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.

Album Review: Lady Wray's 'Queen Alone'

2016
11 songs
Length: 34:53
Available to buy on vinyl or CD or digital download

I first heard Lady Wray’s second studio album Queen Alone a few weeks ago and could have sworn it was a Motown release, circa 1960s-70s. It’s a sweet, soul record with a classic vintage sound.

Wray’s voice is powerful with an impressive range and a gospel sound, which is unsurprising given her church upbringing. Released by Brooklyn based Big Crown Records, Queen Alone is Wray’s first solo album since her 1998 release Make It Hot and is quite a departure from her debut, which was produced by Missy Elliott and Timbaland. Make It Hot is contemporary R&B, much closer to hip hop than the retro soul of her latest offering.

The album’s opening track ‘It’s Been a Long Time’ sets the tone with a classic big horn, drum and guitar driven Motown sound. The call-and-response singing style and perfectly arranged backing vocals, also quintessentially Motown, is a big feature too, and perfectly executed on songs including the easy going ‘They Won't Hang Around,’ the cheerful ‘Smiling’ and ‘Guilty,’ which is arguably my favourite track on the album.

Wray’s voice is smooth and strong, reminiscent of soul queen, Aretha Franklin. She has a range and a warmth that is delightful and heartfelt, while being versatile too. Her voice is perfectly suited to the big band sound; as evidenced by the passionately belted out ‘Bad Girl’, just as much as it is to the slower, sultrier, jazzier number ‘Make Me Over’. It has a sweetness to it, most notable on the retro pop ditty ‘In Love (Don’t Mess Things Up)’. But it's also commanding and sassy on the swamp pop tune ‘Underneath My Feet’.

Queen Alone is a fantastic album that marks Lady Wray as a fantastic retro soul artist to watch. I can’t recommend this one enough!

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.

Album Review: Raphael Saadiq's 'Stone Rollin''

2011
10 songs
Length: 43:01
Available to buy on vinyl or CD, Apple Music or Spotify

About a month ago, while at work, I got an email from my husband. ‘You should listen to this album,’ it said, ‘on your way home from work tonight. I think you’ll really like it.’ The email included a Google Play link to ‘Stone Rollin’.’ So I listened to it on my hour plus commute. Then I listened to it again. He was right; I did really like it (he knows me so well!) In fact, I liked it so much, I couldn’t get enough of it. I listened to it the next day and the day after that too. I played it all the next weekend. Since then, I’ve listened to ‘Stone Rollin’’ countless times and I own a copy on vinyl.

‘Stone Rollin’’ is the fourth studio album from American R&B singer, songwriter and producer, Raphael Saadiq. Saadiq began his illustrious career touring with Prince as a teenager before becoming the lead vocalist and bassist for the hugely successful 1980’s-90’s R&B group, Tony, Toni, Toné! After they split, he went on to form Lucy Pearl with Dawn Robinson (En Vogue) and Ali Shaheed Muhammad (A Tribe Called Quest). Lucy Pearl only recorded one album. Saadiq has collaborated with many notable artists including Erykah Badu, The Roots, Whitney Houston, Lionel Richie, Ghostface Killah and The Isley Brothers.

‘Stone Rollin’’ builds on the traditional soul style of Saadiq’s previous album ‘The Way I See It,’ to create a melting pot of styles including funk, blues, R&B and old time rock and roll. Every track on this album is an absolute gem and Saadiq delivers each style with perfect execution. The opening track ‘Heart Attack’ is a rollicking, up-tempo earworm with a classic Motown sound and echoes of James Brown. ‘Radio’ gets the vintage R&B rock and roll vibe just right (think Chuck Berry), and the album's title track ‘Stone Rollin’,’ blends electric guitar and some sassy harmonica into a flawless Chicago blues number.

Saadiq’s slower songs are just as good as his energetic ones, incorporating some beautiful and emotive orchestral arrangements. ‘Good Man’ is as gut wrenchingly soulful as they come, while ‘The Answer’ complements Saadiq’s impressive vocal range with a delicate composition of strings. The psychedelic soul tune, ‘Over You’ is my favourite track on the album. It’s a perfect hybrid of R&B, soul and rock and roll that transports me to my happy place every time I hear it. I could seriously listen to it on repeat ALL.DAY.LONG.

Saadiq is a master. ‘Stone Rollin’’ is an overwhelmingly fantastic album with a polished, classic sound that everyone should listen to. In fact, I’m so enthusiastic about this album; I want to give it away! When I bought ‘Stone Rollin’’on vinyl, it came with a free CD copy. I’ll post the CD to the first person to comment below. What are you waiting for? Get to it!

Album Review: The Preatures' 'Girlhood'

2017
11 songs
Length: 43:26
Available to buy from the band's website

I’m a big fan of The Preatures. I love their first album, the 2014 hit ‘Blue Planet Eyes,’ and listen to it regularly. It’s a feel good, pop rock album; a guaranteed mood lifter. Needless to say, I was pretty excited about the release of the band’s second album ‘Girlhood.’

The Sydney four piece, fronted by Isabella ‘Izzi’ Manfredi on vocals and guitar, initially achieved success with their breakthrough hit single ‘Is This How You Feel?’ which came in at number 9 on Triple J’s Hottest 100 and saw them playing Glastonbury, Coachella, Bonnaroo and the Jimmy Kimmel Live show. ‘Blue Planet Eyes’ was an extension of ‘Is This How You Feel?’ chock full of catchy, rock and soul tunes that you just HAVE to shake your hips to. ‘Girlhood’ however, is something quite different.

The album’s opening and title track kicks off in the same vein as their debut album and is catchy as hell; the stuff hit singles are made of. But the rest of the album doesn’t follow suit. There are more layers on ‘Girlhood,’ which make for a more mature offering this time around.

Listening to this album, I can’t help thinking of the Divinyls or the Pretenders. Particularly on the tracks ‘Lip Balm’ and ‘Girlhood.’ There is definitely the sense that the band is exploring a host of different influences here, more so than on their debut, and not limited to musical influences either. The indigenous Darug language of Sydney is featured on the track ‘Yanada,’ which is Darug for moon. Manfredi also speaks some Italian on ‘Something New.’ Says Manfredi ‘I’m a first generation Australian, My dad came over here on a boat as an Italian immigrant. My mother is Scottish, Irish and English-Australian. I was born on Gadigal land. Understanding and respecting those histories is part of who I am. I’m trying to find some harmony in the contrasts.’

‘Girlhood’ is full of ballads that showcase Manfredi’s sweet voice. ‘Your Fan’ is the most classic example. ‘The First Night’ is a slow burn, heavy on the guitar with some crashing cymbals and gorgeous reverb. ‘Magick’ is a dreamy pop rock ballad that creates an ethereal atmosphere. ‘Cherry Ripe’ pairs percussive beats with a lovely slow, dreamy tempo.

‘Girlhood’ is also more of a rock album than its predecessor. That isn’t to say that there aren’t plenty of pop gems though. ‘Mess It Up’ sports an 80’s tropicana vibe, complete with synth, a funky bassline and a killer guitar lick. ‘Nite Machine’ feels like disco rock and ‘I Like You’ is perfectly pop.

As a follow up to ‘Blue Planet Eyes,’ the latest album from The Preatures, ‘Girlhood,’ doesn’t disappoint. If you’re expecting more of the same, don’t be. ‘Girlhood’ is not a sequel. It’s an exploration into new territory for the band, but a natural evolution as opposed to a step away from the groovy pop rock of their debut.

Album Review: Songhoy Blues' 'Résistance'

2017
12 songs
Length: 44:59
Available to buy from Bandcamp

Songhoy Blues are a desert blues band from Timbuktu, Mali. Their second album ‘Résistance,’ which was released this year, is guitar-driven blues rock with elements of funk, jazz and psychedelic rock thrown into the mix.

Songhoy Blues comprises four members; Garba Touré, Aliou Touré, Oumar Touré and Nathanael Dembélé. The band was formed in Mali’s capital city of Bamako after guitarists Garba and Oumar, and singer Aliou (no relation) were exiled from their home in northern Mali by the jihadist group ‘Ansar Dine,’ who took control of the region and outlawed cigarettes, alcohol and music. Garba, Aliou and Oumar identify as Songhoy people, a West African ethnic group that was once-prominent, but is now marginalized by Islamist militias who’ve imposed an incredibly strict reading of Sharia rule. The band’s name is a hybrid of their ethnicity and the style of music (desert blues) they play.

Songhoy Blues are heavily influenced by western styles of music and name Jimi Hendrix, John Lee Hooker and BB King among their inspirations. The band also worked with Yeah Yeah Yeahs’ guitarist Nick Zinner on their 2015 debut album ‘Music in Exile.’

‘Résistance’ could be described as a ‘world music’ album, and the tracks ‘Ici Bas’ and ‘Badji’ certainly have world folk music appeal. But to label it ‘world music’ would be dismissive of it’s retro, psychedelic rock/funk essence and the myriad of other styles the band dabble in.

The album’s opening track ‘Voter’ is quintessential psychedelic rock, charged with whimsical, extended guitar solos. ‘Bamako’ is a beautiful acid jazz/ psychedelic rock hybrid, with an uber-funky bassline reminiscent of George Clinton’s Funkadelic. ‘Sahara,’ incorporates a bluesy swagger with some English lyrics that add an almost post-punk feel. ‘Sahara’ is one of the few tracks on the album on which English is heard; ‘Mali Nord,’ is another that includes English in the form of a rap, telling of the band’s longing to return to a home they have been banished from.

Songhoy Blues are as diverse in their use of sounds and instruments as they are in their exploration of styles. ‘Yersi Yadda’ shifts between synths and brass, and Santana style rhythm guitar. The lovely folk sounding ‘Hometown’ pairs banjo with strings. ‘Dabari’ is driven by a steady guitar rhythm, interspersed with chanting and some well placed crescendos.

Songhoy Blues effortlessly blend psychedelic rock, funk, jazz, blues and folk on ‘Résistance’ to create a groovy, smooth sounding album with some intricate guitar work and an old school sound. It’s a fantastic album from a very promising band.

Album Review: Benjamin Booker's 'Witness'

2017
10 songs
Length: 32:07
Available to buy from his store

I can’t get enough of Benjamin Booker. I first heard his latest album ‘Witness’ a couple of weeks ago and it’s pretty much all I’ve listened to since. ‘Witness’ is a mix of blues and garage rock that pairs the raw blues guitar of his first album with a more extensive sound.

Booker’s debut self-titled album was recorded in Nashville in 2013 and released in 2014. It was an instant success, debuting in the top 10 of Billboard's Alternative Albums and Independent Albums charts. It lead to appearances on ‘Late Night with David Letterman’ and ‘Conan’ and touring with Jack White and Courtney Barnett. It shows off some impressive guitar work with a vintage rock ‘n roll sound. 

‘Witness’ encompasses elements of Booker’s self-titled debut, but also much more. It also has less of the raw, frantic energy of Booker’s debut, although you wouldn’t know it from the opening track ‘Right on You,’ which is an uptempo, rock ‘n roll gem. ‘Off the Ground’ is another throwback, lulling you into sleepy submission before exploding into a rock ‘n roll number. 

Booker has embraced a more soulful, gospel sound that complements his husky voice beautifully. The title track features gospel singer Mavis Staples, and was described by the New York Times as ‘a piano-pounding hymn for Black Lives Matter.’ ‘Believe’ incorporates strings with gospel harmonies for a poignant examination of faith and ‘Carry’ is incredibly heartfelt. 

Booker carves out some lovely melodies.‘The Slow Drag Under,’ has the feel of an African-American folk song. ‘Truth is Heavy,’ is richly textured with some intricate guitar work. ‘Overtime’ has a surf rock tinge. 

‘Witness’ is a fantastic sophomore album from an accomplished singer, songwriter and guitarist. The album is proof of Booker’s evolution as an artist; incorporating enough of the old sound with some wonderful new elements.

If You Are Soul Searching...

If you enjoy music that makes you feel good, a little bit sassy and like cutting a rug; then you’re probably a lover of soul. Soul is a wide ranging genre that includes everything from classic soul artists like Aretha Franklin, Otis Redding and Al Green; to Prince’s brand of funk-rock, synth-pop soul; to hybrids of psychedelic soul, disco soul and soul R&B.

Chicano Batman

Photo by Josue Rivas

A four-piece band from Los-Angeles, Chicano Batman comprises Bardo Martinez on guitar, keyboard and vocals, Eduardo Arenas on bass, guitar and vocals, Gabriel Villa on drums and vocals and Carlos Arévalo on guitar. Chicano Batman can be described as a tropicalia, psychedelic soul band with a 1970’s flavour and a sociopolitical bent, and when they perform, they wear matching suits and ruffled shirts. Says Bardo, “We’re making a particular reference that some people understand—Los Ángeles Negros, Los Pasteles Verdes. In the ’70s, it was a big thing where all these cats were playing romantic ballads, but they were funky as hell.”

The band formed in 2008 and have released two EPs and three albums, the most recent of which, ‘Freedom is Free,’ was released in March of this year. They have toured with Jack White, Alabama Shakes and The Claypool Lennon Delirium, and their fanbase is growing all the time.

Chicano Batman have a sound that says ‘let’s drink mojitos on this summer, Sunday afternoon.’ Rest assured, this is definitely a band to watch.

Charles Bradley

American singer, Charles Bradley, has a classic 1960’s/70’s soul/funk sound that has been likened to soul great, Otis Redding. Bradley is signed to Daptone Records, an independent funk and soul record label based in Brooklyn, New York, that is known for it’s revivalist approach to soul music.

Bradley released his debut album ‘No Time For Dreaming,’ in 2011 at 63 years of age to widespread acclaim. He followed up with ‘Victim of Love,’ in 2013 and ‘Changes,’ in 2016. He was also the subject of the documentary film ‘Soul of America.’ Directed by Poull Brien and debuting at the SXSW Film Festival in Austin, Texas in 2012, the film tells Bradley’s life story; from childhood, to his years on the streets, and his eventual success as a soul singer. Bradley’s songs have been frequently sampled by hip hop artists and featured on various TV series.

Bradley has a powerful voice that’s deep and rich, and is perfectly complimented by the vintage sounds of the superb soul/funk Menahan Street Band. If you like classic soul, then Charles Bradley’s your man.

Janelle Monáe

Photo by Daniel Jackson

Psychedelic soul queen, Janelle Monáe, is on the rise. Not only does she have three exceptional albums and an EP under her belt, she has earned a slew of Grammy nominations, and in 2016, had major roles in two Academy Award nominated films, one of which ‘Moonlight,’ won the Academy Award for best picture.

Monáe’s science fiction themed concept albums are centred around her alter-ego, the android, Cindi Mayweather. Her brand of psychedelic soul also incorporates, jazz, R&B, hip hop, funk and art rock. Monáe enlists an impressive cast of collaborators on her albums, including Prince, Erykah Badu, Solange Knowles, Miguel, Esperanza Spalding and Outkast’s Big Boi.

Monáe is not only an accomplished artist, but also incredibly interesting. Her tuxedo wardrobe is her signature style. Says Monáe of her style, “I feel like I have a responsibility to my community and other young girls to help redefine what it looks like to be a woman. I don't believe in men's wear or women's wear, I just like what I like. And I think we should just be respected for being an individual.” She also runs her own independent record label, Wondaland Records, making her one of the few black women to do so.

Janelle Monáe is one of the most brilliant, talented and refreshing artists making music at the moment. I absolutely love her! If you haven’t already, check her out.

Childish Gambino

Donald Glover is an American actor, comedian, writer, producer and musician. As a recording artist, Glover performs under the stage name, Childish Gambino. Glover has released three albums as Childish Gambino, ‘Camp’ in 2011, ‘Because the Internet’ in 2013 and ‘Awaken, My Love!’ in 2016. His first two albums are primarily hip hop, but ‘Awaken, My Love!’ is an exercise in psychedelic soul that’s as funky as anything by Parliament-Funkadelic. This album is soul gold.

‘Awaken, My Love!’ is a homage to P-Funk and was heavily influenced by Funkadelic, particularly their 1971 album ‘Maggot Brain.’ I get the distinct impression that Glover is a huge Prince fan too. Says P-Funk originator, George Clinton, “I just heard it [Awaken, My Love] one time and I like the songs. When I did hear it, it sounded like a cross between P-Funk and Prince influence. I’m proud that he’s into the funk and glad him and others are bringing some new funk back.”

So, there you have it. You can’t beat an endorsement from the Grandfather of Funk himself.

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.