STACK#127 May 2016
MUSIC
REVIEWS
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Django Django Born Under Saturn It's fair to assume that Django Django's feet are yet to touch the ground since their elevation to 2012's darlings of the indie rock frontier. The evidence is in chapter two: a whooshing and bubbling astral trip of an album seemingly formed though an act of creative condensation somewhere in the synth-pop stratosphere. Lyrically, Vincent Neff has had his head in the clouds from the outset, happy to "stitch the phrases together until something starts to make sense," to quote an earlier tune. And the polyrhythmic weirdness that first tweaked our attention remains a trademark from track one, Giant , in which Neff finds himself looking down from a great height on a drumkit and piano apparently dancing sideways to overlapping time signatures. Shake and Tremble accelerates through blue sky and smoke drifts like Primal Scream on chill pills but it's on track three, Found You , that Born Under Saturn finds its default groove halfway between the choogling roll of The Stone Roses and the soft-harmony psychedelia of Herman's Hermits. The mothership chugs low through waterfalls and daydreams of fields ablaze in First Light . Pause Repeat is all valleys and dunes at the edge of the world, where "the start of the end is upon us and now it's beginning" and wait a minute, the piano's Cuban but the drum sounds African. Reflections picks up a galactic hitchhiking saxophone player and Vibrations touches down on a drip- dripping swamp planet awash in twittering birds before again climbing "higher and higher" through thunderclaps and rainbows to High Moon and 4000 Years, traversing looking-glass realms and other unattainable dimensions. All oddball synth textures and off-kilter metrical challenges considered, this is a weird enough twist on the old second album cliché about the never-ending road to uphold Django Django's rep as one of the UK's more intriguing recent exports. ( Warner) Michael Dwyer
Nightwish Endless Forms Most Beautiful With Endless Forms Most Beautiful Nightwish confidently enter the next stage of their career. The decision to welcome vocalist Floor Jensen to the fold is given credence here, on this, her debut with Nightwish. Jensen’s voice gels effortlessly with the bands music, adding new layers to Nightwish’s already multifaceted sound. Endless… doesn’t veer into uncharted territories per se, but it does – in an understated way – highlight Nightwish’s ability to gently push the envelope without alienating fans. Nightwish’s impact today isn’t comparable to the late ’90s, but when it comes to female- fronted symphonic power metal, they remain the benchmark. (Roadrunner/Warner) Simon Lukic
Jeff the Brotherhood Wasted on a Dream Self-proclaimed by the ever-rockin’ Orrall brothers as the “most fully realised record we’ve ever made,” it’s clear within seconds that album eight offers more polish and orchestration than ever. A good thing? Considering they’re now a three- piece on these 11 tracks (with The Dead Weather’s Jack Lawrence) and have added flute help from Jethro Tull’s Ian Anderson (really!), it’s a tight and calculated romp through bright sludge. A ’90s alt-rock vibe mixed with melodic anthem and vibrancy; it’s odd to hear tracks like the Foo Fightery Coat Check Girl or comfy-socks-groove within In My Dreams. Never fear, In My Mouth’s cheeky nod to the past revives your faith effortlessly. Multi-listens will reward. ( CookingVinyl/Universal) Chris Murray
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Raised by Eagles Diamonds in the Bloodstream The Eagles have never been a 'cool' band, but Melbourne’s Raised by Eagles are not afraid to admit they’re fans; and Falling Through , the tasteful opening cut on their second album, shows that they can pull off that laidback feel with classy harmonies. And they’re also capable of throwing some Tom Petty-like crunch into the mix – check out Jackie . But Raised by Eagles are no copycats; they’ve got their own thing going on. Like a classic West Coast album, this is concise and precise, with just eight tracks clocking in at 35 minutes. And it’s all quality. (Vitamin) Jeff Jenkins
Sam Outlaw Angeleno Yes, that is his real name –
Dan Cribb and the Isolated As We Drift Apart
Paul Mac Holiday From Me There was almost an Avalanches-like wait for Paul Mac’s new album. Holiday From Me is aptly titled – it comes 10 years after Mac’s second album. Disappointingly, the electro-pop pioneer doesn’t break any new ground here, though he still has a knack for taking club sounds mainstream. Ngaiire, who appeared on 2005’s Panic Room , takes the lead on three tracks, Kira Puru shines, The Reels’ Dave Mason delivers dark delight Not Even Jesus, and Megan Washington provides the pop highlight with Idiot, which starts with the classic line, “I’m in love with an idiot.” (Eleven Music/Universal) Jeff Jenkins
and quite a name, for a country singer based in L.A. Sam Outlaw gave up his day job to pursue his love of making music, and he’s quickly attracting all the right attention. For his debut, he’s brought in none other than Ry Cooder on production duties and a band featuring members from My Morning Jacket, Punch Brothers and Dawes to help out. An incredible bunch of songs overflowing with classic country sounds influenced by some his favourite singers George Jones and Dwight Yoakam. Remember the name: there’s definitely a buzz about this boy. (CookingVinyl/Universal) Denise Hylands
As We Drift Apart is the first album from new Perth-based trio Dan Cribb and the Isolated. For this debut, the former Decline frontman has secured convincing guest appearances from Kisschasy frontman Darren Cordeaux, and singer of Detroit punk band The Swellers. Reminiscent of the late ’90s approach to honest and simple songwriting that propelled the likes of Tony Sly and Joey Cape into the hearts of pre-emo pubsecents, As We Drift Apart is a good, old fashioned, convincing punk rock romp. ( Pee Records/MGM) Emily Kelly
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