Friday, February 18, 2011

Yellow Ostrich



As much as I prefer to avoid rehashing things said by blogs far more interesting and well-read than mine, I really can't get enough of Yellow Ostrich at the moment. Initially a solo project for New Yorker Alex Schaaf (the band now includes Bishop Allen/We Are Scientists drummer Michael Tapper and more), their much-covered track WHALE quickly became a favourite. When recording my own scrappy little creations I always feel a little conflicted as my ever-present desire to pile instrument upon vocals upon instrument clashes with the lack of percussive devices available to me. So a pretty awesome, rich song based around little but the human voice and a floor tom seems kind of liberating.

Sure the band tend to stick to some of the more well-worn indie tropes of late; a skinny white Brooklyn kid makes rhythmic, catchy animal-related songs with an abundance of Africa-via-Fleet Foxes vocal chanting and harmonies to before acclaim drags him out of the bedroom. Musically they remind me of a stripped back, American Cloud Control in that respect. 'The Mistress' from which WHALE is taken is similarly excellent, if not entirely broad in its palette. The tracks invariably gravitate around an opening, wordless vocal chant that builds in layers of harmonies before the rest of the song takes shape around it, which kind of suggests he draws on looping in his songwriting. Also pretty cool, I think. Either way, what could end up homogenous and repetitive somehow manages to just be plain brilliant, song after song.

Thursday, February 17, 2011

Alarm Birds



Adelaide expatriate and producer extraordinare Jed Palmer has been keeping himself quietly busy in recent years, producing a few albums here and there for The Brels and The Sea Thieves (still waiting on that one, by the way). He's also been releasing his own music in various guises since the shift to Melbourne, from Girls & Adam to his collaboration with partner and cellist Zoe Barry in Hope Diamond. I mentioned earlier their current project Alarm Birds based on the strength of a little youtube performance of a song called 'Better Pill' in their lounge room. It was a good song too.


The first official recordings to emerge from Alarm Birds are not quite as melodic or full of quirky electronic squeaks and whirs, but are interesting in their own way. They're both wrapped in creaky atmospheres and spooky overtones like a layer of dust. Both 'Love and the Leaves' (presumably from an upcoming album) and demo 'Feathers' sound like they were recorded in the hallway of a dilapidated mansion prone to hauntings and mysterious noises, and they probably where. All thats left is some ghostly singing saw. Now, if only they knew someone who played...


I've also stumbled upon some tracks from their old Adelaide band with Zac Coligan on bandcamp. Save for a track on a Three D compilation or two Bergerac had until now eluded me and to be honest they're a lot weirder and louder than I would have expected from the Zac's current work. An interesting and rewarding listen, either way. It's mostly all free on bandcamp, by the way.

Alarm Birds Bandcamp
Bergerac Bandcamp

Saturday, February 12, 2011

Ainslie Wills



One of the many exciting interstate acts lured to the Format Festival of Song shows by curator Ben Revi, Ainslie Wills and her band were described to me as Feist with a little bit of rock. It's a fairly accurate assessment, with both the evocative, commanding vocal presence and jazzy flourishes so eloquently conjured by our Canadian friend but with a bluesier undertone and a subtle, indeterminate wackiness. Her EP 'Somebody for Everyone' peaks with its most upbeat moment as 'Quite Capable' double tracks that incredible voice around a tight muted guitar riff and a driving beat as one sassy verse breaks out into a spacey chorus that is simply grand.

Ainslie and her band are playing the 'Format Festival of Song Vol 3: Rock' show at Format on the 24th. You should come, it'll be great.

Bandcamp



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