The power of cheese

Who doesn’t love a good power ballad?

Power ballads bring all the feels in the cheesiest way. And if you’re sentimental like I am, you want your feels as cheesy as possible.

The best power ballads are hyper-emotional rock songs that are over the top big! Big sounds, big emotions, big hair. They must be just the right tempo for slow dancing or dramatically falling in heap. And there has to be a crescendo. This is crucially important to drown out the sound of your audible wailing as you lament your lost love.

If you're an 80's kid, this playlist is dripping with nostalgia. Padded out with a Wham! song or two, some Spandau Ballet and Madonna's 'Like a Prayer' this would have been the playlist of choice for 10 year old me. 

So if you’re looking for something to belt out your lungs to… or hanging for a good cry, this playlist has got you covered. 

Get ready to get down and cheesy!

December Playlist

I took the last couple of months off from Roxy talks Music to recharge my batteries, binge on Netflix and try to make sense of this crazy thing called life. But now I'm back with a fresh new playlist for the holiday season. Of course it includes Run DMC's 'Christmas in Hollis' because, well duh.

On the subject of 'the holiday season', it can be a complicated time. Sometimes sad, sometimes joyous, sometimes riddled with anxiety. I'm getting some freaking awesome Lego this year, so colour me excited! Also, I suspect there may be a record or two waiting for me under the tree. Fingers crossed one of them is Juliana Hatfield's 1995 album 'Only Everything' recently repressed and released on coloured vinyl by Run Out Groove.

During my break from Roxy talks Music, I managed to catch the Mystery Lights at one of my locals. That's amazing for three reasons; one: I already knew and loved the Mystery Lights, two: they are a freaking fantastic garage rock band all the way from New York (which is worlds away from my regional Victorian city), and three: it only cost me ten bucks to see them live. Wow did they rock! They were super high-energy with a somewhat 1960's psychedelic, Westcoast sound. They sounded great, the crowd was pumped and it felt very much like an intimate jam session at times.

On a more sombre note, legendary Buzzcocks frontman Pete Shelley passed away this month. The Buzzcocks were hugely influential pioneers of pop punk. In Shelley's honour, I've included everybody's favourite Buzzcocks song 'Ever Fallen In Love (With Someone You Shouldn't've)' on the Roxy talks Music - December Playlist. I hope you enjoy it.

June Playlist

As we Melburnians hurtle towards the depths of winter, I'm starting to notice those nasty winter blues seeping into my psyche like so much mildew. It would be so easy just to give in; put on some Radiohead and cry into my pillow. But no! I'm not going to do that! Screw you winter, take your Radiohead and shove it!

The Roxy talks Music June playlist is a collection of songs that warm the cockles of my heart and make me feel good. There's nothing new on here, but that's okay. Sometimes all you need is the company of old friends to remind you that life can be pretty good.

P.S. Gabriella Cohen's new album Pink Is The Colour Of Unconditional Love is a freaking delight. It's indie pop at it's finest, with a refreshing and diverse range of styles from 60's pop to psychedelic jazz rock to bossa nova and beyond. Give it a spin, you won't regret it.

Album Review: Dream Wife's 'Dream Wife'

2018
11 songs
Length: 34:39
Available to buy on vinyl or CD or digital download

Dream Wife are a British punk rock trio based in London. Comprising of Rakel Mjöll on lead vocals, Alice Go on guitar and Bella Podpadec on bass, the band released their self titled debut album in January this year to critical acclaim. Its super fun, sugar-coated punk pop, with Mjöll’s accent (she’s an Icelandic native) giving it a fresh sound.

Mjöll, Go and Podpadec met at art college and formed Dream Wife in 2014. The band is named after the 1953 romantic comedy starring Cary Grant and Deborah Kerr and romance is rife on the album; on songs like ‘Let’s Make Out,’ ‘Taste,’ and ‘Spend The Night.’ Although it’s a far more liberated brand of romance than the 1950’s version. The band count David Bowie and Madonna among their influences. I imagine this would be the kind of album Madonna may have made herself if she was a punk rocker in the 1980’s or 90’s.

The album mixes honeyed pop melodies and harmonies with raw garage rock. Mjöll’s vocal range is interesting; shifting from sweet to powerful with so many inflections in between. ‘Let’s Make Out’ is a prime example. On ‘Act My Age’ Mjöll seems to be channeling Karen O of Yeah Yeah Yeahs. Flashes of the 90’s rock band Elastica can also be heard throughout the album, in the mighty guitar riffs on ‘Fire’ and the catchy as hell, ‘Hey Heartbreaker.’

Dream Wife spruik a strong message of women’s autonomy. Songs like ‘Somebody’ (“I am not my body / I am somebody”), ‘Spend The Night’ (“Spend the night with me / I would like to know you better”) and ‘Let’s Make Out’ (“Or are you too shy? Or are we too shy?”) reject the notion of women’s sexual submissiveness; much like the Riot grrrl punk rock of the 90’s and bands like L7, Sleater Kinney and Bikini Kill. But Dream Wife are girly too, with the lush pop melodies of ‘Kids’ and ‘Love You Without Reason’ and herein lies their great appeal. Don’t get the wrong idea though, Dream Wife still have plenty of hardcore rage; ‘F.U.U’ attests to this.

‘Dream Wife’ is a brash and sparkling punk rock debut. It is party punk rock at its best and I can’t wait to hear more from this exciting new band.

Album Review: Derrick Anderson's 'A World Of My Own'

2017
13 songs
Length: 51:16
Available to buy on CD or digital download

Derrick Anderson has been around. Previously a member of 1990’s power pop band The Andersons!, Los- Angeles based Anderson is the current bassist for The Bangles and has toured and recorded with The Kinks’ Dave Davies, The Smithereens and Matthew Sweet, among others.

It’s no surprise then that Anderson’s debut album, ‘A World of My Own’ is a power pop dream. Crunchy, guitar-driven songs with strong melodies, catchy hooks and happy harmonies. Anderson has a smooth voice too. The complete package puts this album up there with anything by Teenage Fanclub, Matthew Sweet or The Smithereens.

The album starts strong with the opening track ‘Send Me Down a Sign.’ Energetic with an infectious hook, it could easily be a Teenage Fanclub song. ‘Phyllis & Sharon’ has the same kind of energy with powerful guitar riffs, and I’d challenge anybody to keep their foot still through the entirety of either song.

‘Happiness’ instantly made me think of Matthew Sweet, who it turns out plays guitar on the track. Sweet is not the only guest star on the album either, with The Smithereens featuring on the sweet sounding, dreamy ‘Waiting For You’ and also ‘Send Me Down a Sign’. Debbi and Vicki Peterson from The Bangles, and The Muffs’ Kim Shattuck backup Anderson on ‘When I Was Your Man’ with indie pop style jangly guitars, hand claps and backing vocals. The Bangles frontwoman, Susanna Hoffs joins the Peterson sisters for backup vocals on the lilting lullabies ‘Something New’ and ‘Spring.’

Anderson’s debut, although unashamedly power pop, is not limited to one sound. ‘You Don’t Have to Hurt No More’ is tinged with funk and ‘A Mother’s Love’ sounds like 1960’s bubblegum pop. Anderson really rocks out too; with pounding drums and driving guitars on ‘Checking Out’ and the stand out classic rock and roll track ‘Stop Messin’ About’, which is reminiscent of Little Richard. To top it all off, Anderson closes the album with a mind blowing, psychedelic blues rock version of the Beatles’ ‘Norwegian Wood (This Bird Has Flown)’.

‘A World of My Own’ showcases Anderson’s many talents as a songwriter and musician, not least of all his knack for blues, psychedelic and classic rock and roll. It’s also a quintessential power pop album. If power pop is your thing (and it’s definitely mine), you need ‘A World of My Own’ in your life.

Adventures In Record Shopping: Japan Edition

Recently I was lucky enough to visit the Land of the Rising Sun. I had an amazing time taking in all the sights and sounds of Tokyo, touring Nagano Prefecture, and making the treacherous, snow covered climb to Jigokudani Monkey Park to see the snow monkeys in the hot springs.

Aaaaaaand….. I went record shopping!!!!!! It was so much fun digging through records I had no idea about (aside from the fact they were helpfully organised by genre in English). I was a little hesitant at first, but my husband convinced me that buying a bunch of Japanese records without any prior knowledge would be a wild and funky ride when we finally got home and listened to them.

As it turns out, he was right! Not one of the records we took a punt on was a dud. And some of them rocked my world. So I’ve made a list of my favourites.

Supercar - ‘Jump Up’ (1999) and ‘Futurama’ (2000)

‘Jump Up’ and ‘Futurama’ were the last (and most expensive) records we bought on our trip. They were also the only ones that weren’t second hand. We bought them from a Disk Union store in Ochanomizu, Tokyo. Disk Union is kind of like JB HI-FI with stores in multiple locations, except they sell second hand records as well as new ones, and there are specialist Disk Union stores, like the Shinjuku Soul/Blues Hall and the Ochanomizu Hard Rock/Heavy Metal Building.

Supercar were a Japanese rock band, active from 1995 to 2005, and their first three albums had recently been issued on vinyl for the first time. The covers are very bright and caught my eye. I’ll admit I cheated a little here. I didn’t want to spend up big on a couple of fancy looking records and take them home only to find out that they weren’t my bag. Disk Union had a bunch of copies of both albums, so that night back at the hotel, I looked them up on YouTube and listened to a few of their songs. I’m so glad I did! They made awesome 90’s shoegazing, electro, indie rock that blew me away. I’m a fan of Jesus and Mary Chain and My Bloody Valentine, so Supercar are totally my thing. The next day we headed back to Disk Union, and it’s lucky we did because we picked up the last two copies that were left. Phew!

Southern All Stars - ‘Tiny Bubbles’ (1980)

I picked up ‘Tiny Bubbles’ in a Cash Converters type store in Ueno, Tokyo for 300 JPY (roughly $3 AUD). ‘What the hell,’ I figured, ‘ there’s a cat on the cover and if it turns out to be crappy, it was only three bucks.’ Later on we saw the same record hanging on the wall at Disk Union. ‘That’s got to be a sign,’ said my husband. ‘It’s either really good, or really cheesy.’ We found out afterwards from a Japanese friend of ours that Southern All Stars were huge in Japan. They formed in 1974 and were active through to 2008. They have since reformed in 2013. ‘Tiny Bubbles’ is a fantastic funky, jazz rock album with a 1970’s sound that made me think of Supertramp. It was definitely a $3 gamble that paid off big time.

Der Zibet - ‘Electric Moon’ (1987)

‘Electric Moon’ was a recommendation from the super helpful guy working at Good Times , a record shop in Nagano. I was buying a Pet Shop Boys record (I know, I know… I didn’t just buy Japanese records!) and asked for suggestions of Japanese bands that were similar. His English wasn’t great, but it wasn’t bad and was much better than my Japanese, and between the two of us and my husband, we managed to come up with some options for 1980’s Japanese indie rock and 1990’s Japanese punk. The 80’s stuff was cheaper, so we settled on a couple of those. One had a 1980’s hair band sound with a cool frontwoman (awesome!) and the other was Der Zibet’s ‘Electric Moon,’ which is classic, 80’s electro, new romantic, like Spandau Ballet or Adam and the Ants.

Hajime Tachibana & Low Powers - ‘Low Powers’ (1997)

Hajime Tachibana was the guitarist in the short-lived but highly regarded Japanese new wave band The Plastics in the late 1970s - early 1980s. After the band broke up, he released several solo albums. ‘Low Powers’ was the only album he released with the band, Low Powers. The album, ‘Low Powers’ is mellow, lo-fi, 90’s indie rock and has a great version of the Beatles’ ‘Eight Days a Week’. I found this gem while flicking through the Japanese 90s indie rock section at Coconuts Disk in Ekoda, Tokyo.

Yura Yura Teikoku - ‘Into The Next Night’ (2006)

Okay, so this is not a record or even an album… it’s a CD single. I’m including it though, because every record and music store we went to, we were specifically looking for anything by Yura Yura Teikoku and this was the ONLY THING WE COULD FIND!!! Yura Yura Teikoku is a Japanese psychedelic rock band that was active from 1989 - 2010 and fronted by Shintaro Sakamoto. My husband and I first heard about them after buying Shintaro Sakamoto’s debut solo album ‘How To Live With A Phantom,’ which is now one of the most played records in our house. It’s like the best, most interesting lounge music I have ever heard! We wouldn’t normally buy a CD single, but made an exception in this case because we were so excited to find it. And to be fair, it has two songs that are both over 7 and 9 minutes long respectively. Also, it’s pretty freaking cool.

I want to give a special mention to Blankey Jet City. Sadly, I discovered them too late to buy any of their music, but they are the Japan’s answer to The Strokes… except they formed eleven years before The Strokes were even a band. So, I guess The Strokes is North America’s answer to Blankey Jet City. You totally rock, Japan!

Album Review: St.Vincent's 'Masseduction'

2017
13 songs
Length: 41:37
Available to buy on vinyl or CD, Apple Music or Spotify

St.Vincent had been on my radar for awhile now. Some months ago, reading SPIN’s 100 Greatest Guitarists of All Time I came across Annie Clark (St.Vincent is Clark’s stage name) at number 93. I made a mental note to check her out. Not long after that, I listened to her critically acclaimed fourth album ‘St.Vincent’ and my interest was piqued. Then my record club, Vinyl, Me Please, hinted it would be releasing a club edition of St.Vincent’s fifth album ‘Masseduction’ as its November album of the month. This has now been confirmed. ‘Masseduction’ was released publicly last week (well ahead of the Vinyl, Me Please special release), so naturally I was very eager to hear it.

Clark has a knack for making really interesting sounds with her guitar. And they mesh perfectly with a whole host of other sounds to make for some really catchy rhythms. Her songs are never boring, often morphing into different styles part way through. ’Pills,’ is an excellent example of this; beginning with a catchy electro beat, which becomes peppered with Clark’s squalling guitar, before finding a wistfully Bowiesque conclusion.

David Bowie is clearly a major influence on Clark, and the album has a sound reminiscent of Bowie’s 1990’s industrial albums ‘Outside’ and ‘Earthling.’ At that time, Bowie’s work was heavily influenced by Nine Inch Nails, which is another band that springs to mind while listening to ‘Masseduction.’ But this isn’t to say that Clark’s album is a cheap reproduction of something that’s been done before. On the contrary, she wears her influences on her sleeve while adding her own fresh stamp.

Clark gives us elements of synth pop, with retro, chiptune sounds. ‘Sugarboy’ with its pulsing beat, ‘Los Ageless,’ a touch more sultry, and ‘Savior,’ along with the album’s title track, ‘Masseduction,’ both have a somewhat Prince feel about them.

The album also sports some beautiful melancholy ballads. ’Happy Birthday, Johnny,’ with it’s understated piano is an earnest dedication, and ‘New York,’ speaks of personal loss. Both bear striking similarities to Tori Amos in parts. The celestial sound of ‘Slow Disco,’ makes me think of Annie Lennox on the similarly ethereal Eurythmics tune, ‘Miracle of Love.’

‘Masseduction’ is a masterful album. Every track is so interesting and every time I listen, I hear something or make a connection that I hadn’t before. ‘Masseduction’ has inspired me to go back and listen to all of St.Vincent’s albums in depth. Call me a newly minted St.Vincent fan!  I’d say that’s an indication of a successful album.

Albums To Get You Through A Sick Day

The last couple of days have been miserable. I’ve been holed up in my cosy living room with a serious case of the sniffles and a healthy dose of self pity. Thankfully, I have music to get me through these tough (and snotty) times, and so I’m sharing with you my sick day soundtrack.

Betty Davis 'The Columbia Years 1968-1969'

Nothing lifts my spirits like some classic funk and this album fits the bill perfectly. Released in 2016, this is mostly previously unreleased material that sees Davis working with the likes of Miles Davis, Herbie Hancock, members of Jimi Hendrix’s band and others. Davis is considered to be one of the most influential funk artists well ahead of her time. Just be careful this one doesn’t get you moving so much, you end up in a coughing fit.

Monster Magnet 'Dopes To Infinity'

Often when I find myself less than effervescent, I turn to the tried and true psychedelic, space rock overlords, Monster Magnet. ‘Dopes to Infinity’ was their 1995 breakthrough album with their first hit single ‘Negasonic Teenage Warhead.’ I remember watching the video clip on Rage when I was fifteen and thinking it was freaking cool. I don’t know what it is exactly about Monster Magnet that makes me feel so good, but I figure it’s best not to dwell on it.

Queen 'A Kind Of Magic'

Okay, this one is a no-brainer. If listening to Queen doesn’t make you feel better, I’m afraid nothing can. Queen are so epic and uplifting. Freddie Mercury, with his mind blowing voice, plucks at my heartstrings just like an angel on a harp (rest in peace, dear Freddie). There are so many good songs on this album, but ‘Friends Will Be Friends’ is one of my favourites.

Madonna 'The Immaculate Collection'

All of my favourite Madonna songs on one album? Yes please! I love this album, it makes me so happy, I almost forget I can’t breathe through my nose. From ‘Holiday’ to ‘Into The Groove,’ ‘Open Your Heart’ and ‘Express Yourself,’ this album encompasses all of the feels of my childhood. I was a hardcore Madonna fan before I hit my teens. Now, excuse me while I vogue.

Album Review: The Ghost Wolves' 'Texa$ Platinum'

2017
16 songs
Length: 39:31
Available to buy on CD or vinyl or as a digital download from Bandcamp

The Ghost Wolves are a two-piece garage, punk rock band from Austin, Texas. Comprising Jonny Wolf on drums, synthesiser and vocals, and Carley Wolf on vocals and guitar; the band’s name was inspired by Carley’s upbringing among hybrid wolves on her family’s Texas ranch.The duo merge a variety of musical styles like blues, rock and roll, punk rock, roots and swamp rock to create their own style, which they’ve dubbed ‘stomp 'n roll.’

The Ghost Wolves formed in 2010 and released their debut EP ‘In Ya Neck’ in 2011, followed by the seven inch ‘Getchya Hip Thrust.’ The band released their first full length album ‘Man, Woman, Beast’ in 2014 through the Nashville label, Plowboy Records. ‘Texa$ Platinum’ is the second full length album from The Ghost Wolves.

‘Texa$ Platinum’ has a raw sound that blends the genres of punk rock and blues masterfully. Searing, dirty guitars and untamed, pounding drums characterise the album, while the tracks are all really short and sharp. The opening track ‘Attitude Problem’ is distinctly punk, with high energy, distorted guitar riffs and Carly’s jarring vocals preaching rebellion and non-conformance. Other markedly punk tracks are ‘Journey On’ with it’s up tempo, simple and repetitive guitar riff, and ‘Whettin’ My Knife,’ which incorporates the band’s signature dirty guitars and Carly’s defiant vocals with some simple piano and synth that sounds like laser guns from a low-budget, 1960's science fiction film. Incidentally, outer space inspired synth springs up on various tracks throughout the album.

Most of the tracks on ‘Texa$ Platinum’ are blues heavy though. ‘Strychnine in My Lemonade,’ combines a bluesy bassline and up-tempo boogie style drumming with some crunchy guitar work for a blues rock feel. ‘Bunny Run,’ is tinged with bluegrass and ‘Triple Full Moon,’ is punk rock infused hillbilly blues. Blues rock is The Ghost Wolves bread and butter and they know how to serve it up every which way. The band has a sense of fun too, and their jovial style and blues country twang remind me of another American rock band, Southern Culture on the Skids.

Carley’s southern drawl and ‘heavy on the twang’, crunchy guitar riff coupled with Jonny’s easy going, pounding blues drumming make ‘Shouldn’t Have Lied’ the stand out track on the album. They could be channelling The White Stripes here, and they do it superbly. It’s a dramatic, impossibly cool number on which Jonny’s drumming shines.

The Ghost Wolves are an awesome punk rock band with a knack for a multitude of blues styles. With ‘Texa$ Platinum’ they have fused them all together to make one fine psychobilly album. It’s fun and it freaking rocks! ‘Texa$ Platinum’ will be on high rotation at my house for some time to come.

Album Review: Aye Nako's 'Silver Haze'

2017
12 songs
Length: 37:08
Available to buy from Bandcamp

Aye Nako are a four-piece pop-punk rock band from Brooklyn, New York. Self-described as a ‘queer punk band,’ Aye Nako write sad punk songs about being queer, trans and black. Comprised of vocalist/guitarist Mars Dixon, bassist Joe McCann, guitarist Jade Payne, and drummer Sheena McGrath, the band formed in 2008 and self-released their first album, ‘Unleash Yourself’ in 2013. They followed up with the EP, ‘The Blackest Eye,’ in 2015, released through Don Giovanni Records. Their new album, ‘Silver Haze,’ is a fuzzed-out, melodic expression of what it’s like to be queer, black and American.

Aye Nako’s identity as a trans band of colour is central to their art. Payne and Dixon identify as people of colour, while Dixon and McCann identify as trans or multi-gender. Their songs are political, exploring the experiences of LGBTQ people in the punk/indie rock scene; a scene that is predominantly male, white and cisgender.

Opening track ‘Sissy’ begins with the screech of dissonant guitars and a classic punk sound. Dixon’s vocal style is reminiscent of Mac McCaughan from Superchunk, desperately emotive. ‘Tell me what I need to stay safe on the streets,’ he sings, ‘spit in my face.’ These words evoke experiences of public displays of vitriol that must be far too common in Dixon’s world. Dixon’s anguish is laid bare, ‘I want to see you suffer like me,’ he wails on ‘Spare Me’.

On ‘Muck,’ which sounds a bit like a Polvo song, with distorted, angular guitars that punctuate the emotion; Dixon yells, ‘when you see me, all you see is the muck.’ Dixon explains, ‘I know it makes some people feel uncomfortable, but I’m uncomfortable too. I was born and raised on feeling so ugly because of my blackness. I saw it from my family. I saw it on TV and in the movies. I saw it at school. Blackness was not to be valued. It wasn’t a positive trait. How is a child supposed to feel comfortable in her black skin if all these external voices are directly and indirectly pounding into her that her blackness is a thing to be ashamed of?’

Swirling, fuzzy guitars and a solid rhythm of bass and drums are a constant throughout the album. Dixon and Payne are a vocal tag team, a first for Aye Nako, as Dixon was previously the sole songwriter and lead vocalist. Although the themes are no less melancholy, Payne’s songs have a softer edge brought about by her more melodious voice. It works gorgeously with the crunching guitars and twanging bassline on ‘Particle Mace,’ and similarly on ‘Arrow Island.’

A lament about a broken, toxic relationship; ‘Half Dome’ begins in a similar way to ‘Sissy,’ with abrasive guitars that then give way to an up-tempo, 1990’s indie rock infused riff and the melodic voice of Payne. Sonic Youth’s ‘Daydream Nation’ also springs to mind here. ‘Nightcrawler’ could be a Speedy Ortiz song, although this is not surprising given the bands’ ongoing association with each other.

Aye Nako’s pop-punk presentation of their politics is stunning and speaks of their 1990’s influences. ‘Silver Haze’ can be a heavy, uncomfortable listen. Both Dixon and Payne write songs about the painful experience of otherness, but it’s something that we shouldn’t shy away from. Said best in their own words, Aye Nako were ‘originally formed to subdue boredom but now operating on another frequency, they are actively seeking a planet where those who fall in the margins can feel OK about being themselves.’ I hope they find it.

Gig Review: Ali Barter - Karova Lounge, Ballarat - 03/05/2017

 Photo by Tara Driscoll

On a typical freezing cold night in Ballarat (although it probably shouldn’t be typical for May), I threw on my coat and scarf and headed down to Karova Lounge; ‘The Rat’s’ most notable, long running venue for live music. Ali Barter was playing in support of her recently released, debut album ‘A Suitable Girl’.

It was a large crowd, the majority of which were young women, some proudly donning their newly purchased Ali Barter t-shirts. Says Barter of making the album, ‘I was writing all these songs and realising all these songs were kind of about me finding my place, learning acceptance, being angry, being a girl, and being OK with that. All the stuff that is growing up’ (Triple J). It goes without saying that Barter’s fan base would largely consist of young women. They chatted excitedly and took selfies in front of the stage as they waited for Barter and her band to complete their sound check. They seemed genuinely excited and their adoration of Barter was apparent.

Barter took the stage with her guitar and her band; a guitarist, bassist and drummer. They began reserved, but loosened up after the first few songs. Barter was composed and played well. She has a 1990’s indie rock sound with a girlish voice, reminiscent of bands like Veruca Salt and The Juliana Hatfield Three. The band played well together and seemed to genuinely enjoy playing with each other. They connected well, exchanging knowing glances, raised eyebrows, silly faces and wide smiles throughout the gig. They seemed to feed off the energy of the crowd, and became more playful as the gig went on and the crowd expressed their enjoyment. There wasn’t a great deal of chatter from Barter. The band for the most part belted out song after song, although Barter started to get a little more talkative, cheeky too, as the night went on.

Barter was backed by tight drumming, swirling guitars and strong bass lines. There was some real rock and roll guitar playing with some fancy licks from her guitarist, especially towards the end when the band started to really get into it. Barter’s voice was strong and accomplished. She seemed to really enjoy playing for the crowd, but also for herself and with the band, and really connected with her songs. There was a lot of loud chitchat from the crowd at the front, but Barter didn’t seem to notice. If she did, she didn’t care.

Photo by Tara Driscoll

The band left the stage at one point and Barter played a few songs on her own. Stripped back, slow, melancholy numbers that really showcased the beauty of Barter’s voice and her control over it. These songs reminded me of the Adalita gig I had attended here, at Karova Lounge, in 2011. She took the opportunity to bond with the crowd by telling a personal story about her professional journey, which endeared her to them even more.

The band rejoined Barter on stage for the remainder of the gig, rocking out harder than before. They played the album’s catchy and explosive single ‘Cigarette’ and the crowd enthusiastically began shouting along, which spurred Barter and the band on even further. They performed a well-executed version of the Weezer classic, ‘Say it Ain’t So,’ before ending with Barter’s 2016 hit single ‘Girlie Bits’, to which she encouraged the crowd to sing along and forgot the words herself. It didn’t matter though; Barter and the band were having fun and the crowd were loving it.

Ali Barter and her band played a solid gig. They had notable onstage chemistry and the band’s admiration for Barter was glaringly obvious. It’s unsurprising really, given how talented and likeable Barter is. ‘I’m hanging around for a drink,’ she said before leaving the stage. ‘Come and say hi.’ As I was leaving, I saw Barter surrounded by excited young girls and I thought that was nice. I’m glad I braved the cold to catch Ali Barter’s gig. I felt a little less cold on the trip home.

If You Like It Dark...

If you prefer winter to summer, don’t mind the rain, and ask yourself which shade of black you should wear each morning; these artists are probably right up your (dark and foreboding) alley.

Savages

Described as post-punk revival noise rock, Savages are a four-piece band from London. The band formed in 2011 and consist of French vocalist Jehnny Beth, guitarist Gemma Thompson, bassist Ayse Hassan and drummer Faye Milton. Heavy on the reverb and distortion, Savages create a dark atmosphere reminiscent of Joy Division, Siouxsie and the Banshees or early PJ Harvey.

Savages have two albums under their belt; ‘Silence Yourself’ released in 2013, and ‘Adore Life,’ released in 2016. Currently they are taking a break while members of the band explore other opportunities (NME). Interestingly, Damon Albarn enlisted Beth to collaborate on the new Gorillaz album ‘Humanz,’ on the track ‘We Got the Power,’ also with Noel Gallagher of Oasis.

Beth’s introspections about love against a backdrop of loud crunchy guitars, pounding bass and echoing darkness are the perfect companion for a night spent alone in the dark; reflecting on lost love and one’s place in the world.

Alexandra Savior

Alexandra Savior is a young American singer-songwriter from Portland, Oregon. Her debut album ‘Belladonna of Sadness,’ was released in April this year and has a very noir vibe. 1960’s dream pop with a gothic flavour, Savior has a voice as smooth as velvet.

Savior collaborated with Alex Turner from the Arctic Monkeys, whose signature retro sound is all over this. It’s heavy on the bass with doomy chord progressions, and maybe some organ and theremin thrown into the mix. After listening to this, you’ll want to don your sexiest dress or sharpest suit and hit the nearest classy cigar bar tout suite.

The Raveonettes

Danish indie rock duo from Copenhagen, The Raveonettes, are interesting in that they incorporate a variety of genres. Noise pop, surf rock, shoegaze and garage rock are some of the best descriptors. The Raveonettes feature Sune Rose Wagner on guitar, instruments and vocals, and Sharin Foo on bass, guitar and vocals.

The Raveonettes formed in 2001 and have produced eight studio albums. The latest of which, ‘2016 Atomised’ was released in February this year and introduces 1980’s electro pop into the band’s already eclectic repertoire.

The juxtaposition of a 1960’s pop sound with dark lyrical content, explosions of noise and a foreboding ambience is delightfully strange. If you like My Bloody Valentine, then The Raveonettes are for you.

Soviet Soviet

Soviet Soviet are a post-punk revival trio from Pesaro, Italy. With guitarist Alessandro Costantini, drummer Alessandro Ferri and bassist and vocalist Andrea Giometti; Soviet Soviet have a retro sound similar to the Psychedelic Furs or early New Order.

The band formed in 2008 and have released four albums. Their sound is characterized by crunchy melodic guitar and uptempo drumming, with a dark undertone. This is 1980’s goth rock for today. Expect to hear Soviet Soviet at the underground goth club you’d go to if only you could ever bring yourself to leave the house.

Album Review: Tricot's 'AND' LP

2015
12 songs
Length: 47:51
Available to buy on vinyl or Spotify or Google Play

Tricot are a three-piece math rock band from Kyoto, Japan. The band is made up of three permanent members; guitarist/vocalist, ‎Ikumi ‘Ikkyu’ Nakajima, guitarist Motoko ‘Motifour’ Kida and bassist Hiromi ‘Hirohiro’ Sagane, with rotating drummers. ‘AND’ is their sophomore album. Complex with is unusual rhythms, clashing guitars and frantic drumming; it is electrifying math rock with sweet-sounding vocals.

The band formed in 2010. In 2011, Kazutaka Komaki joined as drummer and in 2013, they released their first album ‘THE’. In 2014, Komaki left the band and Tricot became a three-piece with rotating drummers. They released ‘AND’ in 2015, enlisting multiple drummers to play on the album.

The band have a variety of influences including Japanese bands Number Girl and Acidman (NME), Fallout Boy, the Red Hot Chili Peppers, and the Eagles; the latter Kida states she was influenced by ‘in terms of their backing chorus work.’ Tricot have said that ‘AND’ was written primarily by starting with Kida’s guitar phrases (Rolling Stone Magazine).

‘Noradrenaline’ is the first track on the album and opens with a thundering drumbeat leading into jerky guitar, a strong bassline and Nakajima’s honeyed vocals; a precursor to the exploding chorus. ‘Hashire’ emphasises Nakajima’s sweet voice with reverb, tricky guitar lines, intricate effects and a constantly fluctuating tempo. ‘E’ has a very frenzied vibe, adopting the band’s signature angular guitars with arpeggio backing vocals. Erratic describes Tricot’s style perfectly.

Tricot also have a pop-punk sound, which shines on the punch packing ‘Colorless Aquarium,’ ‘kieru,’ and ‘Shoku-taku,’ which has a bit of a Paramore feel about it. Tricot do pop-punk very well, without losing sight of the fundamental elements that make them a math rock band.

Tricot can be fun too. They get rowdy on ‘Niwa,’ adding a little samba into the mix, and ‘Break’ incorporates a Red Hot Chili Peppers style funky bassline. ‘Pieeen’ begins with a tranquil piano solo, then abruptly breaks into dirty guitars and pulsating drums. The bassline is funky too, and the piano kicks in again; becoming more prominent in the song’s second half. ‘Kobe Number’ also has a funky sound, but it’s heavier on the pop while incorporating an ethereal bridge, pounding drums and Nakajima’s sugary, sweet vocals.

‘AND,’ is a natural progression from Tricot’s first album ‘THE’. Tricot have matured as a band and obviously work exceptionally well as a three-piece. ‘AND’ is energetic, spontaneous and interesting; potent math rock wrapped up in a pretty, pop-punk package.