Keeping it together

Concrete examples of cohesion in Australian band culture today aren’t as common as you’d first consider. Gyroscope however is one band who fit the category perfectly. Together 12 years, they found their beginnings as 17 year old school mates. Hailing from the Eastern Suburbs of Perth in West Australia they’ve worked harder than most to establish themselves alongside heavyweight Oz rock acts such as Wolfmother and Grinspoon. Today, they remain as the original outfit (minus one), something the latter bands cannot boast. A gradual ascendancy over this period has afforded them a significant following; particularly among the valuable Triple J live music listener and the pub-rock patrons. This appeal has allowed them the grace to evolve and experiment with their sound. They themselves are critical of their variety-filled career, conceding that 2008’s offering Breed Obsession could have been from a variety of their previous work, the result fragmented direction.

According to Zoc (Zoran Trivic), the guitarist in the band, the lads were so comfortable with the idea of cohesion, especially as being representative of both their performance side and personal lives, they decided to adopt it as the title for their upcoming fourth album.
“Cohesion was with the song writing between the four members of the band and our lives in general,” says Zoc.

“I just got married, Dan’s married, Rob’s got his girlfriend and we’ve all got friends and family back in Perth and to take off three months at a time, to the UK or US, you’ve got these extra stresses. We’re not 17 anymore, so cohesion was about making sure everything in your life - the music and everything – was working together,” he continues.
Seated and enjoying a well-earned afternoon Corona on the deck of their Brisbane-home (The Point Apartments, Kangaroo Point), Brad Campbell (bassist)and Zoc aren’t showing signs of fatigue. This is despite day one of the five day, fly-by-night promo tour (taking in Adelaide, Melbourne, Sydney, Alice Springs, Brisbane and Perth probably should have left them bleary-eyed from lack of sleep. Take the freak storm which left them grounded on the tarmac at home for three hours to their less welcoming delayed arrival into Brisbane at three in the morning – no cabs at the closed airport, aswell a day spent trekking across town and to the Gold Coast for commercial radio promo and other press engagements, the two present as remarkably composed creatures.

Laid back, these instantly likeable guys, settle quickly into a very ‘cohesive’ conversation style, bouncing from one to the other with ease, at times it’s as if they’re one person in speak-sync. Clearly no novices to the game they play, both are image-aware, while remarkably individual in their looks. Zoc as the immaculately dressed, beret to the side and sunglass affixed, contrasted alongside the wild and wiry (Sideshow bob-like) mopped Brad whose piercing blue eyes are intent on maintaining eye contact there is never any question that these two aren’t sure who they are or what they’re about.

The intensity and passion the close like brother musos emanate serves them well both in their on-stage and off- personas. Visibly upbeat and excited to tell the journey behind this album, their pride for it is immediately evident. And why shouldn’t it be - their personal sentiment is it’s the best thing they’ve produced yet. Fortunately this time around the four were lucky enough to be offered a salary by their newest label recruit, so the pair admit the ride is one they are completely appreciative to be on.

“People go you know we’ve seen you on tele and on the radios and you’ve got a couple of successful records, you guys must be raking it in, but well the story of Australian music is you’ve got to work so hard for so long for so little return. You’ve just got to love the music you know and we’re not rich or famous or anything but to be able to make music for a living is all we’ve ever wanted to do,” Zoc says sincerely.
The group, who share studio quarters with Perth all-stars, Karnivool, and End of Fashion, were disciplined in their approach. Seeing their reprieve from their ‘boring’ day jobs as time to get serious and treat the making of their music like a ‘real job.’

“We were fairly strict on ourselves, which is good, because otherwise it’s pretty easy to get lazy and drink beers every day, but if you treat it like a job it was worth it you know,” says Brad.

Amidst the long hours spent writing and demo-ing in the studio – a flurry of chicken feathers escaping through the window of the nearby chicken factory - the band produced at least 30 quality tracks which gave them as Brad suggested room for b-sides if they needed them.

The progression then from demo to recording presented an unbelievable (even to the group) opportunity, one which they dreamed of as school boys when first starting their band. Gil Noughton, producer to bands including Queen, The Pixies, Coldplay, Oasis and idols to Gyroscope the Foo Fighters, had agreed to take on the boys and their project.

“He’s been on our list since we started, to get him on this record was pretty special,” says Brad. “He’s the one producer ever since we were kids (Foo Fighters: Colour and the shape) favourite records, so one day if we can make a record with this guy, “ Zoran adds.

Absolutely over the moon with their new producer, the boys hopped a plane (at Gil’s request) to Wales and found themselves entering the renowned Rockford Studios, a music museum for any avid music fan, none of it’s memorabilia and heritage was lost on a zealous Zoc. “It was cool. We’d be working away and someone would go, ‘Oh yeh, you know that tree out there, that’s where Coldplay came up with Yellow on their album Parachutes. And that wall over there is where Liam used to sit and write his lyrics and we call it the ‘wonder wall’ because that’s where he came up with Wonder Wall.’ You know there was just so much history.”

The pinnacle of this nostalgic studio for Zoc was in fact playing keys for a couple of the songs on the same piano Freddy Mercury had done for Bohemian Rhapsody. A solid eight or nine weeks in the studio (with the exception of one night out to London to be Gil’s wingman to the touring Pixies who’d requested Gil to attend their show) and the band’s dedication to the record was beginning to pay dividends. Praise from the taskmaster and ‘dad figure’ Gil unexpectedly delivered the lads to top two bands to work with.
“He did tell us that we were the most hardworking band, most prepared band that he’d ever work with and we were like, are you serious – actually second most, equal first with Dave Grohl.”

As the cloak is lifted on Cohesion the album the lads remain firm that they’re committed to Australia because their Australian fanbase is established it doesn’t make sense to leave that all behind. Besides it adds to the overall sense of cohesion of the band is shooting for
“That’s the whole idea of the album, feels like everything is working properly now, everyone knows their role sort of better at what they’re doing and I don’t know everything just sort of seems right at the moment.”

Gyroscope’s fourth release: Cohesion is available through Universal, www.getmusic.com.au

Ruth Bailey

Posted: April 22nd, 2010 under ALBUMS, Australian Interview.
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Whitley goes forth

A baby-face like that which belongs to Lawrence Greenwood (Whitley) surely isn’t capable of delivering music so deeply detailed by themes of existentialism, is it? This implies an aged, musician created it.  Managing to turn the archetypal ‘soul’ musician mould on its head and replace it with his own self, there is a rare maturity demonstrated to this man’s music.

His second album Go Forth, Find Mammoth lives as testament to understanding why Whitley looks set to endure as a successful artist even perhaps beyond his years.

Emotive lyricism applied to beautifully crafted instrumentation is probably what achieves this mantle for him. He’s blessed with an uncanny ability to write poetic, esoteric song lyrics and shape these around a musicality that only the most seasoned musicians manage to achieve. 
 
‘Head First Down’ is the single being played non-stop on radio and aptly it sets the tone for an album which poignantly delves into the notion of life – we’re born and then we die. Through the collection of songs on this album Whitley dares to ponder the aspects in between the life cycle, those which enrich our souls and contribute to our personal tapestries.
 
Whitley illustrates his ideas around this perplexing paradigm via a lovely meandering album which ebbs and flows much like life itself tends to.Tied together in the album notes as dedicated to Jonathon Livingstone Seagull, a philosopher of great influence it appears to Lawrence’s ability as a songwriter.
 
Adding to the richness of this album are those whose help he’s enlisted. Band-mates and friends Washington, lend their services on tracks including the blissful female overtones of Hazel Brown - on Killer. Even nature itself gave a helping hand, with ‘The piece you took from me’ enhanced by the real rolling thunder clouds of a storm going on overhead.  
 
If possible Whitley is already a master at his craft his latest album demonstrating he’s not only evolving in sound but his ability to write breathtaking songs is astounding.

Ruth Bailey

Posted: December 31st, 2009 under ALBUMS, FESTIVALS.
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Romantic interlude

Little Birdy return this month with their third album Confetti and it’s an enchanting recoil to their original organic acoustic embellishments. I say this because I wasn’t the hugest fan of their previous offering Hollywood. It just didn’t seem to capture Little Birdy’s essence. Bursting onto the scene with an irreverent and exciting album Big Big Love way back in 2005 the band showcased not only their secret weapon Katy Steele’s ability for songwriting but they delivered a guitar onslaught. Hollywood as a follow-up appeared to diverge to a focus on keyboard and synthesized sounds and that’s not to say they didn’t win a huge following with that direction it just didn’t seem to fit the Little Birdy niche they’d created for themselves so beautifully.

Fears were allayed once opening track to Confetti got underway. ‘Brother’ shows what, good old fashioned guitar and brilliant lyrics can do for a song. As well, harmonica played by quintessential Australian-music man Paul Kelly gives this track something a little special.

In fact the band have utilised various instruments throughout the album: ‘Porcelain’, Simon Leach’s own contribution to the album is performed with piano backing but the layering of strings brass and even a theremin give all the tracks on this album many layers, of course supported by the lyrical wonderment of Ms Steele’s stories too.

If you’re looking for an underlying theme on Confetti, or genre of music, you might say it’s a bit country and a bit rock, but it’s also got some quite easily identified nuances towards Bacharach and Dusty Springfield. Title track ‘Confetti’, ‘Into my arms’ and ‘Hair Do’ help deliver this era in time.

My personal favourite though is ‘Stay Wild’. It’s described as a driving song probably for its meandering and winding journey. Of course there is a climax and it’s beautifully supported with some string accompaniment - a gem in the album.

One can only imagine that the studio quality of the songs is replicated ten-fold in the upcoming live showings of the band. Confetti is a beautifully crafted re-incarnation of the Little Birdy romance.

Confetti is in-store from May 8; visit www.littlebirdy.net.au for details.

Ruth Bailey

To see a film clip of ‘Brother’ from Confetti, click the play button below

Posted: May 5th, 2009 under ALBUMS.
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Ballroom blitz

When news was heard of new Yeah Yeah Yeahs’ album in the pipeline, my ears pricked up. It’s Blitz, released later this month, is precisely that: blitz.

Like their previous album (Show your Bones 2006) ‘It’s Blitz’ offers elegantly woven, edgy rock-infused instrumentation which will be well worn from overplaying, of that I have no doubt.

There is something intensely ethereal and mesmerizing about Karen O’s vocal application to her band’s songs. The ornately fragile ‘Hysteric’ is my stand-out track but don’t underestimate the reach of ‘Dragon Queen’ and the single of the moment ‘Zero’ for they remain imprinted on your memory long after listening.

Perhaps it’s the post-production abilities of TV On the Radio’s Dave Sitek this time around or the fact that the band spent time recording in a number of rural American studio spaces, including a dairy farm in Massachusetts which has bought the Yeah Yeah Yeahs to this point - precision.

A sure sign these Manhattan musical geniuses understand progression and maintaining a strong position in the market is their experimentation and enthusiasm to engage various techniques too. Guitarist Nick Zinner chooses to employ some beautiful vintage-synth which pays dividend in tracks like ‘Little Shadow’.

The band has fallen victim to leaking of this album prior to its scheduled release date, however judging by the strength of each of the ten songs I can see why whoever leaked it chose to, in doing so they shared with everyone what the entire music-listening fraternity needed to discover, Yeah Yeah Yeahs’ ‘It’s Blitz’ a treasure of an album.

It’s Blitz is distributed through Modular Records: www.modularpeople.com and Universal Music visit : www.getmusic.com.au

Ruth Bailey

Posted: May 1st, 2009 under ALBUMS.
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Smooth summer

Collaboration seems to be the name of the game at the mo, and you can’t go wrong really if you pick up an album which boasts the production credits of one Mr Kanye West , Mr Pharrell Williams and The Neptunes (N.E.R.D by another name) all working with one timeless urban artist at the helm - Common. That’s what you’ve got in Common’s latest EP Universal Mind Control.

Receiving saturated radio airplay currently is track three from it, Make my Day featuring super talent Cee-Low from Gnarls Barkley fame. It’s not any wonder, as throughout summer this up-tempo number sets the mood for Motown appeal.

Take another Inhale at track 8 and the fusion of percussion and some poetry in rhyme you’re chilling. Pick it straight back up with follow-on track What a World. All the elements at work here weave their way to a funky hip-shaking dance floor single.

Not solely featuring male voices one of the most memorable tracks of the album is placed at the end with little-heard lately Martina Topley Bird’s (some might recall her from Tricky trip-hop days) soothing vocals with an electro-synth, drummatic Everywhere.

Each song builds the overall tempo of the album from chilled retrospection to a postive, dancier summer-time feel, the New York production studios where this album was layed must have been rife with happiness.

Universal Mind Control can’t help but lift you up, it could possibly be one of the must-have albums for summer-time good times.

Universal Mind Control is available through Universal Music www.universal.com.au or visit www.commonmusic.com

Ruth Bailey

Posted: March 22nd, 2009 under ALBUMS.
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California dreaming

With just over a year under their belt in LA, the transition hasn’t been too overwhelming for Colin Yarck and his studio partner Justin Sconza, who packed up from friends and family in Chicago and who perform together as electro act Walter Meego. According to Colin, LA is still pretty cool.“There is a lot more going on and it’s very spread out, you’ve kind of got to go find out what you like and what you’re into cos there are so many things - it seems incredible you can kind of get lost if you’re not careful,” he said.

In order to do what they want how they want kind of goes against the grain of most LA scenesters, Yarck considers there have been some tough challenges to overcome to take up residency in LA.

“LA’s a tough crowd; they’re not going to move unless they’ve thought about moving the day before.” He muses.

“That’s the interesting thing about here, people are very interested in finding out what is happening – but to get their ass-shaking is a little bit difficult.

Still, their short time there has allowed them to carve their niche by sticking to the hip “Williamsburg-esque” (New York’s other borough) side of the Hills playing shows at Echo and even a small Hollywood venue provided the locale for them to change it up and play a complete rock show instead of their glorious synth- electro.

“It was an interesting little experiment; we kind of played a straight-up rock show and put down our electronics for that gig.”

During 2008 they’ve also managed to lay down tracks to their album Voyager, which features lovely pop- romanticism in synthesized stories.

This debut album has left its angelic footprint on radio airwaves here featuring, Forever, (sweethearts unite ditty) and a little recognised but epic track Through the Keyhole as well Wanna be a star demonstrates these guys know how to make us dance with the right levels of ‘zippity do da’!

Ass-shaking and indeed hip wobbling however, are two moves the Australian electro fraternity are accustomed to, so as the New Year dawns, Walter Meego will be preparing for a summer sojourn to our shores.

An extra member on stage with them, and an expanded sound, is what Yarck promises is in store for fans on this their upcoming tour of Oz.

Clip for Forever from Walter Meego

“The lines that are sort of coloured in and around on the record, we sort of draw them out a little, when we play live,” he contemplates.

“We sort of make it a little fuzzier, little noisier.”

The disappointment for Yarck is that he and his touring entourage can’t stay longer. Whilst a friend in Sydney is beckoning and his desire to surf the breaks in and around there will have to wait after a tight touring schedule of just four performances in four days, he and Justin will head across Asia to set-up camp in China, where they plan to lay two thirds of a new record.

What’s forecast for their second album might lead to a slight change in musical direction for the pair, a more pop-styled record, and after enlisting the skills of some mad dance producers, last time, the likes of Eliot James, Sam Bell and Nils Patel (who is responsible for mastering Daft Punk’s records Yarck is resolute about the search underway to find another who can bring a certain something to the fray of production.

“We were kind of thinking if we were ever going to work with a producer, we wanted to use somebody who we knew would be creative but who’s not like Brian Eno sort of thing, who’s been doing it for so long that that’s what’s to be expected.”

Much more likely believes Yarck are those outside influences who people won’t have considered. At the top of the wish-list is Johnny Greenwood from Radiohead, and the guy who does the crystal music for cult TV show of yesteryear, Twin Peaks.

Whoever they do or don’t choose to help them out though he considers the record will see a slight change of pace for them.

“I think that we’re leaning more towards pop, we definitely have some club influences, definitely still have some electro-tinge, we’ll probably slide back into some 70s classic rock and you know mash it all up.”

Catch Walter Meego when they appear:

31 December 2008 Capital Nightclub, Perth
1st January 2009 Field Day, The Domain, Sydney
BBQ Beats, The Riverstage, Brisbane
3rd January 2009 Solar Festival. Mornington Racecourse, Victoria

Their album voyager is available through Bandroom Records.

Ruth Bailey

Posted: March 21st, 2009 under ALBUMS, INTERVIEWS, international.
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Posted: March 15th, 2009 under ALBUMS.
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I am man, hear me roar

A beautiful collection of songs performed in era’s past by some seminal female names in music exists today on the No Man’s Woman compilation.

Tracks as varied as Kate Bush’s Wuthering Heights, Bjork’s Hyperballad, as well as modern day pop princess’s The Veronica’s 4eva have been featured on this anthology. One small difference is noted when listening, that is each song has been reworked by an accomplished Australian male musician.

That’s right the lads from some of Australia’s most favoured rock acts including Powderfinger, End of Fashion and Expatriate and solo artists like Kevin Mitchell aka Bob Evans and Paul Kelly have assembled here with their own track choice the only criteria being that it was originally to have been made famous by a female musician.

Clever premise for an album I hear you say, and yes in fact the idea for this album was borne from a music fan’s intrigue to hear Oz greats, You am I cover Patti’ Smith’s Rock ‘n’ roll Nigger. Interestingly though that particular song is an omission from the album’s tracklisting (perhaps this time around?) but not to worry, despite this there are some lovely surprises that demonstrate the masters of music doing their thang.

Many of the songs selected would be remembered for the manner in which they were originally delivered. Sinead O’connor’s Nothing compares 2 U sat at the top of the Australian charts when it was released for an (at the time) unprecedented number of weeks - probably due to the anguish and emotion that Sinead brought to the lyrics. Dan Brodie, some 17 years on has managed to recapture the fragility in his version however he’s tweaked it to have an almost reggae undertone which surprisingly works incredibly well.

That old adage ‘what was once old is new again’ will almost certainly ring true on No Man’s woman. Blondie’s Hanging on the telephone, Lior’s beautiful take on Fleetwood’s Mac’s (Stevie Nicks) Landslide are just two stand out recreations. Of course a whole new audience and generation will feel the serenade potential of these songs and think they are originals.

Not only does this album allow us a walk down memory lane but we are privy to the fabulous talent that exists in our music industry today. The rising star that is Angus Stone catapults from the get go with a poignant rendition of Joni Mitchell’s River. It is fair to say for the most part it’s a pleasant journey into the hearts and minds of our Australian male artists.

One disappointment, to these ears anyway, was the offering that Bernard Fanning and the boys from Powderfinger served up. I’m quite partial to the original track Glorybox so that might be responsible for fuelling my discontent. The exquisite vocal from Beth Gibbons of UK ‘s trip hop act Portishead is absolutely iniliated in place of a gravelly and gruff Fanning’s tones and the drum beat behind this is far too heavy.

In most instances though this album’s tracks are reworked with the band or artist’s signature styling. Expatriate consider themselves experimental with electronica and so they’ve applied that to Everything but the Girl’s (Tracey Thorn) Missing.

Some big risks taken in many of these versions and in most cases the delivery is unusual but still manages to retain the essence of the original track. Something so very important to keep hold of in a compilation like this as this collection features some fairly seminal moments in music reborn.

No Man’s Woman is released on Universal Music and for a limited time features a second cd of the original artists.

Posted: October 11th, 2008 under ALBUMS.
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Muscular type

Three words - Guns Babes Lemonade. It’s a punchy indictment on the electro movement today is what it is. But it happens to be the debut release from Aussie man of the moment - Muscles.

This 22 year-old from Shepparton Victoria, has risen in the past year to provide some very catchy and dance worthy tracks. “Sweaty”, “Ice cream” and “One Inch Badge Pin” are the singles from it thus far and each has its own unique elements but cocooned within the characteristic dirty synthesizer and very eighties sounding keys.

If you see him perform live, you’ll appreciate the gravelly man-shout that overlays this pop disco sensibility, but translate it to the album and it seems to lose just a little of it’s pizzazz. Mind you only a little.

And perhaps my other criticism of this album is that whilst each of the singles and for the most part songs stand alone as well crafted tracks when you listen to this album in one sitting unless you’re shooting the lasers yourself it could get a little grating.

Overall though, his back story to flex and the execution of this album are recognizable of a very skilled man at work. He’s certainly managed to capture the essence of summer and dancing right here with Guns Babes Lemonade.

Posted: October 11th, 2008 under ALBUMS.
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Sassy soundtrack

It might have been four years since the curtains came down on the hugely successful series but I can guarantee you the closing scenes of Sex and the City (where Carrie struts down a Manhattan street and looks at her phone to see Big calling) are etched in peoples minds because of the song bringing in the fade to black, “You’ve got the love” by Candi Staton. This is for many the unofficial theme song popular for years since the series ended.

The release of the eagerly anticipated Sex in the City Movie, this month, not only means a return to New York City and catching up with our favourite girls as they navigate through their life hurdles but it also brings with it a soundtrack to remember the experience by.

The first thing which struck me when I was listening to the assembly of tracks is how truly authentic in positioning you with location, setting and ambience the tracks are.

As stand alone tracks they work but the ordered arrangement means they tell a story too. The story to the film.

Salaam Remi is the producer who was charged with interweaving these tracks and he’s worked hard to ensure that each selection offers a certain je ne sais quoir, to leave you with the feeling you were listening to it in a Manhattan bar.

The soulful elements of NYC heartache and love are captured by the powerful and poised Jennifer Hudson. Her song “All dressed in love” was written especially for her voice by dynamic duo Mc Jack Splash (lead singer to the soulful Plantlife) and Cee Lo Green from Gnarls Barkley. The lyrical loveliness of Jess Stone is coupled with Al Green’s dulcet tones to bring a heart wrenching duet and one of the two Bee Gee covers on this soundtrack “How can you mend a broken heart”. Which I can only gather features in the break-up scenes of the movie as it’s a really sad version of this song.

The lighter side of the album offers ‘Fergilicious’ wonder with her special reworking of “Labels or Love”. A fairly hip hoppy version of the theme song from the series but fun none the less. As well as what I’m sure must be the girl’s have got power anthem of the unlikely but quite likeable Run DMC’s “Walk this way”.

Another clever aspect to the composition of this album is I believe in the variety of styles Remi has opted for too. Stringing this soundtrack together is a very strong thread of house. Upbeat, or chilled beats, Bliss’ “Kissing” and Kaskade’s “I like the way” envelope you in merriment and mystique at the twilight hour of Manhattan life.

My two very favourite tracks happen to follow on from each other. I thought it was fitting to have the Bee Gee’s “How deep is your love” and in the acoustic and eerily beautiful cover rendition by The Bird and the Bee, the timelessness of this track is reignited. It could possibly give rise to usurping “You’ve got the Love” from it’s all-time soundtrack song posting. But I’ll have to reserve judgement till I’ve seen the movie.

India Arie has also donated a piece of her own heart with “Heart of the matter” a beautiful vibey tune that gives birth to imagined New York summers spent sipping cocktails with fabulous girlfriends in my mind.

For this is its purpose, the soundtrack to the Sex in the City feature film is best enjoyed listened to with your own good girlfriends a glass of bubbly or vino in your hand, perhaps even a cosmopolitan for true die hard fans.

Sex and the City Soundtrack is out now through Universal Music.

Posted: October 11th, 2008 under ALBUMS.
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