STACK #164 June 2018

MUSIC REVIEWS

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Charlie Puth Voicenotes

Pendulum The Reworks

Voicenotes , Charlie Puth’s folllow-up to the savagely panned Nine Track Mind , is something of a Road to Damascus moment for 2015’s biggest hitmaker. Following the previous two years trying to find himself in music, Voicenotes is an assertive, funky demonstration of Puth’s personality. Eschewing maximalist EDM pomp for rock and disco sounds, Voicenotes is a potent mix of slinky and scathing, with Puth holding little back in the lyrics. For anyone quick to dismiss Puth as a cloying Sam Smith-alike in the wake of See You Again , Voicenotes brings his hidden depths to the surface, marking him as a compelling new voice. (Warner) Jake Cleland

Although billed as a return from Pendulum’s seven- year hiatus, The Reworks is more like a compilation album, entirely comprised of remixes from the likes of Skrillex, Noisia, Knife Party and DJ Seinfeld. Each has put their distinct footprint on the originals: Noisia’s remix of Hold Your Colour is crunchier and overpowering, Knife Party’s take on Blood Sugar is fruitier and toned down, and Skrillex emphasises the dub part of dubstep in reworking The Island Part 1 . It’s a satisfying tour of Pendulum’s rolodex, and as a precursor to new material – it’s just a shame nobody took on their

Sheppard Watching The Sky “Keep riding the wave,” George Sheppard instructs on his family band’s second album. Sheppard’s debut Bombs Away was tsunami-like, generating the international smash Geronimo , which means they’ve got a lot to live up to with Watching The Sky which arrives four years later. And for the most part, they’ve delivered, though not everything works. For example, Edge Of The

Night over-reaches, trying too hard to be a party anthem but ending up sounding like a Peter Andre outtake. But for every misfire there’s a banger to ignite the party. The album’s singles stretch back to 2016, but there are plenty more hit contenders here, with the group working from a broad pop palette. Castaways and Sorry show genuine pop smarts, while Choke sounds like a nod to I Want You , the debut for Brisbane’s previous pop title-holders Savage Garden. The album’s first single We Belong and the break-up ballad Live For You showcase Amy Sheppard’s powerful vocal, which is perhaps underutilised. Finally, there’s the album’s closing cut I Was Lost , which starts simply and then soars, encapsulating every element of Sheppard in four-and-a-half glorious minutes. You could call Sheppard this generation’s version of the Eurogliders. Underrated? Sure. But they’re building a mightily impressive body of pop hits. (MGM) Jeff Jenkins

ABC News remix. (Earstorm/ADA) Jake Cleland

Father John Misty God's Favorite Customer Our favourite sardonic son

Gabriella Cohen Pink Is The Colour Of Unconditional Love

Calpurnia Scout EP Although it’s cool that Finn Wolfhard (Mike from Stranger Things ) fronts Calpurnia, that’s actually the least cool thing about this band. The Canadian teen four-piece agree that their all-time favourite group is The Beatles, and those icons’ absurdist, jangling, free-wheeling qualities permeate the sophisticated Scout EP . Beginning with the breezy bongos and wandering electric guitar melody of Louie , Wolfhard’s squidgy, Gene Ween half-yell opens out into a loose and graceful half-time jam The Rapture would be proud of. Wasting Time is a Hawaii Five-O lark and Greyhound highlights Jack Anderson’s sprightly little basslines; “I feel out of whack,” Wolfhard sings. But the best part is the work of 17-year-old lead guitarist Ayla Tesler-Mabe, whose vivid electric solos tremble and scream and dive like birds. Truly-ruly cannot wait for the full-length. (Pod/Inertia) Zoë Radas

LUMP LUMP

LUMP unites two of music’s most intriguing artists – indie folk star Laura Marling and experimental virtuoso Mike Lindsay (Tuung, Throws) – for a project that exists outside of any classification or genre. The pacing of Late To The Flight makes for some exquisite reveals of instrumentation, while the following track May I Be The Light has Marling’s voice paired with a flute, creating moments that won’t fail to stun. The apex of the album, Curse of the Contemporary , conjures the sights and sounds of California as Marling’s voice soars spectacularly over a chugging beat. LUMP is a fascinating insight into the process of collaboration, and is confirmation that gold can come out of two idiosyncratic musical styles coming together. (Dead Oceans/Inertia) Holly Pereira

Josh Tillman, better known as Father John Misty, follows up last year’s Pure Comedy with God's Favorite Customer – a collection of songs that asks the big questions but not without a healthy dose of Tillman’s wit. Date Night is undeniably fun, while the wonderfully tongue- in-cheek Mr. Tillman will likely have you in hysterics. On the other hand, Please Don’t Die and Just Dumb Enough To Try reveal a markedly serious Tillman, showing that there are many facets to his character. Ultimately, the album is Tillman at his most sincere, proof that behind what might be considered a contrived act to some is a human being with the capacity to express real emotions. (Sub Pop/Inertia) Holly Pereira

What’s immediately apparent about Gabriella Cohen is that she's a dreamer – someone who sees the world differently to the average person. With her sunny instrumentation and soulful voice, Cohen takes you on a musical journey that features backdrops such as Venice Beach and Portugal. She has the remarkable ability to make themes like loneliness and heartbreak sound euphoric, the best examplar being I Feel So Lonely . Mercy is a '60s throwback which brings some impressive organs into the mix, while Recognise My Fate is a sweet and relatable tale of making it work. Cohen’s music serves to uplift and inspire, with this second full length offering further evidence of her impeccable talent. (Dot Dash/Remote Control) Holly Pereira

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JUNE 2018

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