“Ned Kelly is one badass motherfucker,” one of my peers said, walking out the Old Melbourne Gaol where the Australian outlaw spent his last days before his execution on November 11th 1880. Prior to relocating to Australia, I never heard of Ned Kelly, yet once I heard his story I found myself eagerly hoisting the fiberglass replica of his iron armor over my head, peering out of the rectangular slit, slinging my hands in the air mimicking the shape of revolvers.
Continue reading “The Moral Conflict of Romanticizing the Legend of Ned Kelly”
At 14,000 feet above Cairns, I am strapped to an Australian man with dreadlocks and a hoop nose piercing that I just met 45 minutes ago, but his unabashed proximity and debatable personal hygiene routine are not what’s worrying me. My instructor Mike and I are belted to the buzzing floor of a petite plane about the size of a gas-guzzling Hummer. The words “Skydive Cairns,” painted on the plane’s side in all capital letters in muddy red crackled paint, resemble an abrasive bellow from a melodramatic tot. This rickety plane’s mechanical hum is less than soothing, but humid, tropical air sputtering in through the sliding garage-door exit reminds me exactly where I am.
Through the grubby window plastered with tiny foreign bugs, I can distinguish the turquoise water of Mission Beach curving onto the blond sand, the lush spans of emerald rainforest, and the Great Barrier Reef. Just when the fraudulent wave of vacation calm washes over me, the plane door swooshes wide open and I warily slide my feet over the edge until my black suede Puma sneakers rock turbulently over the blurry stretch of clouds. Mike squeezes my clear plastic goggles on so tightly that they cut into my ruddy cheeks. “Ya’ ready, mate?” he asks slapping my hand, which I think is meant to be a high-five. “One…two…three!” We plunge out of the plane face first, freefalling for a full 60 seconds at approximately 120 miles per hour through the normally distant haze of the Queensland sky. Continue reading “Taking the Plunge Down Under”
There’s a fine line between bandmates and soulmates for the LA-based indie rock band Grouplove. This affable band is responsible for the beachy single “Colours” off their 2010 self-titled EP that caught enough global attention to snag the band a supporting spot next to musical forces like Florence and the Machine and The Joy Formidable.
The group formed on a whim when painter Hannah Hooper “fell in love at first sight” with musician Christian Zucconi after his solo show in New York City; she texted the guitarist just days later with an invite to an artist’s residency in Crete for almost two months. The duo was both at a contingent position in their lives where they “had to decide if we wanted to give up being full-time artists and work permanently on a nine to five—so instead of figuring it out, we just went to Greece” where “there wasn’t much else to do other than create” vocalist Hooper laughs. “We both needed to get out of New York at that time and thank god we did,” Zucconi reflects.
The quintet rounded out in the remote, mountainous town of Avdou the where Hooper and Zucconi met LA guitarist Andrew Wessen and his childhood friend, drummer and producer Ryan Rabin along with English guitarist Sean Gadd for their adult “summer camp” experience. All five members moved to Los Angeles to continue generating music once the program ended. “It was instinctual,” Zucconi says. The band has consummated their relationship with quirky bonding rituals like matching tattoos, a five-person tee-shirt with the phrase “Never trust a happy song” scrawled across the chest, and an online family photo album-style blog with everything from Hooper’s drawings to photos of the group’s collectively-owned dog and photos of Hooper giving her bandmates haircuts.
Songwriting proved to be just as effortless as the band’s cohesion, with the band’s buzz-worthy first single, “Colours” Zucconi states: “I just kept singing that song and let my unconscious kind of flow out. The first or second time I played that for the guys they really liked the hook and they just built the song around the original riff that I had.” The band is largely inspired by their personal lives along with influences from the “big, kind of cliché bands” like Nirvana, The Pixies, Fugazi and Neil Young—“they inspire you to think it’s okay to scream and get these emotions out,” Zucconi says.
The band is currently recording their full-length debut album scheduled to be released mid-2011, renovating the band’s innate “rawness, power and harmony to a new level—when we first recorded that EP we weren’t even a real band—I mean, we recorded it in Ryan’s parents’ house. We’ve really grown as a unit and the music’s gonna reflect that.”
Bird on a Wire, The Machat Company
“We’re too broken up to go on,” announces self-proclaimed Montreal chansonnier, European folk singer and synagogue canter hybrid, Leonard Cohen, with sticky tears clinging to his swollen eyes in Jerusalem, the final destination of his 1972 European tour. At the reflective age of 37, Cohen is usually the unwavering eye of the storm—either lulling hits like “Suzanne”, writing poetry while taking a bath or doodling hearts on a fan’s t-shirt amidst the backstage bedlam of flirty French groupies and combative German fans demanding a refund. This 106-minute documentary, directed and edited by Tony Palmer, is a snapshot of Cohen’s career and gripping, voyeuristic reality television before it existed.
Yusuf (Cat Stevens)
Roadsinger: Live in Australia, Ya Music
Yusuf Islam, the artist formerly known as Cat Stevens, takes the Australian stage for the first time in 36 years for 25,000 swaying Aussies at the Sydney Entertainment Centre.
Performing 26 songs scoping from his 1967 debut album Matthew & Son to his 2009 Roadsinger, this 77-minute performance oscillates between the bare-boned, airy folk that defined the Sixties and Seventies and the over-produced orchestration of his borderline bizarre 45-years-in-the-making musical Moonshadow. The highlight performances integrate both characters to create timeless music with a twist, like the chill-inducing blues ballad 1970’s “Miles from Nowhere” fluctuating between acoustic guitar accompanied solely by fluttering piano and a rousing barroom show tune with crashing drums and plunking electric guitars.
Yusuf’s subconsciously oozes his peaceful disposition, making anecdotes about his journey to the Nashville (“the birth land of rock‘n’roll”) to collaborate with Dolly Parton being usurped by bombarding by Homeland Security agents baffled by the spelling of his name comical saying, “Of course, if my name was Cat they would’ve known how to spell it.”
Artist: Nic Dalton and his Gloomchasers
Album: Play All Night, Half A Cow Records
Former bassist for The Lemonheads and Half A Cow Records owner, Nic Dalton returns with his gang of folk-rocking Gloomchasers on their new album Play All Night. This album reflects Dalton’s own progression from a hyperactive, prolific rockstar to a faded musician with a wife and child. The swampy, homespun bluegrass with a melodic backbone and breezy, ambling lyrics—minus that annoying southern twang—is the follow-up to 2005’s Home of Big Regret about Dalton’s move to the country with now ex-girlfriend Lucy Lehmann, who plays the gutstring guitar and sings backing vocals on the album.
Dalton’s maturation doesn’t squash all of the fun out of the new album, the plucky banjo and sporadic bursts of trumpet and trombone uplift the melancholy themes while lyrics like “I smoked pot with Harry Nilsson six months before he died” on “Harry’s Demos” or “I feel so cheap just to be a f-cking circus freak” on “The Circus Clown” also provide the album with a quirky boost of kitsch.
Key Tracks: “Okay Sydney, You Beat Me”, “Take Me As I Am”, “The Last Fan”
Artist: Summer Camp
Album: Young, Popfrenzy Records
A couple bonds of their love of 1980s sophomoric cinema
If iconic Eighties director John Hughes were to rise from the grave and direct an indie love story set in an American high school—starring Zooey Deschanel as the popular, hair-flipping cheerleader and Jason Schwartzman as the pocket protector-toting computer geek—he would certainly ask London duo Summer Camp to provide the soundtrack.
Indie singer/songwriter Jeremy Warmsley and Platform magazine editor Elizabeth Sankey’s collaboration Young is an imitation Eighties mix tape paying homage to Eighties anti-heroines like “Veronica Sawyer” from the 1989 cult classic Heathers and the untouchable heart-throb “Jake Ryan” from 1984’s Sixteen Candles.
A few of the washy, seashore tracks like “Why Don’t You Stay” fade next to Warmsley’s Joy Division vocals and brilliantly cliché pop lyrics on the twitchy opener “Round the Moon”. Sankey’s angsty half-spoken, twee-pop vocals against Warmsley galloping guitar and pinging synths result in the best unpolished, 21st century, indie rom-com soundtrack—and perhaps the only one.
Key Tracks: “Round the Moon”, “Ghost Train”, “Jake Ryan”
Artist: The Temper Trap
Album: Conditions – Remixed, Liberation Music
In an attempt to satisfy the insatiable cravings for Melbourne alt-rockers the Temper Trap while they’re recording in London, ten DJs have sliced and diced their 2009 knockout debut album Conditions to serve up the remixed album.
Sister Bliss and Rollo, two-thirds of the London electro band Faithless, whips the overplayed album opener “Love Lost” into an infectious, seven-minute whirlwind of club-thumping, techno beats, transforming vocalist Dougy Mandagi into wailing soul singer while Penguin Prison reinterprets the bare-boned “Resurrection” into wonky synth-drenched, dancefloor-filler that sounds more like a Scissor Sisters tune than Temper Trap’s. The Count (aka Hervé) injects the thrashing “Science of Fear” with stabbing synths, burying the original skeleton into a grimy, dub step ruckus.
Inevitably, a few of the remixes feel forced with throbbing R&B synths and squawking seagulls (for real) on RUSKO’s “Soldier On” and the pounding percussions laced with sci-fi synths and stuttering vocals on PVT’s “Fader” remix. The remixed version of Conditions is a respectable afterglow, but it simply cannot stand up to the sinewy original.
Key Tracks: “Love Lost” (Sister Bliss and Rollo Mix), “Resurrection” (Penguin Prison Remix), “Science of Fear” (The Count (aka Hervé) ‘Medusa’ Remix)
Album: Sex Dreams and Denim Jeans, Ed Banger Records
The spritely French electro-pop artist gets gangster on your ass
It’s hard to imagine the 22-year-old platinum blonde Uffie popping a cap in your ass, yet that’s the theme of her first single “Pop The Glock”, originally released in 2006 off her debut album Sex Dreams And Denim Jeans. Uffie also attempts to boost her street cred with her self-proclaimed “hip hop roots” on “The Art Of Uff” with a 90s Dr. Dre beat on ecstasy, saying “This sound is smacking your ass/My voice is touching your heart/So bang your head, you silly bitch” in her ambiguous accent.
As she says herself, she’s got some “dope beats” courtesy of DJ Feadz, Mirwais, Mr. Oizo, and SebastiAn, particularly on the lullaby-meshed-with-Atari track “Give It Away” and the drugged-out synths on the urbanized Valley of the Dolls track “ADD SUV” that features Pharrell Williams.
Aside from Uffie’s bungling lyrics, Uffie’s most unforgivable offence is the album’s title track “Sex Dreams And Denim Jeans” that samples The Velvet Underground’s legendary track “Rock & Roll”. No one should ever be allowed to squeal about his or her wet dreams over that fulminant guitar solo.
Key Tracks: “Pop The Glock”, “ADD SUV”, “MCs Can Kiss”
Artist: Ou Est Le Swimming Pool
Album: The Golden Year, Ministry of Sound Australia
London electro-pop trio debut on a melancholy note—in more ways than one
Anyone who listens to electro-pop has one thing in mind: dancing their sorrows away on a jam-packed dancefloor on a Saturday night at some hole-in-the-wall club at Kings’ Cross. The tragic flaw of Ou Est Le Swimming Pool’s debut album The Golden Year is that instead of your problems disintegrating into the sweaty blare of pumping speakers, they are magnified with heavy-hearted tales of tug-of-war love layered over mediocre synthesised backbeats.
The recent August 2010 suicide of 22-year old frontman Charles “Chazz” Haddon at the Pukkelpop festival in Belgium overshadows the standout party anthem and first single “Dance The Way I Feel” as the embodiment of danceable, 80s-influenced track and sort of indie companion to Lady Gaga’s breakout hit “Just Dance”.
Haddon laments “I’m next to nothing/next to nothing without it/without the hold and pain of your love” on the closing track “Next To Nothing”, highlighting the melancholy undercurrents of the album and the band’s uncertain future.
Key Tracks: “You Started”, “Dance The Way I Feel”