Review: Snakeface - Oberon for Rave Magazine

SNAKEFACE – Oberon
(Arrest Records)


Ensemble cast star in thriller shot in the Blue Mountains

Snakeface is comprised of members from indie bands Jonathan Boulet and Parades, but that doesn’t mean their sound will necessarily please fans of the aforementioned. Oberon, their second album, is grounded in hardcore and punk, but there’s a mess of influences rearing their heads. It’s self-described as ‘weird and evil shit’, which makes me think I’m not supposed to find this half-hour affair as enjoyable as I do. Sorry. Oberon pits short, gritty, politically charged stretches against interludes of composure to foster an effective  (and rare) sense of balance. Lyrics like “occupy and rebel” and “stop pretending this doesn’t exist” are given a savage delivery that sidesteps the regular trap of affected rage for something with actual guts. Oberon was named for the Blue Mountains spot where it was recorded; I like to think of the superbly ineffable final track, Singularity, twanging across the mountaintops and waking far-flung neighbours from their naps.

ANNA ANGEL

Why I'm still watching Glee, or Review: Glee Graduation Album for Rave Magazine

Published in the latest Rave. My love for Glee is now public for the first time since they totally and utterly jumped the shark. 

Goodbye McKinley High; Auto-Tune forever

When my entire grade willingly formed a ‘circle hug’ to Green Day’s Good Riddance for three inexplicable minutes at the end of our year 12 formal, we didn’t know the shame would bind us forever. If Glee had existed when we left school, their cloying cover would almost certainly have been our first choice. You don’t need Vitamin C’s Graduation at the drama class farewell party when you can sob as Chris Colfer performs vocal gymnastics to the tune of Madonna’s I’ll Remember. Don’t think of this as set of overproduced reprisals of some of the most sentimental ‘life change’ tracks of all time, even though that’s essentially what it is. See it as a wonderfully terrible gift. Give it to the next youth at the bus stop whose faraway eyes suggest they’re in want of a dream. Give it to yourself and laugh scornfully at populist culture until suddenly you’re crying because everything was easy when you were seventeen; for God’s sake get your life together. If you’re still following the shenanigans of Mr Schue and his merry band of fit-togethers – and yes I am, guilt free – you can catch these tracks as they’re tentatively linked into the plot line. A handful of the numbers will come to light in the season finale, but it only takes an amateur sleuth to pick up the musical cues. School’s Out, but It’s Not the End because these kids will be Forever Young. Bless their eager hearts. 

**

ANNA ANGEL

Review: Sigur Ros - Valtari for Rave Magazine

Read it online here, or in the latest issue. 

Somewhere between lapping up Sigur Rós frontman Jónsi Birgisson’s triumphant solo efforts and replaying 2008’s Með suð í eyrum við spilum endalaust on desperate nights, I had begun to believe we’d heard the last from this Icelandic dream quartet. Yes, their sixth studio release was very nearly abandoned, but Valtari – which translates to ‘steamroller’ – is finally tangible. The bulk of the record stems from pre-recorded material; orphaned musical tangents and tracks that outgrew the projects that birthed them. Wherever they were once hiding, these eight tracks together form a striking and cohesive work. Valtari is certainly more minimal than we’ve heard Sigur Rós before. You could almost put it in the ‘ambient’ box, given the floating soundscapes and chilling stillness of Varðeldur and the title track, amongst others. Yet Valtari doesn’t feel lacking for its subtlety. Each layer is given due time to resonate, acting in harmony with Birgisson’s falsetto instead of pushing against it. There are the characteristic breakdowns and flashes of joyous frenzy, but they, too, feel more refined. Google-translating the titles and lyrics of any Sigur Rós track is risky, given their penchant for mixing their invented ‘Hopelandic’ with Icelandic. On the mercifully easy-to-translate finale Fjögur Piano (yep, ‘Four Piano’), the notes hang in the air by a single thread, before weaving into a fittingly haunting end. This steamroller doesn’t hit all at once. It moves gently, sweeping you up inch by inch before knocking the wind out of you.

Review: Wes Willenbring 'Weapons Reference Manual' for Rave Magazine

View online here.

Thankfully, San Franciscan ambient musician Wes Willenbring doesn’t produce the kind of limply ethereal sounds you once meditated to that time you were trying to be more spiritual. On this, his third release, Willenbring wrests his raw guitar work together with distorting effects and chilling piano to create a record that’s more 'layered aural dreamscape' than 'soundtrack to Ikea catalogue'. Tracks like People Disappear Everyday wax and wane, with deeply immersive silences and striking instrumental work that jolts you back to consciousness. Short, achingly melancholic numbers pepper the highlight tracks. Most are just long enough to lose yourself in but Quaaludes presents fifteen minutes of humming guitar, melting uneasily into a hypnotic composition of warped effects. These soundscapes are tightly constructed but fluid enough that Weapons Reference Manual feels like a choose-your-own-adventure record; there’s undeniable emotion behind the dramatic scores and haunting static interludes, but what it evokes is up to you.

Review: The Mars Volta 'Noctourniquet' for Rave Magazine

This just in. That is, in Rave Magazine issue 1033.

Navigating The Mars Volta’s variety of prog-rock has never been simple; their breadcrumb trail of soundscapes and cryptic lyrics inevitably strays off course. The question is whether to go along for the ride on this, their sixth studio release.

Noctourniquet is a blazing riposte from a band often accused of self-indulgence, and of having reached their peak. These 13 tracks present some of the most accessible in the band’s catalogue, yet their many layers and melodic tangents may be still too dizzying for many of their critics. Coming in at just over an hour, this is a tighter and less frantic mind trip than long-time listeners will be used to.

Cedric Bixler-Zavala’s sprawling banshee vocals command both structured rock numbers like Aegis, and dreamier moments such as Empty Vessels Make the Loudest Sound. Never one to be outshone, guitarist Omar Rodriguez Lopez owns the rhythmic waves of lead single, The Malkin Jewel and the fire-slinging Molochwalker. Ambient nods to ‘70s prog-rock (In Absentia) and synth-heavy numbers (Whip Hand) melt into softly quivering lullabies (Trinkets Pale of Moon). Overall, you get the sense this record is their unique interpretation of the expression ‘less is more’.

Standing slightly askew beside neatly packaged, made-for-iTunes anthems, TMV have made another puzzle worth taking the time to piece together. If Rodriguez Lopez et al. lost you years ago, this record may not be different enough to win you back. For the unacquainted, ambivalent and fans alike, Noctourniquet begs to be heard – hallucinogens not necessary.

Four stars. 

Feature: 'Ethical Ink' for Living Vegan

I've got a featuring outline how to get a tattoo done sans animal products in the latest issue of Living Vegan Magazine. I was also charged with the task of testing and comparing chocolate biscuits. It was very onerous, as  I'm sure you can imagine.

I haven't got my hands on a copy yet, but I'll put some scans up soon.

Review: BIGSOUND Live Part 2 for Mood of Monk

Read the original here.

Making my way down The Valley mall early on Thursday night, past the club blasting a cover of Wham’s ‘Wake Me Up Before You Go-Go’, past the pub crowd and onwards to Woodland, I was sceptical. Sceptical that BIGSOUND could deliver a night of equal quality to one before (see why here) and that conference-goers who had been shooting the musical shit since 9am Wednesday would have any energy left. An hour and a half later the event had sold out completely and there was egg all over my face.

Given the scores of ‘must-see’ new acts, fresh young faces and hyped radio favourites, you’d need a Harry Potter-style time turner to make the most of the experience. I don’t have one of those (yet), so I set out to simply cram in as much noise as possible. 

This is what I saw.

Review: BIGSOUND Live Part 1 for Mood of Monk

Read the original coverage here. I also shot and live tweeted the event; it was an awful lot of fun. 

“Is this the end or is it just beginning,” they sang and it felt right.

As Inland Sea wrapped up their opening spot at BIGSOUND’s live showcase in Brisbane’s Fortitude Valley, it signalled the start of something big – for the night and for the talented young acts that would fill it.BIGSOUND is an industry conference that exists to talk about music and the people that make it. For those throwing themselves into the conversation, it’s a long and fulfilling three days. For two of those days, when the sun goes down, Australia and New Zealand’s up-and-comers emerge for show and tell.It’s a variety show for industry types, a block party across Brisbane’s entertainment precinct, and a heartening display of genuine talent. I know every crumb in every corner of The Valley, but I’ve rarely seen it as full of energy as it was last night. There are weekends where the streets groan under the sheer weight of people, where the music is oppressively loud and sweat hangs heavy in the air. What BIGSOUND brought was a true celebration of things to come, and a crowd united in a love of music.

Feature: 'Parks to put the roses in your cheeks' for The Courier Mail

16 September 2011

Vital escapes in busy cities, our world-class green spaces give us plenty of fresh reasons to play and relax, writes Anna Angel.

A BREATH of fresh air does a world of good, so get a few lungsful tomorrow, on World Parks Day.

Whether you fancy a cheap and adventurous camping weekend in a national park, a romantic picnic on the foredunes, or a family barbecue in a city park, the choice across Queensland is limitless.

David Clarke, CEO of Australia and New Zealand's leading parks organisation, Parks Forum, says healthy parks lead to healthy communities.

``Not only do they contribute to physical health, but also to mental health: exposure to the natural world is therapeutic,'' he says.

Queensland University of Technology community space expert Dr Gillian Lawson says councils recognise the importance of harnessing our natural blessings. ``We've got a strong tradition of sporting groups using parks, but not of a diverse range of physical activities that are much more widely accessible than a cricket match,'' Dr Lawson says.

But she praised Brisbane and Gold Coast councils for providing locals with fresh reasons pull out the picnic hampers.

One example is Brisbane City Council's LIVE arts program, which will see parks across the city play host to a mix of free music events throughout September.

Another is the city's Active Parks series with free and low-cost activities in more than 50 of the city's parks. The program varies throughout the week and comes alive on weekends.

Review: 'Kosciuszko' by Jedediah for Tom Magazine

Album of the week for TOM Magazine.


JEBEDIAH
Kosciuszko (Dew Process/ Universal)
Aussie rocker Kevin Mitchell is back to his Jebediah roots after a few years’ stint as soloist Bob Evans and member of supergroup Basement Birds, alongside the likes of Josh Pyke and Eskimo Joe’s Kavyen Temperley. Jebediah have been announced to play this year’s Splendour in the Grass festival, and it’s this, their fourth studio album, that’ll be taking the forefront alongside their career hits.

There’s much more on offer here than hit lead single ‘She’s Like a Comet’. It’s a solid return, featuring a number of strong tracks across a wide breath of style; from the quiet pop-rock of closer ‘Are We OK?’ to the effective rock hooks of ‘To Your Door’ and ‘Under Your Bed’. It’s not their best release to date, but Kosciuszko is, as the title would suggest, a distinctly Australian and likeable release, sure to please fans.
(Anna Angel) 

Review: 'The Great Impression' by Sparkadia for Tom Magazine

Whoops, missed this one going up on TOM Magazine.

SPARKADIA

The Great Impression (Ivy League)
Australian alternative-pop outfit Sparkadia return to deliver a second release, well, one of the band members does. Alex Burnett does brilliantly on his own, with the help of a handful of contributors and one trip to Mother Britannica. The record’s first single, ‘Talking Like I’m Falling Downstairs’ has been on Triple J high rotation since late last year, with freshly released ‘China’ also scoring its fair share of airplay. Both are fine examples of tender indie-pop  -  all soaring choruses, desolation and ironically upbeat choruses. The other tracks that make up the bulk of the record do not disappoint. 
The Great Impression is haunting and expertly constructed, with deliberate peaks and troughs. It opens strongly with the simply effective title track, quickly covering the lead tracks and keeping on a high with ‘Love Less Love’. Other highlights are the gently building power of ‘I Started Something I Couldn’t Finish’ and the drawn-out concluding ‘Fade From View’. It’s a strong release that proves a change of band structure, a change of location, or a change of heart can do more good than harm. 

Review: 'Think of England' by The Honey Pies for Rave Magazine

THE HONEY PIES – Think Of England

Quintessential Britpop care of Adelaide

Adelaide rock-pop outfit The Honey Pies seem to have done more than just think of England during the making of their debut record; the commemorative Wills and Kate royal wedding glossies could have been their muse. Their style is so heavily influenced by classic Britpop (lo-fi and slightly psychedelic for bonus vintage desirability) that it’s hard to catch any hint of a ‘Strine’ accent within their harmonies. Opener Sex Wax is an up-tempo warm-up for tracks like Don’t Mention the War. The latter is a brilliantly oldschool anthem that sports riffs galore whilst having some bi-lingual fun. They come out blazing on short punk number DQYDJB, but their lighter side – highlights are Fool In Love and Aztek – is wonderfully sweet, punctuating a jangling ’60s vibe with modern candour. Think Of England is a delightful series of well-written (if not entirely original) salutes to Britannia, for both her yellowing pop ditties and contemporary exports like Arctic Monkeys.
ANNA ANGEL

Read online here, or in the latest Rave Magazine, issue 973.

Review: 'Morning Glory' for Tom Magazine

For TOM Magazine.

Morning Glory could have been a welcome break from the circuit of summer rom-coms and thrillers, but Aline Brosh McKenna’s scripting results in a wholly unsatisfying payoff. Rachel McAdams finally gets the kind of lead role she deserves, as the bubbly and hard-working morning television producer Becky Fuller. McAdams is always a delight, and Ford and Keaton have long proven their ability to save a struggling film. From the same screenwriter as The Devil Wears Prada, and with similarities abound, Morning Glory gets off to a great start. Unfortunately, the talented lead trio becomes the only reason to keep watching past the halfway mark.

Review: The Holy Sea for Tom Magazine

For TOM Magazine, original article here. 

 The Holy Sea
Ghosts of the Horizon (An Ocean Awaits/Fuse)
There are a handful of stunning records released by Australian artists every year. There are less unashamedly Australian records, fewer still ambitious offerings commentating an exclusively Australian experience. I don’t want to prematurely jump on the bandwagon of those hailing Ghosts of the Horizon as an iconic Aussie record (The Holy Sea’s own team suggest it "has the hallmarks of a landmark Australian album"). I will say it is refreshing to hear something both musically accomplished and politically important; an aurally appealing voice with something of worth to say.

It’s easy to compare lead singer and writer Henry F. Skerritt to Nick Cave and other predecessors, but what he, and the entire epic seven-man (and woman) folk-rock outfit present, is a unique sense of characterisation. With strong imagery, and ballads written from the perspective of real-life figures such as Seargent Chris Hurley (the moving ‘King of Palm Island’) and Van Diemen’s Land Governor George Arthur (‘Arthur’s Lament), this is folk-rock poetry. Throw in a pinch of personal reflection, some contemporary suburban tales, guts and fire and you have Ghosts of the Horizon. The whole package seems to ache with the residue of our colonial past, our own ghosts, without feeling irrelevant to its contemporary listeners.

This begs to be bought, borrowed, copied off the radio using an old tape recorder, if not just for the vulnerability and clever concision of Skerritt’s lyrics. Throughout the nine tracks, Skerritt writes modern bush poetry, with a bitter, lonely stain.  From the contrasted landscapes of single ‘Bad Luck’; "I groped to find your stars unlit as the wilderness turned winter in your sullen breast" to the melodies of ‘This River’; "like a general in her kitchen, she keeps it ship-shape/and one day, well her ship might come in/she always did like the ocean".

This record benefitted from each listen, as another poignant lyric, a greater resonance, was uncovered. Give it time to gestate, and who knows, maybe it will become a pivotal Australian album, or maybe you’ll just grow to really appreciate The Holy Sea after eleven years of music making.
[Anna Angel]

Review: Chris Pickering at The Globe for Rave Magazine

Gig review, read the original here, or in the latest Rave, issue 970, pg 30.

CHRIS PICKERING/ CATHERINE BRITT
The Globe - Fri Dec 3
Arriving at The Globe to news their doors are staying open, at least for now, I’m invited to ‘review the venue, not the bands’. It does feels right to stretch out on the worn carpet to take in the voyeuristically intimate shows of Nashville-returned alt-country artists Catherine Britt and Brisbane’s own Chris Pickering. But the crowd, which plateaus at around the 50 or 60 mark, are here for the music (barring the gentleman passed out in the middle of the room).

As candidly confessional in her song introductions as in her lyrics, Britt dedicates What I Did Last Night to the hangovers we’ll sport come morning, and bares the chip on her shoulder, launching into the arresting Call You Back Town. My current emotional state is akin to a floodgate, so it’s no surprise the raw emotion of Too Far Gone chokes me up. A lovelorn rendition of Sweet Emmylou is another highlight, as Britt proves her song’s point – good music can be medicinal.

Chris Pickering opens by performing a duet with Britt on Cool Southern Night. The pair work wonderfully together, especially later on Fisherman’s Daughter. He plays to his crowd – deadpan and slightly selfdeprecating, but ever grateful. From jokes following a spine-tingling Hasta Luego, to calling the beautiful I Just Want To Love a ballad for “you sensitive bunch”, he proves to have none of the ego of the musical heavyweights he is often compared to. The audience livens slightly during the up-beat Fit To Print and calls for an encore, amidst which is a stunning version of Love Hurts, making me concede this whole tour was designed as a comfort hug to the heartbroken. It’s an unfortunately small affair for the final leg of their national Fact Or Fiction tour, but that doesn’t stop them from demonstrating exactly why they deserve a much bigger hurrah.
ANNA ANGEL

Review: 'Rare Exports: A Christmas Tale' for Tom Magazine

For TOM Magazine. Read the original review here.

Rare Exports: A Christmas Tale

Director: Jalmari Helander.

Starring: Jorma Tommila, Onni Tommila, Peeter Jakobi, Rauno Juvonen, Per Christian Ellefsen

Reviewed by Anna Angel
This novel, sinister Christmas tale began in 2003 as a short by Finnish director Jalmari Helander that quickly gained momentum on the internet. Quirky ideas that capture audiences for a matter of minutes don’t necessarily translate into feature-length films, so it’s interesting to see if Rare Exports: A Christmas Tale can avoid going stale.

This is the antithesis of 1998’s A Very Brady Christmas and any recent Hollywood offering (though there’s a distinct lack of cheesy Christmas releases this year, which is somewhat disappointing). This is not an uplifting movie, and there are no Christian morals to be shared. Helander’s Santa Claus is decidedly different to Coca-Cola’s version  -  so different that he sniffs out and smacks to death any children in his vicinity, rather than gifting them the latest Mattel creations. 

Feature: 'Eat Your Greens!' for Frock Paper Scissors

An in-depth guide to Brisbane's vegetarian and vegan restaurants written for Frock Paper Scissors. I won't post it in full here, but any Brisbane veggo or possible veggo should take a look!

As a seasoned Brisbane veggo, I have some words of wisdom. We are not welcome at Breakfast Creek or Norman Hotel. While times have changed and vegetarians are catered for at most other venues, it gets a bit boring eating side chips and salad, or the token cream-based veg pasta at every meal out. More choice – a whole menu of options – and quality meat-free and vegan options are tucked away at a number of eateries across our fine city. Some you can take your partner’s conservative parents to, while some will frighten your relations with drum circles and hypnotic chanting. Here’s a handy guide of where to go, when, and with whom.

Read the full article here.

Review: 'Walk' by Israel Cannan for Rave Magazine

Belated review for Rave, published earlier this month.

Israel Cannan - Walk
(Poets Corner)
Soul-searching and country wandering
Track names like Set Me Free, The Revolution Fight and Rise indicate the angry chords of a wayward activist. Whilst Israel Cannan’s first full-length release is at times political, he comes off more as a likeable old soul than a jaded socialist. Walk is the result of Cannan’s penniless cross-country meandering, and the places and people along the way. Because of this, it feels like the indie-rock soundtrack to an over-saturated montage of road-trip escapades and self-discovery – Ben Harper meets a travelling gypsy and makes a movie about it. There’s reflective soundscapes as he’s rolling through the countryside (Letting Go and the standout Set Me Free) and spirited, layered tracks as our protagonist faces the world’s wrongs (The Revolution Fight, One Fine Day). There’s tracks to build the interwoven romantic tensions (The Final Day) and accompaniments to the touching final scenes (Forever This Time). With songwriting talent this strong, that film would be worth the price of admission.

ANNA ANGEL

Review: Claire Bowditch at The Hi-Fi for Tom Magazine

Clare Bowditch and The New Slang/ Glenn Richards/ Little Scout

The Hi-Fi 08/10/2010 

 




















Clare Bowditch brought her ‘Lady Garden’, her Julia Gillard impersonation and an unfortunate case of "throatitis" to her set at West End’s The Hi Fi, touring her fourth release, Modern Day Addiction. Opening acts, local four-piece Little Scout, and Glenn Richards of Augie March, got a raw deal, as the rain seemed to keep most of the punters at bay. By the time The Hi-Fi’s glowing steps started filling, Glenn Richards’ evocative set, pre-empting his solo record release next month, was already winding down. Even the ears attentive to Richards’ considerable vocal work wouldn’t have heard too much over the din of rest of the crowd, concerned with finding a spot to perch or a drink. Following final number, ‘This Train Will Be Taking No Passengers’ the relaxed chatter from the lounging crowd grew until the stage lit up nearly twenty minutes later.

Review: 'Flamingo' by Brandon Flowers for Tom Magazine

I have been busy with Frock Paper Scissors (which is entering an exciting stage at the moment - it's starting to come together!) so haven't done much else recently, bar a few reviews.

BRANDON FLOWERS

Flamingo-Deluxe Edition (Island/ Universal)
Flowers takes a gamble with this Vegas vs. Jesus themed solo record, presenting a somewhat-wilted version of what could have been. On Flamingo, The Killers’ frontman goes it alone for the first time, telling the story of Las Vegas, Nevada, where he spent much of his formative years. More than with any of his work with The Killers, the influence of Flowers’ strong religious beliefs is also evident. With such different circumstances and style than his previous offerings, the record is more reflective and acoustic, but not as bright, or memorable as it should be.

The temptation and sin of Las Vegas provides a perfect contrast for tales of loss, desolation, and ultimate redemption. It’s then fair to expect the multiple gambling and ‘neon-light’ references that pepper the ambitious lyrics. Opening track ‘Welcome to Fabulous Las Vegas’, ‘On the Floor’, ‘Only the Young’, as well as lead single, ‘Crossfire’ all seem to touch on a limbo-like physical or emotional state, the search for faith or your place in the world. Then there are lovelorn pleas and narratives to add to the metaphor-heavy mix

Unexpected highlights are the close-to-anthemic ‘Jilted Lovers and Broken Hearts’, and ‘Magdalena’, where beautiful lyrics and a classic Flowers chorus meets gospel, and they are on agreeable terms. The only possible reason to pick up the extended Deluxe Edition, which boasts four extra tracks - mostly country-twanged rock - is for ‘Jacksonville’. "The sky was blue and the night was all I wanted/ Let me be your comet, I will fly", Flowers sings on the well-packaged track.

He has the sweeping melodies, and clever, yet ostensibly touching lyrics perfected;  there’s some great vocal work and guest spots by Jenny Lewis of Rilo Kiley. There’s something about the clean-edged Flamingo, however, that leaves me wanting; it dies down into radio fodder just when you think it’ll pick up.
(Anna Angel)