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.

Album Review: Molly Burch's 'Please Be Mine' LP

2017
10 songs
Length: 41:46
Available to buy from Bandcamp

Molly Burch is an American singer-songwriter based in Austin, Texas. Her debut album, ‘Please Be Mine’ is a collection of wistfully dreamy love songs; the perfect soundtrack to unwind to while you soak in the bath and let your cares slip away.

The album has a very nostalgic feel, reminiscent of 1960’s pop chanteuses like Dusty Springfield and Lulu, but with a country twist. Burch’s voice is complimented nicely by clean guitar licks and reverb that creates an otherworldly atmosphere. ‘Downhearted’ is the first track on the album and gives you a good indication of what to expect. Burch’s vocal range is fully realised here and the overall country, dream pop sound works wonderfully with her voice. I wouldn’t be surprised to hear this song on the soundtrack of Quentin Tarantino’s next film.

Burch gives you the impression that she is no stranger to heartbreak. Every song on this album speaks of longing and complicated love. On ‘Wrong For You,’ Burch warbles lamentations of why she can’t have someone she wants so much. ‘Please Forgive Me’ is a tale of regret and lost love capped off with a whimsical guitar solo. Her gorgeous voice has so much depth and range, and works so wonderfully with the charmingly retro guitar; you can’t help but fall under her melancholy spell.

Burch employs inflection masterfully throughout, effortlessly switching between different deliveries on every track. ‘Try’ has a lovely surf pop feel, while Burch gets a little more commanding in her vocal rendition. ‘Loneliest Heart’ is a beautiful, sleepy lullaby. I can picture Audrey Horne dreamily swaying back and forth to it while it plays on the jukebox at the Double R Diner. On ‘Fool,’ Burch spruiks the protestations of a jilted lover with a somewhat Patsy Cline vibe.

‘Please Be Mine’ introduces Molly Burch as a talented singer-songwriter. More polished than passionate, it displays the complete control that Burch has over her voice. It’s not the kind of record that serves up something different on every track; but it is a perfect representation of a flawlessly handled vocal instrument. And in the words of Audrey Horne, ‘isn’t it too dreamy?’