I'm Back Baby!

I know most of you thought I was dead, but no, actually what happened was I got really, really quiet. For almost five years. And I know that's a long time between blog posts, but what is it they say? If you don't have anything nice to say, don't say anything at all?

It's not really fair to say nothing nice has happened in music in the last five years. We've seen the runaway success of Amyl and the Sniffers and the debut of Silk Sonic. We heard the true story of Wham! resulting in vindication for Andrew Ridgeley (I freaking love that guy). And St. Vincent, Yeah Yeah Yeahs, Janelle Monae, Public Image Ltd. and Blur all released new albums.

Post COVID, it seems every band and artist is touring, and even though I don't know anyone personally who was able to get tickets for Taylor Swift's upcoming Melbourne show, somebody somewhere must have snagged one. And the nicest thing of all? Guitar Wolf played at my local. Guitar Wolf!! At my local!!!

While it's true I have not blogged for many years, I have not given up making stellar playlists. You could even say it's a hobby of mine. I love to think about the way songs fit together thematically to tell a story, or express a mood or feeling. 

This playlist pulls togther a collection of tunes that span decades and musical styles; ranging from The Zombies' 1960's psychedelic rock and the lovely Yé-yé sounds of Françoise Hardy, to the smooth soul of Erykah Badu, the hard rocking Rollins Band and the drum n' bass stylings of Josh Abrahams. You know, to remind us all that it's complicated.

September Playlist

I've been feeling sentimental of late. I think I'm a sentimental person generally, but lately almost everything makes me emotional. Emotions! Gah!! Who needs them, amiright? I think that's why quite a few of the songs on this month's playlist are sentimental. Some just in general, some specifically for me. It wasn't intentional, that's just the way the cards have fallen.

Again, not much new music here, but I plan to rectify that in the coming months. That said, I did discover Meg Myers, who's second full length album 'Take me to the Disco' was released in July this year. Stephen Kallao wrote a profile on Myers for NPR's World Cafe: essential and emerging artists, describing her sound as 'a bit like Nine Inch Nails got into a fight with the Pixies'. THAT got my attention. 'Numb' the second track on the album, is very Pixiesish - with the loud/quiet shifts and the long, wistful guitar licks.

Look, The Roxy talks Music - September Playlist may be sentimental, but it's not all melancholia. There's a light at the end of the long, wintry tunnel. Spring has sprung! And I'm about ready to kick up my heels and go out for a dance. 

So, put it on and play it loud, my people! And maybe I'll catch you out there on the dance floor.

Roxy talks Music - Father's Day

Today is my husband's 10th Father's Day. It's also the second since my dad passed away. For these reasons and a few others, I felt inspired to make a special Father's Day playlist.

These are all 'dad' songs to me because they have some kind of connection in my mind to a dad in my life; whether it be my own dad, or my husband or my father-in-law, or all three simultaneously (hello, Billy Joel!) My dad was a big lover of music and passed that love on to me. My husband and I share a love of music also, and it is a huge part of our family life. Because of this, our daughter is developing her own passion for music. She's into J-Pop and K-Pop at the moment, which isn't really my thing, but love what you love, I always say!

So to all the dads out there, and everyone who has a dad, or is thinking of a dad... this playlist is for you. 

August Playlist

It would be remiss of me not to acknowledge Queen of Soul, Aretha Franklin, who sadly passed away this month. My first experience of Frankiln was in the 1980's with Eurythmics song 'Sisters Are Doin' It For Themselves'. Being a young girl under 10 years old, and a Eurythmics fan to boot, I remember thinking she must have been someone pretty special to be singing a duet with Annie Lennox. How right I was! Growing up when and where I did, I'd have to be living in a vacuum not to know who Aretha Franklin was. She was hugely influential on most of the artists I was listening to and in addition to the impressive number of iconic hits she had throughout the 1960's and 70's, she sang duets with huge stars like George Michael and Whitney Houston. After I saw Franklin in the 'Blues Brothers' for the first time in my teens, I knew she was legendary.

We also lost another music great this month, with the passing of rock guitarist and songwriter Spencer P Jones. Jones has played in a hell of a lot of bands since the 1970's, but my absolute favourite is Beasts of Bourbon (I freaking love that band!). He was a fantastic guitarist and he will be missed.

The Roxy talks Music - August Playlist is a bit of a mixed bag. Both Franklin and Jones are represented, as is the always controversial Madonna, who celebrated her 60th birthday this month. Happy 60th Madonna! Keep expressing your bad self!

March Playlist

We're only halfway through March and already there has been so much fantastic new music released since I last blogged. A couple of brilliant tracks from Janelle Monae's forthcoming album Dirty Computer, a rocking new album from Albert Hammond, Jr., new music from The Kills and a mind-blowing new album of previously unreleased recordings by Jimi Hendrix.

But as much as I've been listening to new music, I've always got time to revisit the classics and uncover old gems that I've previously overlooked. Aside from the 1980's revival I've been enjoying this month, I also discovered Otis Junior and Dr. Dundiff's incredibly cool, smooth hip hop album from 2017, Hemispheres, which I can't get enough of and thoroughly recommend. Check it out if you're not already familiar.

And now, without further ado, here's a sample of my March sounds for your listening pleasure....

February Playlist

As much as I love writing about music, I love making playlists. Finding just the right combination of songs that sound awesome together to convey a particular mood or message. And it's another great way to share the music I love with the world.

So, I'm trying something new: Roxy talks Music monthly playlists. Once a month I'll post a collection of songs that mean something to me. Whether it's new music I've been listening to lately, old favourites I listen to all the time, or something that is particularly significant to me this day for whatever reason.

So I hope you enjoy the very first Roxy talks Music playlist, specially designed for the month of February. Happy listening!

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.

Beloved Covers

Recently I caught Polish Club live at The Forum in Melbourne. They played an energetic set, chock full of their best songs and my personal favourites (which made me soooo happy). They also did a really fun cover of Lesley Gore's 1963 hit 'You Don't Own Me.' I was belting out the words at the top of my lungs, trying to anticipate all of Novak's inflections and having the time of my life. Afterwards I remember thinking that there's something uniquely satisfying about a great cover of a fantastic song. When you hear it, you're hearing that song you know and love so well again for the first time.Then if you're lucky, you get to fall in love with it all over again.

There are so many amazing covers out there in the world. Here I share with you a small sample of my favourite covers of much loved songs.

Pet Shop Boys ‘Always On My Mind’ (1987)

'Always On My Mind,' was a country music song originally recorded by Gwen McCrae in 1972. It was also famously covered by Elvis Presley in 1972 and Willie Nelson in 1982, for which he won a Grammy award. Pet Shop Boys released their version in 1987 after first performing it on a television special commemorating the tenth anniversary of Presley's death. Oh, how I love Pet Shop Boys! The English synthpop duo of Neil Tennant and Chris Lowe introduced me to dance music back in the 1980's and they will always hold a special place in my heart. Pet Shop Boys took a country music song and made it one of the biggest dance hits of the 1980's. It's a beautiful song and the Pet Shop Boys' version loses nothing in translation. It's also one of my favourite Pet Shop Boys songs.

David Bowie ‘Cactus’ (2002)

David Bowie recorded a version of The Pixies song, 'Cactus,' for his 2002 album Heathen. The song first appeared on The Pixies 1988 album Surfer Rosa. Bowie's cover is a faithful homage to the original, although heavier, with the main difference being in the distinctive voices of both Frank Black and Bowie. Also, on the original version, the band can be heard spelling out 'Pixies' in the break, while Bowie's version spells out D-A-V-I-D. I love this song, but personally I prefer Bowie's version as I find it more interesting musically. Appropriately, The Pixies performed the song at a Bowie tribute concert in 2016, as a Bowie cover. Perhaps they preferred Bowie's version as well.

Cyndi Lauper ‘When You Were Mine’ (1983)

'When You Were Mine,' was written and recorded by Prince and first released on his 1980 album Dirty Mind. Cyndi Lauper's version of the song appeared on her hugely successful 1983 debut album She's So Unusual. Both versions are perfect synthpop, but Lauper's omits Prince's signature funk in favour of a slower tempo and heavier keyboards. I love both versions of this song. Both Prince and Lauper bring their own distinct sound to the song, which work equally well.

Tori Amos ‘Enjoy The Silence’ (2001)

Tori Amos' stirring rendition of Depeche Mode's electro hit from their 1990 Violater album 'Enjoy The Silence' is achingly beautiful. It was difficult to pick just one of the songs from Amos' 2001 album of covers Strange Little Girls as there are so many gems, but 'Enjoy The Silence' is one of my favourite Depeche Mode songs. I was so moved by Amos' version, it ultimately won out. Depeche Mode succeeded in crafting a haunting electro ballad and Amos' stripped back piano version only serves to heighten the emotion of the original.

The White Stripes ‘Jolene’ (2000)

I freaking love The White Stripes version of Dolly Parton's 'Jolene.' Parton first released 'Jolene' in 1973 as a country pop song and it's probably one of the few country songs that I like. It's a flawless vehicle for Parton's honeyed voice. However, Jack White's pleading, wailing vocals and lamenting guitar, coupled with Meg White's mostly understated drumming errupting into a crashing chorus is absolute perfection.

Cake ‘I Will Survive’ (1996)

Cake covered Gloria Gaynor's 1978 mega disco hit 'I Will Survive' for their 1996 album Fashion Nugget. The original became a top selling song for Gaynor, reaching number one on the Billboard Hot 100 and on the UK Singles Chart. It also won a Grammy award for 'Best Disco Recording' in 1980. Cake's funkified version is resplendant with horns and a laid back bassline. I couldn't love it any more than I already do, even if I tried really, really hard.

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.