Tuesday, September 29, 2009

Steering By Stars

In the three weeks and two gigs (and one solo performance) since I first heard this Adelaide four-piece (featuring past and present members of Aviator Lane, Lumonics and Zeta) I've found myself transfixed by their hypnotic swirls of guitar, atmospheric drums and indecipherably reverby vocals, like Ed Droste awash in a layer of echo and fuzz.

The tunes from their debut album Cables might sound meticulously layered and honed in the studio, they are actually a pretty accurate documentation of their live performances
(which are by the way, mesmerisingly formidable), recorded in just 3 days at Broadcast. If I had my way, they'd get signed to Spunk!, tour with the Middle East and Leader Cheetah and be "forkast" before the year is out.

Steering by Stars - Ether

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Sunday, September 27, 2009

Boy & Bear

Following up from the excellent single "The Storm", their first under the Boy & Bear moniker, "Mexican Mavis" in many ways reaffirms this Sydney band's love of the Fleet Foxes, in a similar manner to the Hungry Kids Of Hungary's unabashed Vampire Weekend pastiche in "Scattered Diamonds". This song sees the swirling pastoral harmonies of their first single augmented with a crunchier chorus and some nice spiralling guitar textures.

Again, the band centres around the voice of leader Dave Hosking, which sits somewhere between Seagull, Jae Laffer and maybe even Xavier Rudd. Like HKoH, it makes for a likably sunny Australian salute to some great overseas sounds.

Boy & Bear - Mexican Mavis

Friday, September 25, 2009

Aviator Lane

Gravitating around the songwriting smarts of singer-guitarist Michael Radzevicius and rounded out by Rory O'Connor and Tom Smeets (both of Steering by Stars), Aviator Lane have been flaunting their intimate folk-pop wares around Adelaide and Europe for a few years. They strike me as the less eclectic, more introspective and hairier cousin to Adelaide's other premier digi-folk band, Clue to Kalo.

"Best Untried" is from their first album
Common Distance, and has some nice programmed drums which lend a cool Postal Service flavour to the hushed, unassumingly emotive singing and shimmery atmosphere.

Tuesday, September 22, 2009

Washington - Interview

Megan Washington has been on the up and up over the past 12 months since winning a Big Day Out slot and JJJ airplay with the song "Clementine". The success of that tune, and the general JJJ embrace that has seen current single "Cement" become a radio hit has added pop cred and success to the jazz-trained singer's resumé, which already included stints playing with Old Man River and Kate Miller-Heidke. Washington, her current band, which includes members from the Bamboos, frames her velvety voice with a gorgeous and infectious pop sensibility.

Megan was kind enough to answer a few questions for me...

You have some great lines and lyrics in your songs, how do you approach songwriting in regard to balancing the musical and literal elements?

I think I write very literally - each song is often about a specific event or incident or period in my life, like musical polaroids or something. The lyrics and the music usually come together at the same time, although there are always a few draft versions of a song by the time it gets recorded. Lyrically I just try to say exactly what I mean in the fewest possible words, which is where I think I have the most fun - changing, chopping, making words flow and rhyme. I really like rhyme, and trying to use different poetic devices. Nerd.

With tunes like Cement and How To Tame Lions, there’s a much greater band vibe with this EP compared to the Clementine material. How much collaboration is there with your bandmates?


With the band we kind of work backwards. I'll write a song and then take it into the studio with John Castle, my producer, drummer, and general legend. Then john and I will spend a few days tracking it (he plays every instrument under the sun) until it's arranged and basically done. Then we give that track to the band guys and they learn what's there - they often have ideas of their own which we'll then work back into the recorded version. So there is definately collaboration, it's just not usually in the same room at the same time.

Apparently you’ve been traipsing overseas writing songs for your album, what kind of people are you working with? Has it been fun/productive?


Most recently, I just got back from a month in New York. It's been really fun, of course it's fun, it's New York! I've been writing with a few people, some of them well known, some not so much, just trying to get the best possible material for the album, which will be coming out next year. I've also got some songwriting sessions coming up in the next few months with some pretty amazing songwriters so hopefully that will go well.

Somewhere on last.fm a fan theorised that “Cement” was something of metaphor for people posting embarrassing/humiliating secrets on one’s facebook wall. What do you make of that?


I think that's a very creative interpretation of the song! It's not about that to ME, but everybody is free to interpret a song however they'd like. Some people have suggested that it's about the media, text messaging... I didn't write it to mean that. It's based on actual events. Terrifyingly.


How does this wave of success with Washington compare to your time as a Jazz singer and playing with Old Man River? (Those experiences must have been a great learning curve for what you’re doing now)


Absolutely. Although, I think it's very common for people not to pursue what they studied at university. I studied jazz but realised that I'll never be a 'jazz singer' (whatever that actually is). I mean, Andrew Stockdale was a photographer before he started Wolfmother... lots of people in bands studied other things before they decided to do music. I'm just the same, only I studied a certain musical idiom. I knew nothing about being in a band so playing in Old Man River was the perfect thing for me to do after I finished uni, because even though it was still music it was so incredibly different to anything I'd ever done. I really learned a lot being in that band. Those experiences definitely helped when it came time to start my own.


Lastly, what albums have you been listening to as of late?


'In The Morning' by The Shivers

'Tim' by the Replacements
'Goodbye Weather' by Seagull
'Transformer' by Lou Reed
'Poses' by Rufus Wainwright

Washington's first national release, the How To Tame Lions EP is out now (and, surprisingly, features the brilliant tune "How To Tame Lions"). They're also touring with Oh Mercy in October, a combination so dizzyingly amazing that I may just pass out.

Washington - Clementine


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Friday, September 18, 2009

Video Knits

The Shiny Brights. In retrospect, their last single was a perhaps a little too self-consciously anthemic for my liking, but all is forgiven with this new tune which I have to say is perhaps their best so far. It channels the Wombats and dare I say it, Jet, with some sweet multitracked vocals that accentuate singer Wolfgang's nice Australian lilt.
The Shiny Brights - Not Too Old
Volcano Choir. Like most I fell giddily in love with Bon Iver's debut and follow-up Blood Bank. With this collaborative side project Justin Vernon injects a little diversity and pep into his palette that reveals there's more to him than loneliness, cabins and liver disease.
Volcano Choir - Island, IS
Nicholas Roy is a Melbournian fellow who made this shiny, shiny pop tune, which sounds like it could be an amazing lost Simba song from the Lion King. I know, right?
Nicholas Roy - Walls

Wednesday, September 16, 2009

The Warsaw Flowers

As their name suggests, Adelaide's Warsaw Flowers dance a line between the dreary and grey (warsaw) and the pretty and delicate (flowers). Often sounding like the more contemplative moments of mid-90's Oasis, the band are characterised by the vocals and lyrics of leader James Stewart, a melancholic mix of Paul Dempsey and Youth Group's Toby Martin.

Much of their EP (with the appropriately sombre title One Man's Lament) boasts melody and hooks full of the potential and gravitas to really ensnare the listener, but often (frustratingly) fall just short of the crisp definition that would really make them emanate awesome. At times it makes for a for a bit of a heady mix, but at their best, they can produce upbeat and focussed tunes like "Tom's Song".

The Warsaw Flowers - Tom's Song

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Thursday, September 3, 2009

Fire! Santa Rosa, Fire! - Interview

Fire! Santa Rosa, Fire! (hereafter, FSRF, for laziness' sake) have at last resurfaced with a swell new single in the rambunctious synth-country-rock of "Animal Spirit Guide", the follow up to the lurching behemoth of a tune that was "War Coward". With that song, the Adelaide five piece rang in the start of a new era for the band, with a reconfigured lineup (enter 'chanteuse' Caitlin Duff) and a renewed musical focus, after a few years on local stages in a haze of too-tight T-shirts and hyperactive dance rock.

Anyways, since I'm in love with the new tune, Art Zinoviev from the band agreed to have a few words about the song and the band's progress over the years:

The country twang of the new single seems a bit of a stylistic departure from a lot of your earlier stuff, what’s the story behind it?

I suppose it is a bit of a departure. We're constantly being influenced by bands and themes, both old and new, like for example when we wrote War Coward we were listening to a lot of Battles and thinking epic monolithic mountains were awesome, whereas in the week we wrote Animal Spirit Guide we may have been listening to equal parts Fleetwood Mac and the soundtracks to the Sonic games on Mega Drive. We never like to write the same song twice.

As to the story behind Animal Spirit Guide? It may or may not be based on a very old Russian folk tale my grandma used to tell me as a child, about a little girl who receives a magic whistle from Grandfather Wind, and when she blows upon it, it summons a little hare who proceeds to guide her through a dark and scary forest.

Was there much of a change to the songwriting/band dynamic with the addition of Caitlin in 2008? How do FSRF tunes come to be?

With the addition of any band member there is always undoubtedly a change in dynamic. In the case of Caitlin it was an incredibly positive one; the pop sensibility she brought to the band was fantastic in balancing the band's more experimental ambitions with a sense of purpose. That, and she can sing really, really well.

Fire! tunes are born on Saturday afternoons in the granny flat behind our drummer Sam's house. We eat takeaway noodles and our bass player Josho makes coffee for everyone. Then we would build a song -- usually Dave would come up with a simple guitar line, and everyone would proceed to build upon it, until it becomes a song. Then Dave and Caitlin would lock themselves in a room and write lyrics for it. At least thats what they tell us they do...

Playing to a couple thousand Adelaidians at the Fringe Street Party was a pretty big moment for the band, judging from the looks on your faces at the time. What have been the biggest and freakiest moments in your time playing?

Yeah, definitely the Fringe. That was a totally awesome experience. We've never really been a "rockstar" kind of band, but I think that was our biggest "rockstar" moment. Both Big Day Outs we played have been really fun and big as well. We generally like doing festivals a lot, although sometimes it proves to be too exciting for me in particular, which causes me to become "epileptic gypsy Art" on stage.

Presuming "Animal Spirit Guide" is the first taste of an album, how was/is recording, and what can we expect?

Yes, recording is progressing well. We're working once again with our producer, our "band dad", the fantastic Matt Hills. Matt has been instrumental and amazing for us over the years in many ways, from recording us, to mixing us live most of the time, to giving us advice, to sharing hilarious stories about other bands, totally awesome dude.

We have quite a few songs recorded now, probably more than an album's worth, but we are recording more so we can pick and choose; the best ones will go on the album, the others could be potential b-sides later on. You can expect themes such as quests, treasures, woodland animals, romance, monoliths, haunted houses, spooks, ghouls, forests, tribes, spirits, space journeys, emotions, friendship, loneliness, witches, blue skies, warriors, panthers, and much more.

Who are some of your favourite Adelaide bands around at the moment?

Adelaide totally rules at the moment. So many cool bands, so many rad dudes. I'm probably omitting quite a few, but the ones which spring to mind are: Steering by Stars, Aviator Lane, No Through Road, Bing Goes to Monaco, Hit the Jackpot, Leader Cheetah, The Weevils, Like Leaves. Good bands, good friends. Oh, and me personally, I'm a fan of that guy who goes by the name Belittle League, he's really cool.

Lastly, what records are on high rotation within the FSRF inner sanctum?

Hmm, lets see. Our manager Matt and I really like the new Dappled Cities stuff. I'm listening to a couple obscure post-funk-punk bands which I keep coming back to, one is called We Are Wolves, who are a dirty, dark synth-punk trio from Montreal, the other is called Professor Murder, who are a fun sort of percussive band from NYC. On our recent road trip tour to the East Coast we listened to a lot of sweet stuff. We revisited the Strokes' first album, maaan that was one genius album. Also Josho played me some A Tribe Called Quest and I really liked it, awesome vintage hip-hop. We generally like a lot of new music, like St. Vincent, Grizzly Bear, Blitzen Trapper, etc.

Animal Spirit Guide EP is available on iTunes now through Dot Dash/Remote Control, with the debut album to follow next year.

Fire! Santa Rosa, Fire! - Animal Spirit Guide

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