicating the “Surviving Sharks” sound.

We shall have to wait for further releases to fully understand the band and its versatility, but in the interim these two songs are good to listen to, and the YouTube Video Clip for “Bleed and See” is also worth watching.

CD Review – Emily Davis 2011 CD “Undone”

http://www.emilydavis.com.au

Emily Davis is a local Adelaide singer / song-writer with a bluesy voice and a silken touch. This CD “Undone” was recorded with her band “The Open Road”, and throughout the release the songs maintain the consistency you might expect from a well tuned unit.

Essentially an acoustic album interspersed with judiciously placed electric guitar, this CD often evokes the ambience of a sly juke joint; a band tucked in the dirty corner of a smoky room, a shuffling snare, the ungainly stand up bass, and a pile of instruments called in to play as the need arises.

“The Broken Machine” launches the CD with its violin and squeeze-box driven eastern European waltz, a somewhat spare song. The title track “Undone” sets the mood with acoustic guitar, double bass, violin, mandolin and banjo. Appropriately this song is melancholia in a minor key, a sad tale of a relationship undone. A theme perhaps echoed later with “Pick me”, a slightly bitter song about an arrogant man.

“Conjure Woman Blues” introduces a soft vibrato guitar, some wind with trombone and clarinet, and a slower shuffle. This slow bluesy tune with its 1930’s jazz overlay takes us back to the corner of the whiskey soaked juke joint.

Listeners will quickly sense that this is very much a personal album, written from the heart, driven by deep emotion, loss, emptiness, and redemption through song. Lyrically the collection describes circumstances from the girl’s perspective, which is hardly surprising as they were written by Emily, but you feel that they are truly autobiographical tales (although the CD cover notes implicate yarns from Emily’s Grandmother’s may be contributing sources).

There are quite a few slow-paced songs on the CD: the uplifting acoustic ballad “Revolver”; “Arrow” featuring the dobro; “Bring forth the Queen of Mexico” which features Emily on ukele; “A Seafaring Song” with violin and acoustic guitar; and “Spartacus” with its battle-march snare.

These are appropriate vehicles for expressing strong emotions of loss, sadness, and a life that has seen (and will see again) better times.

Emily Davis and the Open Road should be pleased with this release. The songs are strong and have depth and significance. The performances are appealing in their simplicity, and Emily Davis has a lovely voice with some real personality. All in all, a great CD.

CD Review – She Said You 2011 EP “Faces”

http://www.myspace.com/shesaidyou

“Faces” is a five track EP from Adelaide based Alt Pop band “She Said You”. The band is a three piece, citing its members as Greg Horan (Vocals/Guitar), David Peter Britvec (Guitar) and Simon Marafioti (Drums). On this release Nathan Bills is credited as contributing bass guitar, but not as a member of the band.

According to the bands website all of the songs on the EP were recorded live. The songs are unspoiled by excessive overdubs and post production overlays and the performance is polished, crisp and lively. If what you hear on this EP is reproduced at live shows then this is indeed a band worth seeing.

Although the band cites The Doors, the Dave Matthews Band and Pink Floyd as its influences, this influence doesn’t translate to imitation. The songs on “Faces” are all 3 minute pop songs (give or take a few seconds) and are a long way from the sound created by the Doors and Pink Floyd of the 60’s and 70’s. This is a much more contemporary Alt Pop style in both the tone and structure of the songs.

The tunes are infectious and well structured. The guitar separation and interplay serves the songs, dishes up some juicy tones, and the sparing use of vocal harmony is timely and effective.

But when it comes down to it the whole point of a song is the singing, and in this area “She Said You” stands apart. Greg Horan has a silky voice which is perfectly suited to this genre. Greg hits the highs, scrapes the lows, and holds the mid-range melody perfectly on this collection of songs. For me, the highlight of the EP is the second track “Lights” which is catchy, melodic, upbeat, and pretty well sums up everything I have come to like about this band.

“She Said You” write and structure mature pop songs, handle their instruments like seasoned professionals, and have a singer who at least matches the top bands you hear on the radio and TV. This band should make an impact if they can find a niche, get the marketing right, and devote their lives to it. Or, they could just entertain lucky Adelaide audiences for ever. Check them out, live and on CD.

CD Review – The Sea Thieves 2011 CD “They Will Run”

Genre: Folk, Country, Alternative

“The Sea Thieves” comprises Zac Coligan and Naomi Thompson who are also the owner/operators of well known Adelaide entertainment venue The Jade Monkey. “They Will Run” is the bands second release, with the local duo teaming up with former Zac’s former “Bergerac” band mates Jed Palmer, Steve Griffiths and Zoe Barry to add colour and shade.

“They will run” is available as a digital download through Bandcamp, or, if you are a traditionalist you can order the CD. There’s some interesting art work associated with this release, so it might be worthwhile ordering the CD. The artwork is also available on the bands various web presences, but I will let you search for them; you might end up at the web site for an English society of mock pirates, which in itself is an amusing diversion…

From the various notes I have read, the songs were mostly recorded at the Jade Monkey and mastered and mixed over a period months, allowing for some interesting and obscure sound effects and samples to be added, creating an almost indescribable genre.

A singing saw carves through meandering waves of tinkering clockworks; water splashes against gently vibrating nylon strings to create an eclectic mood. A mood of distance pervades, emanating from piles of old vinyl stacked in hidden rooms that were once filled with the echoes of children, frogs and sadder times. A hushed voice croons innocent fairy tales littered with subtexts of tortured dreams whispered in the dusk.

This is an unique piece of musical art; The Sea Thieves have created a rare ambience with their 10 tracks.

Slowly marching out of the mist, “Where that somewhere is” announces itself and the start of the album, with bells, clocks and a distant marching voice. The clockwork continues with “Spark of your enemies”, replete with mandolin and quiet storytelling. The joyous singing saw think spaghetti western) introduces “Focus the stars” and is accompanied by acoustic guitar and mandolin.

The main vocals are all Zac’s, except the title track, “They will Run”, which is Naomi’s. The mood of the album is unaffected by the change in vocalist, other than the creation of a new point of view.

This is not an album of catchy pop tunes, and while the songs have a beat, they really aren’t the kind of beats to tap your feet to, but they are infectious. The more you listen the more you hear, and the more you hear the more you want to listen.

At first play “They Will Run” might appear to have a narrow appeal to collectors of eclectic alternative folk music, but this album has something to offer to anyone prepared to listen and lose themselves in its artistry. There are rich rewards embedded buried in this gem of a release for those who take the time to listen.

CD Review – The Beggars 2011 CD “Australian Songbook Vol. One”

Genre: Australiana, Folk, Country, Traditional

“Australian Songbook Volume One” is the latest release from Adelaide folk trio “The Beggars”. This Songbook includes cover versions of 15 iconic Australian songs, dating from Banjo Patterson’s 1895 composition “Waltzing Matilda” to Paul Kelly’s 1987 hit ”To Her Door”. The material in between includes songs from The Seekers, Chad Morgan, Slim Dusty, Johnny O’Keefe, and Spectrum and more.

The musical performance across each of the 15 tracks is of a high standard; there are no ‘weak’ songs in this collection. Each song has a story behind it, and the liner notes provide a short snippet. I also found it interesting to go back and listen to the original songs (easily found on YouTube, where you might also look for “Happy People” by FAB and make the connection).

Some of the highlights include the two Slim Dusty songs, the yodelling “I’ve been a fool too long” and perennial favourite “The Pub with No Beer”. And if all country tunes were as good as The Beggars version of The Dingoes “Way out West” the genre’s reputation for cheap kitsch consumerism would disappear. The Aussie/Irish version of “Waltzing Matilda” culminates in a two minute rollicking instrumental fiddling its way to a conclusion. There’s a rousing rendition of “The Whale” and Stuart, Quinton and Renee all puff their way through “I’ve Been Everywhere” which is a breath stealing, knee slapping, tongue twisting tester of a song. Renee’s vocals are highlights on The Seekers “World of Our Own”, Paul Kelly’s “To Her Door” and the once banned anti-war song “Suvla Bay”.

They’re all good songs though.

As this is “Volume One” it would be fair to assume a “Volume Two” (and maybe more) will appear at a later stage. It will be interesting to see which direction The Beggars take with subsequent releases.

The target market for this “Songbook” probably includes ABC radio listeners (particularly “Macca” fans), lovers of folk / country music and Australiana, and Three D Radio Hillbilly Hooters. If you match this demographic you are going to love this album: it’s professionally recorded, beautifully sung, and honest as the day is long. Those outside this demographic should still grab a copy; the material, production and performance is excellent and this collection of Australian classics deserves repeated listening. If it doesn’t grab you at first, listen again. These are classics, and you can’t help humming and tapping along. Guaranteed. And I’m looking forward to Volume Two.

CD Review – Squeaker 2011 CD “Fly Baby Fly”

Genre: Pop, Electronica Re-Inforced Rock

Squeaker is a pop/rock outfit known around town for its strong live performances and full stage sound s which enhanced by pre-programmed loops and effects. “Fly Baby Fly” is Squeaker’s first CD and it seeks to capture the essence of the band live work. Considering the lone guitar is the only melodic instrument, the sound is very full for a four piece band. The electronica fills out the sound nicely.

“Fly Baby Fly” comprises six songs which deliver a cross section of the style of music served up by Squeaker. For those unfamiliar with the band, you could loosely put them in the Rogue Traders / No Doubt section of your CD collection (or MP3 files). Of course it’s never that simple, but that gives you a feel for the genre.

The opener “Falling For You” builds upon a Kylie-esque intro loop to create a solid rock song with driving heavy guitars interspersed with a subtle piano riff. “Good Times” also builds upon an intro loop, but remains closer to its electronic-pop origins. This is more of a club dance song, exploring little variation throughout. “Groove Down” kicks out the rock a bit more and explores more changes of pace than the opening two tracks. “Bigger than you & me”, “Out of this place” and “You’re a Star” round out the CD.

“Fly Baby Fly” is for those who have enjoyed the band live and want to add the memories to their collection. It’s also for those who like machine steady beats, proficient guitar work and solid club-oriented-rock. Overall the guitar work is impressive and varied, the drums and bass solid and the vocals sit comfortably in the mix. The engineering is professional enough for this release to hold its own on a station playlist with other name bands that play this musical genre.

This CD isn’t adventurous and it doesn’t break any new ground, but it does capture the essence of Squeakers impressive live sound, and that’s a fair enough place to start the band’s recording career.

CD Review – Where there’s smoke… 2011 CD “Where there’s smoke…

Genre: Alt Country

On the CD cover is a photograph of a lone guitarist, cast in semi-darkness with his country check shirt, Fender Telecaster and a buckled old Billy-Bob hat. This clearly stakes out the musical genre as some kind of Country, but all Country ain’t Country no more. Like the Labor Party with its millionaire celebrities and ex-wharfies, the Country Music genre has broadened and now ranges from the syrupy commercial sickness of the Lee Kernaghan’s, to the corny the Good Old Boys to the grating dust bowl rock of Son Volt and the like.

Where there’s smoke… is a five piece Alt Country band, no corn, just good listening songs; two guitars, keyboard, bass and drums, and some harmonica thrown in to add colour.

Matt Ward has a distinctive voice which would have suited many of the punk-ska bands I used to see in the early 1980’s, but it also fits perfectly into the pocket created by the Where there’s smoke… rhythm section.

The three opening tracks are rolling upbeat country tunes, along the lines of our own Paul Kelly, and they provide a nice foot-stomping introduction to the band. For this reviewer “Opal Inn” is the pick of the tunes with its simple but infectious chorus, a nifty bridge, and a middle eight that just rattles around your brain for days. I couldn’t get it out of my head, and didn’t really want to either. The opening track “Red Church” is also a head-catcher, and “Kiss in the Rain” isn’t far behind it.

“Cowboy Shirt” thumbs its nose at the Johnny-cum-lately would-be country music devotees who have jumped on the bandwagon of the latest musical trend. This is the kind of irreverent mockery that Skyhooks built a career on, and it’s a great Australian tradition adopted by bands who are genuine but don’t take themselves too seriously.

The ballads “Something about the Weather” and “Desert Rose” round out the album showing that Where there’s smoke… can produce a nice slow number too.

If you like your alt country music (like me) you will like this release from Where there’s smoke… I know I do.

CD Review – The Irresponsibles 2010 CD “Let It Out”

Genre: Rock

“Let it Out” is a consistently professional and hard rocking release from the powerful rock quartet The Irresponsibles. It’s a thoroughly enjoyable CD that never disappoints with its strong melodies, pulsing rhythm section, edgy vocals and structured songs that distain archaic formula rock.

As a creative art-form The Irresponsibles paint is Miranda’s voice applied to the swirling canvas laid down by Tash’s guitars against the solid considered rhythm section. Throughout the album Miranda demonstrates an outstanding grasp of rock-vocal phrasing, hitting the highs, pulling back to a whisper or launching a raucous scream, sensing what the song needs at any given point. With a few years of live performance under her belt Miranda has created a compelling rock front-(wo)man’s persona that may be unrivalled in this town, and it has translated to this release.

And yet, the importance of Tash’s guitar work on this CD cannot be understated. Tash has carved a solid sculpture which exhibits an enviable musical maturity. Her guitar work is to be admired, not because she pulls off dive-bomb lead solos replete with lightening fast finger-tapping, but because creates rocking melodic tunes without resorting to the usual guitarists clichés. The guitar in this band is a musical colourist, and it almost defiantly refuses to launch into predictable solos.

The album consists of 12 tracks plus an additional acoustic version of “Break Me”, which is given The Irresponsibles rock treatment earlier in the album. There are now three recorded versions of this song; an earlier, slightly heavier version of “Break Me” appeared as the opening track on the 6 track 2008 CD “Beginnings”.

“Home” is another track from this release that also appeared on “Beginnings”. Both versions have their appeal: the original version is raw and powerful, the new version subtler, more anthemic, but still powerful.

“Let It Out” also includes a cover of the Kylie Minogue hit “Confide in Me” which presents a slight variation in style. The synthesizers augmenting the rock sound developed throughout the album; it’s bigger, almost like a James Bond theme, but it’s not out of place on this album, and it still has The Irresponsibles flavour.

The rest of the album comprises raunchy rock with opening tracks “Pretty Boy” and “Loose” racing along to pulsing beats, driven guitars with woven overlays. In “Loose” the drums introduce silent half beats which are used sparingly and effectively to change pace. The guitar work in “Save the Day” is a flawless mix of power chords, barre chords, riffs and interchanges. Again, no rock solo – just variations in intensity, gear changes, silences and a modest use of effects.

The title track “Let It Out” is a powerful ballad with an eerie guitar slide and the effective use of vocal echo to build wall of noise. This song perhaps best represents the range and power of Miranda’s vocals.

A steady succession of killer tracks includes “Take Me Over”, which ends on a Tom Morello inspired guitar riff, the bluesy rock staccato shuffle of “Bit of Fun” and “Somebody Else” which adds a touch of sadness with the simple use of a single minor chord.

“Song for Rob” is the only acoustic tune on the album (apart from the re-recording of “Break Me”) and on it Miranda shows she can carry a simple acoustic song on the strength of her own voice.

This is a great rock album with a mature sound from a hot band.

CD Review – Self Preservation Society 2010 EP “Gone with the Wind”

Genre: Alt Country, Blues, Folk, Roots, Spoken Word

“Gone with the Wind” is Tristan Newsome’s third and final EP in the trilogy that chronicles a semi-fictional road-trip with the elusive conspirator HW Bones. In order to properly appreciate the context of “Wind” listeners should acquaint themselves with the two previous EPs (“#42” and “Tamworth City Streets”), however, this is not essential as this short collection of 5 tracks can be sampled in isolation.

The narrative developed in “#42” and “Tamworth” is maintained in this release, with HW Bones persisting as a disruptive and possibly imaginary influence on our protagonist’s life. Back inAdelaideafter the road-trip fromQueensland“A Phone Call Home” is a narrative, read aloud but possibly representative of a stream of consciousness, accompanied by jarring acoustic plucking and dustbowl winds. HW Bones has met a girl at the Grace Emily and abandoned his friend. The empty telephone conversation and discursive musings describe the empty loneliness, real or imagined, of a mind abandoned and floundering for reality.

The grungy acoustic/electric of “Outlawed Action Man” is reminiscent of The White Stripes, but without the drum. This fierce, angry country rock tune, describes the potentially violent reunion and confrontation with the wild HW Bones.

The anger and hurt of loss is tempered by acceptance and life goes on. “Firing Lines” is an acoustic melodic love song, evoking images of Clark Gable waltzing joyfully, the tails of his coat gaily flapping as he swirls through the ballroom. “Yeah I’m still drinking, yeah I’m alright” is the false bravado covering the pain and anguish just below the surface, the “hush fingered firing line” ready to fire and end it all.

Rounding out the EP is “Old Man Blues”, which is part Bob Dylan folk, part Charlie Patton blues, and part Tristan Newsome hunting down the devilish HW Bones. The acoustic folk/bluegrass “Different Towns” is a forlorn retrospective of what was, and what could have been.

There’s a lot to like about Tristan Newsome’s voice, his song-writing, and his ability to craft an interesting story. This third EP concludes the trilogy with a consistency across the three releases.

CD Review – The Yearlings CD “Sweet Runaway”

Genre: alt country / folk

Chris Parkinson and Robyn Chalklen are The Yearlings and “Sweet Runaway” is the fifth release from this local alt Country / folk duo.

This collection is well produced, the mix is top-notch, and the instruments deliver a sound that I can only describe as juicy and oaken-honey soaked.

John Mellencamp recently released a collection of songs recorded live-to-tape, with many songs recorded through a single microphone, and all recorded in lo-fi settings such as the hotel room where Robert Johnson quietly scratched his legend into history. John declared his protest against modern over-production by presenting a collection of tunes suffering from digital poverty.

Quite separately, down in MaslinBeach, The Yearlings pulled out an old 8 track tape recorder, mic’d up the room to create their own home-made studio, and invited some friends to join them in recording some homespun tunes. Throw a light blanket of tiple, Wurlitzer,Hammond organ, banjo, and accordion over the understated backing tracks to create an almost formless but sublime blend of perfect moods. The background tape hiss that bookends each song is a welcome old friend to those of us raised on cassettes and records, and while audiophonic perfectionists may protest that modern technology has rendered it unnecessary, there’s a fair old argument to be made that an analogue tape adds a sonic dimension that the digital studio just cannot capture.

The songs tend to play on mood, developing the harmonic vocal interplay between Robyn and Chris. Opening with Butterfly, Robyn delivers a laconic meandering over a still meadow in spring. This is an acoustic shuffle of gently pulsing tremolo, late nights, lonely mornings and broken hearts. Distraction is Chris’s riposte – a gentle, rolling chord progression weaving between the fire-side and the patio. Eerie, and redolent of dark events, open spaces, and gentle foreboding, Robyn caresses us through Drive All Night, a lost highway soundtrack of tremolo and distant slide guitar.

Like a swollen river, once these songs start they just keep on rolling; peacefully rolling. Wildflower Girl is a slightly sad duet, followed by Chris’ slightly more upbeat Shotgun Eye and Sweet Runaway. The remaining 6 songs consistently deliver more of the perfection crafted in the first half of the album.

This is a superbly balanced collection of songs, the packaging is professional with lyrics, liner notes, and a picture of the family dog included; this latest offering from The Yearlings is well worth a listen.

CD Review – Self Preservation Society 2010 double EP “#42” and “Tamworth City Streets”

Genre: Alt Country, Blues, Folk, Roots, Spoken Word

Tristan Newsome is the smooth voiced troubadour who fronted the now disbanded local group “The Flying Squad”. Self Preservation Society is Tristan’s new venture; a paired back vehicle for presenting his acoustic tunes and stories of life on the road.

The songs on these EP’s are inspired by Tristan’s road-trip from Brisbane toTamworth. Tristan’s pilgrimage is shared by an elusive but chaotic character called ‘H W Bones’ – an imaginary friend of sorts, but more the creation of a gonzo lyricist than that of a child living a world of fantasy. You can see how this collection of songs would emerge from a lonely road trip with nothing but an acoustic guitar and an imaginary friend for company.

The EP’s are released through “quiet pop” a relatively new label supporting local art and music. The CD covers are an interesting design – they are a sheet of white A4 paper carefully folded to provide a snug home for the CD. Also inserted with the CD is a letter from Tristan which provides background information about the story that is about to unfold.

So, to the music.

The first EP is called ‘#42’, which kicks off “Lonesome Spring evenings (thinking of you)”, a Tom Waits-ish monologue over guitar and background noises. Then comes “Make Room”, a bluesy/grungy acoustic tune with a faintly receding electric guitar and decadent background drum beat. Somewhat Dylan-ish, it ends in a rather angry piece of pent-up energy.

A Slow, cavernous Reverb-soaked dirge called “The Well is Dry” ensues, then ”Stumbling Alone” varies the pace somewhat with the introduction of Mandolin and drums played with gentle brushes. The EP’s finale is the droning acoustic “Blues in D#42”, complete with delta harmonica solo.

‘Tamworth City Streets’ is the second EP. It’s a more straight forward collection country blues appropriate for aTamworthtrip. The title track is an acoustic country monologue about the trip fromBrisbaneto the Tamworth Country Music Festival. We are then introduced to “Old Bill”, a timeless inhabitant of the town streets, before marching uptown to the beat of the acoustic blues tune “Blues in E#54”. Johnny Cash might have rode into town to introduce this one.

Possibly the most up-beat of the 10 songs is “Self Portrait”. It’s an acoustic tale of suffering for your art. No doubt autobiographical. The EP ends with “Tested Twice in Tenterfield” – an acoustic blues song with a harp solo, it has the heavy influence of the Rundle Mall busker.

Tristan Newsome seems to be on a journey to discover his musical soul; “Self Preservation Society” is the next restless step on his path to enlightenment. This collection is different to what he has done before; it is probably going to be different to what he does next. Tristan is blessed with a smooth voice, the ability to write interesting observational lyrics, and a firm grasp of how to structure a song. Armed with these skills it will be interesting to see where it takes him. For now, his EPs are an interesting creative experiment that warrants further listening and exploration.

DVD Review – HOY-HOY! 2010 DVD “Live – The 18th Birthday Show”

Genre: Aussie Blues

This DVD captures some of the legends of the Adelaide Blues scene live on stage at The Gov, celebrating Hoy-Hoy!’s 18^th Birthday. Some may be surprised that this is only the 18^th birthday for Hoy-Hoy!, as they seem to have been around for ever. However, when Frank introduces some of the guests in final song it becomes apparent that show is also a 34^th birthday celebration for a group of Adelaide Blues stalwarts who kicked off way back in 1976 at The Windmill Hotel in Prospect.

Although these guys are all seriously good musicians they don’t seem to take themselves too seriously; there’s a healthy dose of self-deprecation evident. That’s the blues though. The greats like Muddy Waters and Willie Dixon mostly held down day jobs, and the Hoy-Hoy! clan areAdelaide’s equivalent. Willie Dixon,…meet Frank Lang.

Hoy-Hoy! is a Texas Blues band, so Stratocasters are mostly in order, with exception being the first guest artist – the legendary Don Morrison. Don appears with his trusty old hollow body Guild tuned to open G to play a couple of DonMo original tunes – “Why do You Pick on Me” and “Happy Birthday to Me”. He’s ditched his trademark flannel / country shirts and dressed up for the occasion, wearing a suit and string tie. Someone forgot to tell him it was “neat casual” (maybe that’s Don’s invitation you can see stuck in Frank’s shirt pocket). Don and Frank don’t quite channel the energy of The Sensational Bodgies at The Angus, but it’s nice to see them grooving together on stage.

The show moves on from Don’s raw slide to the melodic strato-blues of young Michael Brown playing “Rivera Paradise”. Cleary a virtuoso guitarist heavily influenced by Steve Ray Vaughan, Michael is visually closer to John Mayer than SRV. He doesn’t put a note out place in his two songs, which includes a behind-the-back-of-the-head solo during “Superstitious”. If you were wondering who is going to keep the blues alive when the legends retire, heres a clue, keep an eye on Michael Brown.

Chris Finnen joins Frank and Trapper for “African Marketplace” which adds a change of pace and colour. Dressed in traditional African garb, Chris hops and dances about the stage plucking his 12 string. It’s an interesting variation on the blues theme. Finnen joins Trapper for a drum solo before attacking Frank’s bass with a pair of brushes. His second performance “Hat Coat Shoes” is a more traditionalChicago blues.

Mauri Berg is the most recent addition to the Hoy-Hoy! line up and he joins Frank for “Never Get Me Up”. They move on to the Robert Johnson classic “Crossroads”, and Dylan’s “All Along the Watchtower” with Mauri emulating Clapton and Hendrix. Mauri shows he’s an accomplished professional by returning a near faultless performance.

Dave Blight joins the trio to complete the 4-piece line up. They finish out the set with Frank singing “She Takes Me Up”, “Stagger Street”, “Largs Pier Jive” and “Night Time”. The show ends with all of the guests back on stage to jam along to the Fabulous Thunderbirds “Wait on Time”.

As a vocalist Frank Lang is an enigma. You wouldn’t say he was born to sing, but what he does suits the band, and he is solid and warm presence on stage. The weaving of Mauri and Dave’s guitar work is impressive and you can see why Hoy-Hoy! has been together for this long. In this era of DJ’s and pokies we may not see a group of local bluesmen like this again; it’s worth adding this DVD to your collection for that reason alone.

CD Review – Courtney Robb 2010 CD “Amid the Noise + the Haste…”

Genre: Courtney and Western

I’ll cut straight to point here. Courtney Robb carries two instruments; a melodious Maton guitar and a marvellously mellifluous voice. I believe they may be inseparable, conspiring to caress the walls of bars, clubs and country barflies across this land. Courtney has travelled broadly and done just that; I can hear it in her lyric.

Courtney is a singer-songwriter, and in one sense this is the easiest thing for a guitarist to be. They all embark upon the same journey – sitting in the bedroom, musing lyrically about the world they know. Many stay in their rooms, a few more impose their mediocrity on the world, and a smaller number appeal to a wider audience through their talent and sheer perseverance. Courtney Robb is one of the few emerging from the chrysalis that deserves to be heard.

My wife Sam found me listening to this CD. It’s rare for Sam and me to like the same music, but this CD was an exception, so we got to talking about it. Sam says it’s the kind of music two girls might listen to when they are having a heart-to-heart over a coffee (or a wine).

The songs sound like they were all written on the acoustic guitar, maybe in a big old comfy chair, maybe in a dusty truck-stop. Robert Johnson did it and his simple genius spawned generations of imitators. In the right hands the acoustic guitar can be magical. Like Johnson, Courtney has relied on herself, but she also knows when to call on friends; friends who can help her mould and develop her music. Even so, only 8 of the 14 songs are what I would call “band songs” – featuring a drummer and the sound a band might generate. The rest is pure Courtney, Maton, and some instrumental condiments to add flavour. This works for Courtney. It works for Sam. It works for me.

An Acoustic Chanteuse will inevitably produce her fair share of sad stories. The music industry is still a man’s world. Courtney sings of relationships, friends, lovers and disappointment. Weeks of introspection – thinking about what went wrong and why – can drive musical creativity. Courtney has dipped into her well of sorrow and loss to create some beautiful songs.

Opening with the country blues tune “Time” we are slowly dragging ourselves along a dusty road with a mandolin taunting our loss of youth. The slightly more upbeat progression of “Games” questions morality, asking us to put our choices in perspective. The first of the acoustic songs “Jaded” follows, also trying to put our existence into perspective, and in “Lies” Courtney despairs and cries that she’s not going to succumb to the lies and deceit that she despises.

With its pellucid chorus the lighter travelling song “Company” is probably the most commercial of songs in this collection.

Sung to a boy “A Step Back” has the girl taking control of the relationship when he has let her down. Perhaps this was written at the same time as “Playtime’s Over” – a more upbeat song aimed at an arrogant country boy who thinks all the girls want him. Courtney has met these boys a 100 times in a100 different towns; she knows how to handle them. The friend in “Reflections” is also a disappointment

The gentle acceptance of “Letting Go” reaches an emotional crescendo when Courtney is joined in by Simon Peter Hopkins in a vocal duet. This is a truly moving point in this collection of songs – I can’t even say why. Perhaps it is because I have followed Courtney into the depths of her introspection and now I rejoice that she has found a partner in harmony. My favourite song.

“Lazy Afternoons” is a musical stream of consciousness. What do I do when he’s left me? How do I survive? I miss him, but I need to get on with life and make him proud, even though he doesn’t care for me anymore.

“Good Intentions” and “Major Chords” continue the acoustic theme before rounding out the album with the chord progression of “More Like You” and the mellow “Waiting for You”. A suitable finale for the album – waiting for her lover to come home. Time to go to bed, disappointed.

This is a very personal album with Courtney’s emotional experiences laid bare. It is moving, emotive, at times sad, yet musically enjoyable. Like all good albums, this will be plucked from the collection to be heard again when the appropriate life events occur. Good music attaches itself to emotions, and “Amid the Noise + the Haste…” has achieved that.

CD Review – Incarnadine 2009 CD “The Soldier”

“The Soldier” is an EP release for Incarnadine. Although it comprises only 3 songs, there is a consistency that suggests this release is representative of the rest of their material, circa 2009.

For a reviewer, a CD release comprising 3 songs is an interesting challenge. I mean, do you treat it as a Single with two B sides – and if so, which song is the Single. Or is this a cut down EP – and if so, why is it only 3 songs? Did they run out of ideas, money, time, or is there another reason? As a regular gigging band that is clearly professional and well organised I suspect there are other reasons that will remain a mystery. Maybe together the 3 songs tell a single story. A story of war, death, loss, betrayal, and flesh and blood. Incarnadine.

For this reviewer, that is not the full extent of the mystery with this release. I think I can safely say that I had never said or written “Incarnadine” before I reviewed this CD. I bet that unless you have something to do with this band you have probably never said or written it either. Add that to our vocabularies, thanks Incarnadine.

The title track “The Soldier” starts off like the theme music for an American Criminal Investigation series before launching into a classic rock tune, employing dual guitar interplay, modal riffs and harmonics set against a subtle keyboard backdrop. A chugging pair of heavy guitars sets the background tone for most of the song with Suze’s strong but somewhat understated vocals hovering above the palette. Carl’s guitar solo is restrained – you can appreciate an artist who holds back when clearly capable of delivering more. This song is catchy and solid material for Adult Orientated Radio, but I don’t think it’s the single I was looking for.

As a teenager I remember Anne and Nancy Wilson bursting on to the music scene with their band Heart releasing “Magic Man” and “Barracuda”. Although I can’t say I joined up as a fan, I did enjoy those songs as they broke up the horrible monotony of mid-70’s commercial radio releases. On this CD the second song “The Reaper” reminds me very much of early Heart; Suze’s strong female lead vocals augmented by Robyn’s vocal harmonies, and heavy rock guitar. This song would be my choice for a commercial release as it really does get into your head after a couple of listens.

The final song “Liar” is a ballad which allows Suze to deliver her vocals across a slightly broader range. It’s a sadder song, almost with a Spanish feel to it. The short guitar solo is a gem. Carl again plays within himself and it works.

This band has its own sound. It is distinctive, consistent, and firmly in the “Rock” genre with a leaning towards the heavy side. Musically, Incarnadine could deliver material across a range of styles from Classic Rock to Melodic Death Metal, but Suze’s vocals are going to define them. I wish them all the best.

CD Review – Cow 2009 CD “The Long Ride”

UPDATE 2011 – “Cow” has undergone a name change and is now called “Sun Theory”

“The Long Ride” is Cow’s third CD, following on from their debut “Cow” in 2006, and “Sunset Posse” in 2008, and it’s a polished collection of 12 beautifully crafted vignettes. Melancholy, uplifting, lyrical and musical, these songs contemplate the simple yet complex relationships and emotions that frame the lives of ordinary folk. Folk like you and me.

Cow is a 5 piece band comprising experienced Adelaide musicians Glyn Lehmann (keyboards), Steve McBeath (drums), Anthony Scott (guitars), Michael Boundy (bass), and Rich Coldwell (guitars and main vocals). Although they would best be described as Alt-Country, this genre encompasses a broad spectrum of interpretation; the songs on The Long Ride are constructed using a variety of instruments, arrangements and structures. Rich Coldwell’s vocal deliver a consistency throughout the album with a variety of backing vocalists and instruments enriching the bands core sound.

The opening track is “Black Days”, and although it is a sad song (it’s about depression), it is also uplifting. The irony of a beautiful song about depression captures the essence of the condition. Reaching out to guide a friend through the uncontrollable darkness, yet being unable to shine a light. It’s a perfect song.

The melancholy mood continues with “December”, this time exploring relationships and the illogical nature of their dynamics. Rich’s vocals and the sparse piano interweave with the tremolo volume swells to create a mood that would not be out of place in a David Lynch movie.

“Je Men Fous” is a lighter tune, more uplifting perhaps. Some nice brass arrangements, poppy backing vocals and a juicy guitar solo interplaying with the organ. I suspect this song is about beautiful but vacuous women, and beauty is not always as it appears. “Outside your Circle” is a “get in your car and go” song driven by chord-jangling piano and Rich’s narrative storyline.

“Hippy Three” has an open-air feel to it. You can picture a meadow, a stage, a warm breeze, a young hip crowd swirling with beads in their hair. This song has its roots in the Seventies, not the Noughties. Could be Sunbury, could be Woodstock, the juicy guitar suggests the latter. “Be True” changes the pace again. A lonely piano and sad yet beautiful strings, it paints a picture of a long late night around an open fire with too much said, and not enough remembered. A fat horn section features in “Crash”, telling of young hearts on the road. This is Cow‘s trip to Vegas.

“Dark Ages” is Alt-Country along the lines of early Uncle Tupelo. With its green anti-globalism theme, this is the only political song on the album. It is musically grittier and therefore slightly at odds with some of the other songs.

Certainly the remaining songs return to more familiar themes: “In Front of Me” with its slide guitar; “Beer and Cigarettes” mixing fiddle and lap steel to a hoe-down country honk. “The Long Ride” opens on old organ, reviving memories of days gone by in an old home town that you’ve out-grown and escaped from. A sentimental song, it will have meaning for anyone who has ever left, and briefly returned to find they no longer belong. “Frames” completes the picture. It is a beautiful and lyrical piano contemplation on the photographs that litter any house, telling stories of times and people gone by.

The Long Ride is an enriching experience. With its lyrical depth and musical maturity it is the work of seasoned musicians and artists. To sum it up: I love this album.

CD Review – Tracer 2009 CD “L.A.?”

“L.A.?” is the second EP for Tracer, following on from “Tracer into the Night” (2007), and fans will be pleased to hear that the band has stayed true to its sound and dished up another selection of hard rocking songs.

Tracer is a 3 piece rock band with its roots and influences stretching back to 70’s guitar rock icons, but “L.A.?” definitely has a contemporary sound that will appeal to listeners who enjoy bands such as Grinspoon, Foo Fighters, and Audioslave. This is energetic music that is best appreciated at loud volume with a couple of beers.

Considering the band is a 3 piece the overall sound is full. The guitar overdubs are not overly intricate or excessive, and somehow the songs manage to retain the feel of a 3 piece whilst presenting the fullness of a two-guitar band. The vocals manage to deliver the same effect; harmonies are sparse, but the vocals never sound lonely, although they are often alone.

The songs on this EP are not “catchy” in the commercial sense as they don’t really have a hook or an anthemic chorus. They are infectious though – I found myself looking forward to cranking up “L.A.?” in the car CD player each morning.

The opening track is “End of the Samurai” which sets the tone for the first 6 songs – hard edged guitar rock. When the lead solo kicked in I had to smile – perfect control of a Wah pedal is an ancient art not everyone can master, but Michael Brown has done well here.

“Don’t forget my Name” is next – a catchy tune without a catchy chorus – followed by “Wrecking Ball” which is the song most likely to attract commercial airplay.

“Get Free” is a slow and heavy song that changes pace to something like the hard-rock equivalent of an Irish Jig beat half way through the song (well, not really, but it made me think of Thin Lizzy and they were Irish). The lead solo is short and simple, but like all of Michael’s solo’s it delivers great tone and accomplished vibrato. “All Look the Same” follows, and it’s clear by now that this EP has captured a consistent sound and is very well produced and mixed.

“Such a Waste” is the last of the hard rocking tunes, and the bluesy ballad “Sleep by The Fire” completes the EP. “Sleep by The Fire” is a nice change of pace, both vocally and musically, and it has a real Stevie Ray Vaughan “Dirty Pool” feel to it.

I am really looking forward to the CD launch, because as good as Tracer sounds on this EP, I know that a live performance of these songs at full volume will blow the audience away.

Finally, I would like to congratulate the Brown brothers for having the sense to realise that since God gave them classic rock vocal ability they should form a classic rock band. Michael and Leigh Brown were born to belt this stuff out – long may they continue to do so.

CD Review – Tom West and The Art Therapists 2008 EP “Symbolic Bicycles”

“Symbolic Bicycles” is a 7 track EP following on from The Art Therapists 3 previous releases. It is a collection of beautiful, at times haunting acoustic melodies. Hand drawn sketches adorn the buff re-cycled paper CD cover. There is no plastic exterior, and a duck-egg blue CD with a tiny ballerina waits within. Let me play the CD, close my eyes and enter the world of Tom West and The Art Therapists. Let me tell you what I see…

The title track opens with Tom West and Sarah Morecroft sharing the vocals. It’s a pretty little tune which evokes images of a brook gently rolling across a verdant glade in spring, mayflies and swallows brushing the azure wash. Hand-in-hand Tom and Sarah stroll barefoot, their bicycles leaning against a nearby rickety fence. Still warmth preens their happiness, hinting of better days to come, but there is something of a forlorn undercurrent to their mood.

The gentle brook bubbles into the next track “No Destination”. Sarah sleeps beneath a big old oak tree; it is cool and Tom sings wistfully to himself. He reaches a station, a siding, and the train shuffles on by. Steam meets the mayflies and slips gently into the clouds. The train shuffles by, the whistle imitates a harmonica, and then it is silent. A rolling acoustic country shuffle permeates the air.

“Flying”. Tom accompanies his own guitar and sings of the local hinterland and events. Sarah and the ukulele join Tom for the chorus, and fingers scraping on bronze strings hum merrily in the background. Some harmonies caress the clouds; a harmonica calls our name. We can fly amongst the clouds too.

“Pirouette” is an up-tempo acoustic melody. I would dance to this, I would pirouette and swirl with dilettante steps. So would you.

“Monsters” is a slower ballad with Tom, his ukulele and his acoustic guitar. Yes, there are monsters everywhere, but stand up to them in whatever guise they take. Tom and the Art Therapists have a political edge to their music, but the politics is subtle and does not overpower the music.

The “Sunrise Song” sets-up a nice little groove which rolls into the EP’s first (and only) guitar solo before moving onto the last song, “The End”. It is the end of the day; Tom walks off into the distance, his whistling solo echoing from the end of the dark cobbled lane

This collection of songs evokes poetic moods. Tom has a unique voice, and paired with Sarah and his delightful songs they carve out something beautiful. It is music to listen to, music to think to, and music to reflect upon the beauty surrounding you.

CD Review – Universum 2008 CD “Leto Destinatus”

Band Website: http://www.universum.com.au

“Leto Destinatus” is the first release from local Melodic Death Metal band Universum, and if you are into Melodic Death Metal you are going to have to get your hands on this album.

Death Metal is not everyone’s cup of tea, and it can be quite challenging for those who have not embraced the style, but Universum’s Melodic Death Metal is perhaps easier for the traditional rock fan to absorb. The demonic gothic growling vocals are there, along with the bleak outlook on life and the feeling of impending Armageddon, but overall the music is more accessible to the uninitiated.

Comprising 13 tracks and playing for around 50 minutes, the album delivers a consistently high quality of production, song-writing, arrangement and musicianship. Although recorded in Australia the mixing and mastering was done by Jens Bogren in Sweden. The CD is also very professionally presented with some interesting artwork from Brazilian Gustavo Sazes. In fact, the overall package is so professional that I had to double check that Universum was really a local band.

The guitar work of Michael Soininen and Stephen Murphy is flawless and technically impressive, and Jaron Soininen’s drumming is stunning, delivering double kick bass rollicking fills and rhythmic variations at will. Adam Soininen’s vocals are consistent and compelling, and Michael Soininen helps out with some melodic vocal work in some of the choruses. The keyboards are generally subtle and do little more than add some background colour except for gentle atmospheric introductions to a couple of songs.

The first three songs are strong and unrelenting, with the third song “Disconnected” gently fading out with the keyboards, signalling a change the pace on the album. The fourth song is the short and melodic instrumental “Solitude”, which provides a gentle launching pad for the beautiful growling hurley-burley of “Damage”.

Next is the driven melancholy of “Invisible Scars”, a fast-riffing masterpiece with Adam’s growling vocals juxtaposed with Michael’s standard rock vocals in the chorus. “War of Ages” follows with more of Michaels vocals; this is probably the most commercial track on the album. These four songs represent the high point of the album to me. They are also are probably the most accessible series of songs for listeners new to Melodic Death Metal, and so I would recommend starting at track 4 if you are in this category.

The rest of the album is just as strong as the first half, and the guest appearance of Mors Principum Est guitarist Tomy Laisto on “Ignite the Subconscious” slips into place as if he were a regular member of the band. His style is different, but it fits perfectly.

I have to confess that I do not usually listen to Death Metal and was somewhat daunted at the prospect of reviewing something I knew little about and didn’t really understand. Fortunately “Leto Destinatus” was my introduction to this genre and I am suitably impressed with what I have heard.

If Universum can deliver a package this professional first up then they are destined for a long and successful career.

CD Review – Black Knight 2008 EP “Not Made inChina”

Band Website: http://www.myspace.com/blackknightband

“Not Made in China” is the first release for young Adelaide rockers Black Knight, and it plays like a short live set, with the boys putting all of their wares on display.

The opener is “Long Brown Hair”, a sneering missive about a girl with long brown hair. This is a fast paced, energetic 3 minute pop song. The hard-edged guitar assault incorporates subtle gear changes which vary the pace effectively. Lyrically unsophisticated, musically raw, but the brown-haired girl is left in no doubt about how singer Matt feels about her. A great opener – the crowd has warmed up and the gig is cooking.

Next is “Run”, a catchy pop tune with a hint of “hit song” about it. It’s probably the strongest vocal performance on the EP with singer Matt’s falsetto hook at the end of the line pleading us to listen. Another song about a girl, but this time he wants her and pursues her. She’s elusive. The final 60 seconds is powerful; moving from a steady run to a frantic sprint for the line. The guitars riff and jostle with the drums for position and I’m left breathless. Fantastic song – book ‘em Danno, murder one.

“Over the Sea” is the minor key ballad that begins with the sound of crashing waves. It’s melodic, sung with great feeling, and the vocal emotion is captivating to listen to. The soaring guitar solo doesn’t emerge when expected, and that’s about the only downside to this track.

It’s time to increase the pace again. “Area 51” is about an alien speeding to his spaceship after escaping from the authorities – this could be a thinly disguised political statement. This is a heavier 70’s style song – the guitar solo suggests a Deep Purple influence and Roger Glover would not feel out of place driving his organ through here. There is a hint of honky-tonk piano in the background at one point, and the wah pedal augments the guitar solo. Another great song full of energy; no girl in sight this time.

“Magic Woman” is a 60’s inspired pop tune written by drummer Adam Horwood. In style it has the ring of The Who or The Smithereens – very powerful, and a stunning end to the EP (possibly my favourite song, but they are all good). Always leave them wanting more – surely the crowd is stamping for an encore after this. I could listen to another hour of songs like this; hopefully Black Knight will reappear and play them for us.

“Not Made inChina” is a really good listen if you like guitar rock. It represents a work in progress for a young band that clearly has what it takes to be a great rock band. Their talent has allowed them to start the journey; persistence and a bit of luck will get them there. This EP is well worth a listen, and I will be catching their next gig for sure.