MERCY ARMS - MERCY ARMS

"Mercy Arms? I hate those guys." I was asking a friend what they thought of the young Sydney band. They'd seen them support The Strokes in 2006 and apparently didn't think too much of them. It had something to do with the band acting like 'jerks' on stage with the bass player stagediving into a group of 13 year old girls who failed to catch him. "Oh." I'd replied. The thing is i'd heard a few demos on their myspace page and really liked them. Some months later I chance stumbled upon their Kept Low EP and on a whim forked out eleven dollars to buy it. I didn't regret it, there was something beautiful about it that was instantly captivating, but somewhere along the line I stopped listening to it.Time passed and with 2008 came a plethora of amazing debut records; Vampire Weekend, MGMT and The Teenagers etc were on everyones lips and ipods. I couldn't help but wonder whether people would still be listening to these bands in twenty or even two years time. I suppose it doesn't matter really, but It had been a little while since I'd heard a band that had really swept me off my feet that hadn't crashed and burned several months later.
At the right moment Mercy Arms released their debut, a grand and ambitious effort that sounds new and old at the same time without being overly pretencious. The same magic I remember from Kept Low is still there, only now it's more sparse, hypnotic and matured.Nothing about this record really screams 2008, there is a timeless quality to the production and atmosphere and songs like 'To me Now' and 'Firing Line' sound weirdly familiar, or at least have echoes of something beautiful you've heard before, long ago. Not suprising considering the band worked with Tony Cohen on this record, famous for his work with The Birthday Party, Nick Cave and The Bad Seeds and the Dirty Three.
This album has the potential to endure beyond any current trend or scene, it has the same timeless feel you get when listening to other Australian greats like The Triffids or The Go-Betweens. Regardless of whether or not great things happen for Mercy Arms following this release, this record is definately one for the ages.

CONOR OBERST - CONOR OBERST

It's been something like thirteen years since indie wonder kid and Bright Eye's brain child Conor Oberst has released a 'solo' effort. This self titled album was recorded over two months in a make-shift studio in Mexico with a collection of musician friends now known as The Mystic Valley Band.
The album is twelve tracks of toe-tapping fun like 'I don't want to die [in the hospital]' and 'NYC-gone-gone' to the Dylanesque 'get-well-cards' and quieter, subtle and introspective moments like in 'lenders in the temple'. The album is lovely in its entirety and solidifies Mr Oberst's reputation as one of the greatest songwriters of this decade.It's no big secret that Conor [yes, we're on a first name basis] is heavily influenced by the sixties folk revival scene, with artists like Bob Dylan and Neil Young obvious name drops. So whether you choose to pidgeon hole this album as something obscure like post-folk-revival-revival or alt-country-indie-folk or whatever doesn't really matter because it's easier to describe it as good.
I know it's vague to say something is good. This album is good because I think Conor has done some truly great stuff in his career. For the uninitiated, I'd suggest going and having a listen to his song No one would riot for less and tell me you don't feel an inkling of emotion afterwards or Youtube his performance of When the President talks to God on Jay Leno. In fact go invest in his entire back catalogue and get to know him a little better. Regardless of whether you want a long-term relationship with Conor/Bright Eye's music or just a brief one record fling; this albums as good as any place to start.

THE BOAT PEOPLE - CHANDELIERS

The Boat People – darlings of Brisbane pop. Brisbane pop has become quite an uncommon term since the legendary days of Custard, Regurgitator and Screamfeeder way back in the 1990’s. It’s delightful to hear this tradition from above the border coming back to the forefront.
Whispy riffs and dreamy lyrics make for a light-hearted album that you can’t help but bop along with. This warm and fuzzy album is a long time in the making, with their first of three EPs being released in 2002, and their debut released in 2005, it seems that basking in all that northern sunshine over the past three years has created a release to warm the cockles of anyone’s heart.
If you love the jingle jangle of some well-arranged honest tunes, then you cannot go past this collection of fine tracks from The Boat People. Turn it on, turn it up, and get ready to smile your face off.

Emily Blackburn

THE VINES - MELODIA

The Vines were one of the biggest buzz bands on the planet in 2002 with the release of their phenomenal debut album, Highly Evolved. It seemed there wasn't a teenager in the country who couldn't sing you the chorus of their hit single, ‘Get Free’.

Its been six years, three studio albums, several line-up changes, one medical diagnosis and countless mind altering performances but The Vines are one band that have proved the buzz doesn't always have to be short lived.

Despite any difficulties and negativity the band have suffered over the years, frontman Craig Nicholls is still one of the coolest people in rock for one simple reason. He has the ability to write an 'album'. Some people may see this as a weakness and in some cases it may be. After all what's the point in being able to create 40 plus minutes of aurally pleasing psychosis if the songs don't work as well individually?

Personally that's what I find most appealing about The Vines back catalogue. There's just something incredible about a band who can only really be appreciated in full.

The newest album, Melodia is no exception. As always I became highly skeptical about this release after hearing the first single to be lifted from the album, 'He's a Rocker'. The song just didn't grab me but when it's included within the context of the album as a whole I can't help but like it.

While I still maintain the album should be judged as a whole, If I had to choose stand out tracks then I couldn't go past the brilliant opener 'Get Out' as well as 'Autumn Shade III', 'Orange Amber', 'True as The Night' ' Scream' and 'She Is Gone'.

If you're already a Vines convert then you won't have any issues with new album but if you're new to their sound then Melodia might not be the best place to start but by all means give it a go.

Lesley Rickman

ALBERT HAMMOND JR - COMO TE LLAMA

When Strokes man Albert Hammond Jr. first embarked on his solo career, I have to say I was sceptical at best. But the simplistic beauty and uplifting sounds of his debut release Yours To Keep won me over far more quickly then my cynical side would like to admit.

So when I found out about the release of his sophomore effort, Como Te Llama? I was quite confident that I knew what to expect but once again Hammond has managed to surprise me.

Como Te Llama? is everything a follow up album should be plus more. Hammond has taken his same recognisable sound and turned it upside down. The concepts used in the first album were quite sweet and naive. Exploring the ideas of new love and the idealistic hope that so often comes along with it. He’s clearly grown up a little since then and isn’t afraid to explore slightly darker themes and issues.

These new batch of songs are far less instant and recognisable then his earlier efforts but I think they benefit from it. The sweeping, melodious hooks are gone and have been replaced by a much more enthusiastic, driving instrumental sound.

His influences shine through in a much more comprehensive way this time round with aspects of the 60’s and 70’s making themselves known in abundance.

The Standout tracks include first single ‘GFC’ as well as ‘Bargain Of The Century’, ‘Rocket’, ‘You Won’t Be Fooled By This’, ‘Miss Myrte’ and the ever epic, ‘Spooky Couch’.

You don’t have to be a Strokes fan to appreciate this. It may have the same slightly dirty and rhythmic guitar sound but that’s never really a bad thing. Albert Hammond Jr. has done himself proud with this record and I recommend it to anyone looking for something new and interesting to hold their attention.

Lesley Rickman

MUPH AND PLUTONIC - AND THEN TOMORROW CAME...

Released in stores across Australia this coming Friday, July 19, …AND THEN TOMORROW CAME (VOL.1), is Melbourne duo Muph and Plutonic’s outstanding third album. In the two years since ‘Silence the Sirens’ was released, it appears that Australian Hip Hop legends, Muph and Plutonic,

have focused on refining and once again re-defining their unique presence in the Australian Hip Hop scene, presenting an album so rich in content it stands in a league of its own.

Each of the albums 13 tracks represent realistically honest accounts of the influences, emotions, situations and experiences that have shaped and molded their life journey. The albums opening track, ‘The Damn Truth’, sets the atmosphere and clearly portrays the albums underlying message of representing the truth, beginning with oneself. This message is backed up in the tracks And Then Tomorrow Came, Today, and Size of the Soul. The confronting reality of the effects of personal self-destruction is expressed in the raw and frankly honest lyrics in Yesterday’s Basement and Beautiful Ugly.

The beautiful vocals of Jess Harlen accompany Beautiful Ugly, Show Me Your Face and Don’t Worry About Nothin’, and it is clear to the listener that the guest artists have been chosen carefully to accompany the lyrics, with live saxophones, trumpet and guitar adding a unique textual element to the mandatory hip hop sound of vinyl scratching and synthesized sounds.

AND THEN TOMORROW CAME takes us on a 13 track journey through the eyes of Muph and Plutonic, leading to the very fitting concluding track ‘Don’t Worry About Nothin’. With strong and elevating lyrics- Lift ya feet up, put your foot down/ Hold ya head high, try not to look down/ Take a deep breath release push out…on this tracks conclusion there is only one reaction necessary- press play and begin the Muph and Plutonic journey again!!

Muph & Plutonic will commence their national AND THEN TOMORROW CAME tour in August, with shows running through until October. Tour dates and ticket details are available on the websites listed below. Signed copies of the album can be pre-ordered through the Muph & Plutonic website for a limited time. All tracks were produced, recorded and mixed by Plutonic Lab, with all cuts by DJ Bonez. Distributed by Obese Records

WWW: MUPHANDPLUTONIC.COM OBESERECORDS.COM MYSPACE.COM/MUPHANDPLUTONIC



Janice Teitzel

Kia Ora/Hello... Whatever [10/8/08]

Playlist for the first show!

WE’RE ALL LIONS - THE COSHERCOT HONEYS
THE KILL - THE BLEEDERS
LOCKED OUT - CROWDED HOUSE
THE ANSWER - THE BLACK SEEDS
BUSINESS TIME - FLIGHT OF THE CONCHORDS
MY ELECTRIC HUSBAND - BACHELORETTE
IF MY ARM WAS A MIC STAND WOULD YOU HOLD MY HAND? - THE MINT CHICKS
UPGRADE YOUR CHASIS - SO SO MODERN
OH GIRL - CUT OFF YOUR HANDS
BEST FRIEND ENVY - THE BRUNETTES
THIS ACHING DEAL - SHOCKING PINKS
DECIPHERING ME - BROOKE FRASER [request]
TANE MAHATU - THE RUBY SUNS
SHYNESS WILL GET YOU NOWHERE - DIE DIE DIE
HOLIDAY - COOLIES
SCRAPBOOK - DIMMER
DOWN IN SPLENDOUR - EVERMORE [STRAITJACKET FITS COVER]
ALL IN AN AFTERNOON - THE PHOENIX FOUNDATION
TALK ABOUT GOOD TIMES - LAWRENCE ARABIA
BETTER TO BE - LIAM FINN
RAIN - BETCHADUPA
HOLD ME 1 - ABLE TASMANS
GREEN - GOODSHIRT
LYDIA - FUR PATROL
GLUEY GLUEY - TALL DWARFS
OTHERSIDE - BREAKS CO-OP
WHAT WOULD I KNOW - THE DATSUNS
EXPECTATIONS - CUT OFF YOUR HANDS

PLACES TO GO - CLEMTOWN

Not really...