Interview with Yves Klein Blue

Out in North Hollywood, three of the four members of Yves Klein Blue are tortured by a restless sleep. Melodies are churning through their dreams like skipping records as they toss and turn.

Meanwhile, a dim yellow light creeps down the apartment hallway, spilling out from the bathroom door. In this tiled haven, a glassy-eyed Michael Tomlinson stares at a crumpled pad of paper covered in a soup of potential lyrics. Things were supposed to be a little bit easier, but this was just an average night for Yves Klein Blue as they recorded their debut album Ragged & Ecstatic.

When Michael hopped on the phone to speak with FL, the whole process had faded into an exhausting daze. Ragged & Ecstatic was no longer the subject of creative toil, but a complete work. Inspired by the seminal member of ‘the beat generation’, Jack Kerouac, the album captures the spontaneous ecstasy of every experience; from the beautiful to the gritty and confronting.

"Ragged & Ecstatic, the name, really hit home because it describes the recording process. When we got to the record studio we thought we had it all worked out. Now we feel exceptionally proud of the record. We didn’t really think that we had something of this kind of level in us. There are times in this record that we wonder if it was really us.”

Over the last few years the excitement surrounding this unique four-piece has reached fever pitch. To avoid their name would require burning all street press that crosses your path, disconnecting the internet and punching your computer screen. Interestingly enough, Brisbane’s finest did pretty much that as they embarked upon writing and recording their hotly anticipated debut. “It was a hugely comforting process. We just started searching every element of it. Between the studio and our apartment the songs just went around in our heads all hours of the morning.”

When listening to Ragged & Ecstatic, it’s hard to ignore the carefully crafted lyrics. “Lyrically the inspiration has come from people around me always. What they’re saying, what they’re not saying. There are certainly a few songs that are based on acoustic guitar. We wanted to push the lyrics to the fore, so we could emphasize what was meant.”

A great deal of the excitement that surrounds Yves Klein Blue is the result of a thirst for something different. Ragged & Ecstatic is rich with ideas and diverse subject matter, driven by raw experience. “I think the focus is intensity of emotional reflection. Digital Love is about meth-amphetamine; we play that with a lot of aggression. We try not to play anything without emotion. The whole album is not necessarily positive.

“If there was a theme throughout the record it is about living in the period of time from when I was 18 to when I was 22. That’s a time when I wasn’t really sure what my purpose was in the world and I also felt kind of frustrated with people around me. There were things that would infuriate me but no one else would notice. It is very easy to not feel anything intensely. It is easier to ignore problems. I was kind of coming from a theme of self determination or apathy or hope. I was very conscious of trying not to speak on anyone’s behalf and trying to present my own take. I’m more concerned with finding the right answer than convincing people that I’m right. I try not to preach.”

After a short two week break, Yves Klein Blue now have to switch hats from composers to performers. They are about to begin a tour of the nation to celebrate their album release.

“Looking back, it had been really non-stop. It doesn’t really seem like that much hard work because we really enjoy what we are doing. People get jobs in law firms and work their asses off, so we consider ourselves lucky. We are very pleased to be on the Splendour bill again and we are very keen to go overseas again. We have been incredibly fortunate with the support we have received from people. It is people that will decide if we tour for the next two years. It’s no longer entirely up to us.”

Ragged & Ecstatic is out Friday 26 June through Dew Process/UMA. Yves Klein Blue begin their national album tour this week, winding up at Byron Bay for Splendour In The Grass.

Published @ www.fasterlouder.com.au
Link: http://www.fasterlouder.com.au/features/19045/Yves-Klein-Blue.htm

Interview with The Whitest Boy Alive

One has to feel for the rock star stuck in a chair, taking call after call from eager interviewers scouring for that one unique quote. Keeping this in mind, once I finally managed to get in contact with Daniel Nentwig from The Whitest Boy Alive, I thanked him repeatedly for his time.

My articulated sympathies, however, had a somewhat undesirable affect. I started to lose Daniel as he gazed out of his window onto a sunny spring morning in Germany. Awkward pauses ensued as the acquiescent keyboardist blamed himself for agreeing to a two-hour slog of interviews on a public holiday.

Knowing all too well the decision I would make if faced with a choice between a leisurely sleep in or an interview with me, the topic was quickly changed. After all a lot has to be unpacked when considering the contradictions The Whitest Boy Alive represent. Are they a dance-oriented electro outfit or chilled-out pop group? When we go to see them live should we expect guys tweaking synthesisers or a traditional jam session? Is there some hidden meaning behind the name The Whitest Boy Alive or is it pretty literal? Sunbaking by the North Sea is a bit seasonal, after all.

Despite his eagerness to join those directly outside his house, Daniel was verbose and somewhat reluctant to deal in straight and simple answers. When discussing the band’s slightly bizarre name, I was told to think of a comic character that lives in a north European town. The Whitest Boy Alive’s debut album Dreams was an exploration of this fictitious creation’s dreams and aspirations. Their latest release Rules is about our friend discovering clubs and live music in the big smoke.

A sense of parental satisfaction comes beaming down the phone line as Daniel mulls over the band’s second album. “I think that the music gives every person the chance to find his or her own approach.” Daniel explains. “The art work with its black and white clear lines is open to interpretation. The music gives space to sing along with your own melodies. Use your imagination.”

Openness to interpretation truly defines The Whitest Boy Alive. Each track of Rules is so stripped-back, notes only appear when they desperately need to. It’s almost hard to believe how a band made up of such practiced musicians can produce music so radically simple. Perhaps a national history steeped in industrial efficiency seeped into their subconscious.
In its infancy The Whitest Boy Alive consisted of Erlend Øye and Marcin Oz hammering out tracks on their personal computer. But soon the tedium of performing live in this manner wore thin, so Erlend enlisted the minds of Sebastian Maschat and Daniel to pick up where the electrons left off.

“It was like musicians replacing sequencers. We can always change and interact with each other. A computer can never come up with its own ideas. It’s difficult to tell a machine what to do exactly. If you have a bass player you can talk to him and discuss things. It’s also easier to play live. It’s very free. We can do what we want. We have tracks and a fixed arrangement, but we can improvise and jam when we want.”

Now The Whitest Boy Alive proudly introduces itself as a band without any programmed elements. Writing new material is just a matter of following Erlend’s lead and keeping it simple.
“Lots of the times Erlend comes up with a melody and some chords and then all of the other musicians have to tell what he is playing. Everybody has to look out for their own place in the music. Then I help Erlend to harmonise. Of course with the synthesizers it’s less about chords or melodies it’s more about effects and the energy that comes from the sound on the synth. Going a bit crazy and moving away from handmade music and disco sound and then back to the disco band again. There can never be too little because this music is so minimalistic.”

There can never be too little music? It’s not something you hear very often from a musician. The picture that first popped into my mind was of a four-piece whispering away in the corner of a hotel bar. However, those lucky enough to see the Whitest Boy Alive at Nevereverland last year know better. Daniel and his Teutonic compatriots are all too conscious of amping things up for their live show, whilst maintaining the gentle accessibility of their music for all to enjoy.

“We don’t want to hit people in the face; we want people to come closer and to discover. If you come to a live show this music become punchy and edgy. It leaves space for the instruments. Every instrument on stage has to limit itself to a musical frequency range. The music leaves space for each single one’s projections and grooves.”

While Daniel rushes out to enjoy the sunshine, make sure you check out the Whitest Boy Alive’s Rules out now on Pod through Inertia.

Published @ http://www.fasterlouder.com.au/
http://www.inthemix.com.au/
Link: http://www.fasterlouder.com.au/features/18709/Whitest-Boy-Alive.htm
http://www.inthemix.com.au/features/43010/Whitest_Boy_Alive_Pining_for_the_sunshine

Interview with Astronomy Class

Cue Johann Strauss as we leisurely float past hoards of glistening stars occasionally interrupted by a hurtling meteor looping around a lumbering, complacent planet. Limbs weightless and body out of control, you’re probably wondering why we’re out here, floating through the cosmos, exposed to the unknown and possibly under the watchful eye of some distant, intelligent life. “If you haven’t heard already.” A garbled voice informs us over a two way radio. “2009 is the year of Astronomy and you’ve come to meet Ozi Batla, spaceman, rapper and voice of Hip Hop outfit Astronomy Class.”

Ozi is referring to the second installment of the Astronomy Class saga. Titled, Pursuit of Happiness, it’s a stripped back, raw example of unadulterated Aussie Hip Hop. “We obviously wanted to approach it differently to the last album and make it something unique. We wanted to make it a bit more punchy and immediately accessible. A lot of the songs are pretty short and there is no excess fat on there. There were probably three of four tracks that were really good tracks that we didn’t include on the album.”

Currently Ozi resides in outer space relentlessly performing a harrowing routine of altitude training in preparation for Astronomy Class’ upcoming tour. “We’ve been hitting the rehearsal studio and obviously had a few drinks, trying to replicate game day. It’s really coming along. A lot of the new tunes I think will replicate really well live. So yeah we are just looking forward to getting back out there. It’s been a while.”

This year Astronomy Class is teaming up with fellow Reggae aficionados, Thundamentals, for a nationwide tour. There is little issue, however, made over the fact that these two bands come from competing labels. As the dust begins to settle around the shooting of up and coming American rapper, Dolla, I scratch the back of my helmet and ask why the Australian Hip Hop scene upholds such a friendly and supportive culture.


“I think it’s probably something to do with the Australian mentality. But the main thing is that most of the key people involved all came up together and are aware that it was a lot harder to get stuff out there and get people along to shows a few years ago. Every release that came out was another building block in a way so I don’t think that the main people involved in the labels have forgotten that. Before people had any kind of success everyone was working together and playing together.”

Ozi briefly pauses our conversation to float off to the cockpit and check on his ships orbit. It’s the perfect time to take a look around. There are screens everywhere streaming sci-fi classics like Aliens and Brazil, while X-men comics bump into my side as they hover around the room. A certain source of inspiration is plain to see.

I ask how the name Astronomy Class came about. Ozi yells from the cockpit. “It just came about because of the themes that we coming about on the first album with a few of the first tracks that I wrote. Midnight At The Observatory and also Brink Of War and Exist Strategy. There is a sci-fi theme there and I am a pretty big sci-fi fan. We kept on the sci-fi theme with War Of The Worlds and a few other tracks that are on this album as well. There is a sort of Hip Hop tradition and a Reggae tradition as well of that kind of outer space theme. We just were drawing on that as inspiration.”

Aside from a love for extraterrestrials and space opera the most noticeable theme on the album is the plethora of collaborative works. Artists from The Tongue to Ash Grunwald all feature, adding their own unique vocal spice. This diversity of musical influences and creativity generates a surprising new direction for Astronomy Class.

Unfortunately the stars did not align for every collaboration planed in Pursuit of Happiness. A combination of miscommunication and a lack of commitment led to one major international artist pulling out. “We were kind of glad that it [the collaboration] did not happen.” Ozi reflects. “We just thought if it was going to be that hard and that person was going to be that difficult to get in touch with their obviously their heart isn’t totally in the project.”

As we strap ourselves in for re-entry I realise that I might not be cut out for space travel. There’s a violent jolt forwards as we go into free fall, hurtling back to Earth at incalculable speeds. The whole time Ozi is beaming. Enjoying the futuristic jaunt perhaps a little to much. So I ask a man obviously obsessed with progress and evolution what he wants to see in the future of Hip Hop. His answer: retrograde.

“The RnB, Hip Hop major label stuff it’s just soulless. It’s just become so throw away. Maybe someday people will get rid of auto tune and the same mix sounds and it could go back to beats made on SP12s and people rapping on 58s. Who knows it might go back to that raw grimey sound.”

Check out Astronomy Class's new album Pursuit Of Happiness out now on Elefant Traks through Inertia and be sure to catch the boys when they play Come Together on Sat June 6th.

Published @ www.musicfeeds.com.au 22nd Issue.

Interview with Matt & Kim (Music Feeds)

This is a revised version of my Matt & Kim article published in the 21st Issue of Music Feeds
www.musicfeeds.com.au

Years ago Brooklyn made the small transition from a giant crime sceneto a trendy hipster jungle. It washere that two lost arts students wereasked to headline a party with instruments theycouldn’t play and songs they hadn’t written.

Moving ahead a few years the duo previously known as Kim & Matt, yet now known as Matt & Kim, are eagerly greeted by over-enthusiastic fans insisting they were the sound of their NewYork summer. Currently touring the world in celebration of the release of their sophomore album, Grand, I got Matt Johnson on the phone to find outwhat's happening in poptastic duo’s world.

When we spoke Matt had just stepped off his flight to Australia, a bit tender from a recentback injury. After a quick crack of a vertebraehere and a pop of the spinal column there, we began by discussing the Brooklyn arts and music scene, the nursing grounds where the band was born and raised.

“I think it was somewhere where we just founda lot of inspiration, and not just the musicscene,” says Matt.“At first I felt kinda lost, as in unsure ofwhere I belonged. I grew up in Vermont andwas schooled in New York and didn't knowwhat my place was until I stumbled upon the Brooklyn’s DIY music scene. This is whereI felt at home. People around me were doing rad shit. People working in film, art and photography, it inspires you to do more.”

From there Matt & Kim hit the net in search of a fan-base. After they began documenting their gigs and personal lives on a variety of social networking sites, more and more New Yorkers started showing up to their gigs. Infact Matt & Kim are a band that can attribute their international popularity almost entirely to online media written and supplied bythemselves.

“It worked out great because we got to do everything how we wanted to do it. We just always did what we always did and we controlled everything. We banked on word of mouth for so long and when people get to choose themselves they feel more connected. On the other handpeople also get upset when you put your song ina TV commercial because they felt it was their thing. Music is very personal.”

After using the “quick, that’s good enough,move along” philosophy for their debut record, Matt wanted things to change for Grand. This time the album had to be well rounded and slick.

“We were looking forward to writing and fleshing out this album. It was such a pain inthe ass. We had set aside six weeks to work on it and after that time it still wasn't done. We were working in between tours non stop to get it finished in the end. Even though people sayt hat albums are dead and people just download songs or put them on shuffle or whatever it was really important to us to create an album that stood on its own as a piece of music as opposedto just a collection of songs.”

Matt & Kim don't really sound the way you’d expect considering they emerged from the Brooklyn underground. Having risen to prominence in a scene that for so long has been overrun by a postmodern malaise,where does all of this chirpy music comefrom?

“Writing songs is two different things.” Matt explains. “There’s writing a beat and melody and writing lyrics. We just write music from what we are inspired by without any preconceived notion of what we want the song to be. The lyrics are a different thing. When we were doing Grand we would figure out everything and start off using free word association until it formed with a personal meaning in a more abstract way.”

The band’s creative use of keyboards to produce a variety of differing sounds is what fuels their unique take on pop, ensuring each of their songs bear the pair’s vibrant andunique sonic signature. “When we started, Matt & Kim was gonna be whatever Matt and Kim played. Keyboards give a certain freedom. You can write similar songs on different instruments but for instance using the same chord progression on a keyboard rather than a guitar gives it a new life.”

As an album, Grand makes pop cool againwithout making you feel like you sold yoursoul to Billy Ray Cyrus. Songs such as Daylight, with their minimalist melodies and happy go lucky lyrics, are certain to make you cancel your repeat of Prozac and hi-five the guy that just spilt beer all over your nerd-chic blazer.

Grand is now out through Popfenzy so have a listen and make sure that if you see them around you yell out “Hey! Matt & Kim!” now that we are on a first name basis and all.

Interview with Matt & Kim

After a successful jamming session in Brooklyn two close friends were invited to play at a gig held in one of the area’s many empty spaces sporting make shift stages. Their response: “we have no band, we have no songs and we have no name.” But these shortfalls didn’t seem to worry anyone, least of all the event organiser. Word of mouth quickly spread about a gig that lineup comprised of a new band no one had ever heard of before. The band’s name was Kim & Matt.

Moving ahead a few years plenty things have changed. Their name’s, for one, have been rearranged (so they look better graphically) to Matt & Kim. Their anonymity is also fading fast. As they walk down the streets of New York people yell out “hey Matt, hey Kim” and neither of them are ever sure whether they are people they should recognise or enthusiastic fans.

When I spoke to Matt he had just stepped off the plane and is a bit tender from a recent back injury which resulted in the cancellation of number of shows back home. After a quick crack and pop of vertebrate we discussed the band’s localised origins. Matt and Kim’s humble name are a result of humble beginnings that are very closely linked to the creative community both artists found in Brooklyn. “I think it was somewhere that we just found a lot of inspiration and not just the music scene,” says Matt. “At first I felt kinda lost as in where I belonged. I grew up in Vermont and was schooled in New York and didn’t know what my place was until I stumbled upon the Brooklyn’s DIY music scene with people playing in warehouses and lofts. This is where we felt at home. People around us are doing rad shit. People working in film, art and photography and it inspires you to do more.”


From there Matt & Kim hit the net in search of a fan-base. As they documented their gigs and personal lives on a variety of social networking sites, more and more New Yorkers starting showing up to their gigs. In fact Matt and Kim are a band that can attribute their international popularity almost entirely to online media written and supplied by themselves. “It worked out great cos we got to do everything how we wanted to do it. We just always did what we always did and we controlled everything. We banked on word of mouth for so long and when people get to choose themselves they feel more connected. On the other hand people also get upset when you put your song in a TV commercial because they felt it was their thing. Music is very personal.”

Moving right along to 2009 Matt & Kim are struggling with the schizophrenic desire to progress and evolve musically while still keeping the essence of two friends jamming together in Brooklyn. With their latest album, Grand, the pair wanted to create a far more complete and polished product compared with their first, self titled record. “We were looking forward to writing and fleshing out this album. It was such a pain in the ass. We had set aside six weeks to work on it. After that time it was not done. We would work in-between tours non stop. Even though people say that albums are dead and people just down load songs or put them on shuffle it was really important to us to create an album that was a full piece.”

Grand is a real feel good album that just won’t stop playing in your head long after you’ve switched off your stereo. Songs such as Daylight with its delicate keyboard riffs and happy go lucky lyrics are certain to make you smile and fall in love with this amazingly talented band. So where does all of this chirpy music come from? “Writing songs is two different things” Matt explains “there’s writing a beat and melody and writing lyrics. We just write music from what we are inspired by without any preconceived notion of what we want the song to be. The lyrics are a different thing. When we were doing Grand we would figure out everything and start off using free word association until it formed with a personal meaning in a more abstract way.”

This simple formula, however, doesn’t mean there is any danger of a hundred Matt and Kim’s popping up around the world. The band’s unique take on pop is fueled by the creative use of keyboards to produce a variety of differing sounds that bear the pair’s vibrant signature. “When we started, Matt and Kim was gonna be whatever Matt and Kim played. Keyboards give a certain freedom. You can write similar songs on different instruments. Using the same cord progression on a keyboard rather than a guitar gives it a new life.”

In their live show Matt and Kim’s individual streak continues. For those with tickets to the band’s Australian tour a great night awaits them. “When those places in Brooklyn started getting full and we moved to other venues and clubs we were worried we would lose that party vibe. So when we go to a new venue we make the playlist for the entire night and give it to the DJs or hand pick the other bands playing. It’s important to us that we make the night still have that energy. We also have a couple of cover interludes going for that party vibe.”

Just make sure that if you see them around you yell out “Hey Matt & Kim!” now that we are all on a first name basis.

Published @ www.fasterlouder.com.au
Link: http://www.fasterlouder.com.au/features/18235/Hanging-out-with-Matt--Kim.htm

Essential Festival @ Oxford Art Factory & Exchange Hotel

So here I am again walking in through the entrance of Q Bar. I’m ascending the scraggy and forlorn steps trying to convince myself I wasn’t a little out of breath after the climb. But it’s all very different. The sun is shining through the windows on the faces of band members unpacking their instruments. The clubbing crowd is missing, tucked away along with the turntables and DJ booths. CD cases have been replaced by guitars and amps. On the elevated dancefloor now stands a stage.

The brain child of promoter Select Music, Essential Festival spans the Exchange Hotel complex with stages in Qbar, Spectrum and the Oxford Art Factory. If you were prepared to weave around people in a fire escape, one ticket bought you a giant three-storey iPod. Forget skipping that track or making a play list. Set it on shuffle, finish off your drink and check out what the next bar has to offer. There were no light shows, shufflers or chatter boxes choking on their gum in the corner (an environment that can be fun sometimes…sometimes). Instead at every stage stood a crowd transfixed around an up-and-coming Australian band trying to make a mark, build a following and have some of fun.

Before endlessly planning out who I should see, I decided to wander as I pleased, confident that I would stumble on something that would take my fancy. There on the stage at Qbar, clad in the very un-rock ‘n’ roll ensemble of black suit jacket and buttoned shirt stood Shaun Mitchell, the frontman of Perth band December Seven. They, like so many bands coming out of Perth, were well rehearsed and flawless but lacking in a unique sound.

That kind of Sydneysider pretentious criticism led me to wander the three storey music collection in search of someone trying hard to be new. Within minutes it turned out I didn’t have to try very hard at all. I walked into the back of crowd packed densely against the wall, keeping a safe distance from the harmless musicians up ahead. Traps, a band from Sydney as it turns out, didn’t stand up to any truly unique ideology. However, they pulled an ever-growing group of onlookers to join the rest of those dwelling against the venue’s boundaries. It was indie rock, plain and simple. It was gelled together by forceful vocals and wailing guitars, but it felt new. Even though I had a horde of talented headliners to go, Traps had already made the afternoon worthwhile.

Following the same theme as before, my feet dragged me further down into the Oxford Art Factory’s uber-trendy depths. There I found a much more populated venue, with an audience gently tapping their feet along to Tennis. These ‘80s pop/rock revivalists oozed cool, from their pointed leather shoes to their matching fringe haircuts. It’s not uncommon to find a synth or midi console in rock bands these days, but soulful vibrato vocals and an endless pool of energy separated the band from the stereotypes. Essential Festival is, after all, about the music and performance.

Which leads me from a satisfying set from Tennis to the outrageous and memorable presence of Young & Restless. Having my back turned to the stage trying to find a place to leave my empties kept me oblivious to their speedy and silent entrance. Just as a delayed applause began to pick up, rocking geisha Karina Utomo was screaming into the mic. Dropping my ill-fated plastic schooner, I turned to find a band almost inanimate: except for its frontwoman moving about the stage like a darting moth. Light as a feather went to thick and heavy, as Young & Restless changed the tone of the festival for an exhilarating half hour. Utomo leapt onto outstretched hands and talked the crowd into a timid circle of death, while the rest of the band proved their worth with tight and punchy performance.

At this point there was a break, dinner run, breath of fresh air and another visit to the bar. By this time, I was back in Qbar on a passing recommendation, leaving the packed-out Oxford Art Factory below. There I found the Atrocities, clad in flannel and black cowboy hats. Things got even heavier. It was like a ho-down with a death metal theme: music as thick and as stark as mud pressed down on the audience’s shoulders.

Back in Oxford Art Factory, Dappled Cities punched balloons around the stage in front of a club at full capacity. Despite playing out of their skin, Essential Festival had already been a complete success. There were no subjects for complaint, an awesome venue and an appreciative crowd. Entertained by the blue orbs floating around the ceiling, we all watched on, assured that Australian music (parts of it at least) is in safe hands.

Published @ www.fasterlouder.com.au
Link: http://www.fasterlouder.com.au/reviews/events/18194/Essential-Festival--Oxford-Art-Factory-and-Exchange-Hotel-Sydney-250409.htm

Children Collide @ The Annandale Hotel

Prying my foot from the sticky floor, I looked around the interior of the Annandale Hotel – a diminutive but popular venue nestled against the eternally busy Parramatta Road. The stage was crowded with light, leads, pedals and amps being tweaked by a hunched sound engineer crammed against the far wall.

Once I dislodged my foot from the dried alcohol on the floor and started to walk around, I noticed another interesting aspect of the layout. The pokies (despite still being around) were removed far enough away from the music not to bother anyone. Why can’t all venues in Sydney be like this one?

The Annandale’s charm may well be why its events are always so popular. It’s a venue for music and nothing else. On this muggy Friday night, Children Collide were visiting with their upbeat, punchy sound that was sure to send the small pub into a frenzy.

But first the three-piece Border Thieves lulled the milling crowd from the adjoining rooms. Dedicating their set to the pirates off the coast of Kenya (for “having a go”) the band filled the room with a soulful twist on indie. Sounding like a mixture of Sonic Youth and The Stone Roses, Border Thieves were engaging yet derivative. The event photographers had their work cut out for them as singer/guitarist Kat Harley and bassist Joel Werner battled their instruments and posed like stadium rock stars.

As Border Thieves retreated in search of a stolen beer, the crowd buzzed in anticipation. Conversations about managing to get tickets to the sold-out event were the hot topic. The chattering was broken short by the arrival of Regular John, sporting long hair and matching emaciated frames. At first the onslaught of rock ‘n’ roll captured everyone’s attention. The songs Language and We Spell Love… were so energetic and powerful they ignited a flurry of bobbing heads and fists punching the air. However, as the set continued, Regular John’s repetitive set-list cleared the room somewhat, as they lost the interest of a distracted audience. For all of their talent, the band’s full-throttle party sound slowly wore thin.

It was well and truly Children Collide’s night. The venue reached capacity while adoring fans continued to stream in. As a brief sound check was performed behind a lowered projector screen, screams of excitement filled the air as soon as any head revealed itself. Wedged between sweaty bodies, I easily forgot all of my discomforts as the white barrier was raised and We Are Amphibious burst my eardrums. It was only possible to see brief glimpses of the stage whilst yelling “it was so long, so long ago” amongst the manic throng. The crowd’s sheer enthusiasm shocked frontman Johnny Mackay into a broad smile that he couldn’t wipe from his face for the entire gig. With the announcement of every song from Across the Earth to Marie Marie, Pt. 2 it was near impossible to hear any music over the ecstatic cheering.

Every ounce of praise was well deserved. Children Collide are born performers, working the stage with an unchallenged energy and intensity. Fans leapt along with Johnny as he pummeled his guitar back and worth, head slung low around his knees. Bassist Heath Crawley and drummer Ryan Ceasar added their own flawless and practiced elements to the performance. Even as the comparatively down-tempo Farwell Rocketship came wailing through the speakers, no one could slow down. That was of course until we were all treated to a majestic cover of Walking on the Moon by The Police. Effortlessly making it their own, Children Collide held the crowd in silent awe as Johnny rivaled Sting’s falsetto.

Don’t miss another opportunity to see this band live. The smiles and laughter of the post-show rabble that spilled out onto Parramatta Road was testament to Children Collide’s awesome ability and talent. This was an unforgettable gig.

Published @ www.fasterlouder.com.au
Link: http://www.fasterlouder.com.au/reviews/events/18062/Children-Collide--The-Annandale-Hotel-170409.htm

Interview with Super Furry Animals

Born from the 1990s Welsh creative renaissance, Super Furry Animals have defined their careers, spanning nine studio albums, by following a musical philosophy of impulse and spontaneity.

As a result, genre and convention have always been at play in their work – from the Guinness Book of Records-listed E.P. Llanfairpwllgwyngyllgogerychwyrndrobwllllantysiliogogogoch (In Space) to this year’s hotly anticipated Dark Days/Lights Years. Yet, despite their unique flavour and thick Welsh accents, Super Furry Animals, are no underground phenomenon. The clamour of genres from psychedelic rock to techno, grunge and sixties pop has captured the imaginations of a large host of devout fans and critics.

Dark Days/Light Years spans a vast array of influences with an uncanny sense of self awareness. Each track, in its playful tone and experimentation reveals the band’s style altering form. After listening to the album a number of times I couldn’t help but ask how close an influence the band’s nationality has on its music.

“It is inevitable that you are influenced by where you’re from,” vocalist Gruff Rhys’ timid voice crackles down the line. “We were never motivated to produce Welsh music and we always hated traditional Welsh music. But we were influenced by bands coming out of Wales at that time.”
From the beginning of their career, Super Furry Animals have sought to expand their work beyond country borders. An insatiable thirst for discovering and exploring new music led to each member’s very distinct preferences, which came together in a beautiful but schizophrenic form.

“When we were starting out it was the tail end of the rave era. We were listening to a lot of techno. We were also going through a phase of ‘70s pop, like E.L.O. That all got mixed up with our interest in techno. We would buy all these second-hand records from thrift stores and mix them with our techno. Also we used to play with punk bands.”

Now Dark Days/Light Years exudes experience, with the band balancing a child-like abandon and the musical experience that comes over nine albums. This freeform abandon is very evident in track titles like Crazy Naked Girls or lyrics such as “there was the mountain. It was a big fucking mountain. So I climbed the mountain.” But Gruff is adamant there was no attempt to bring any comedic elements into Dark Days/Light Years. “That’s just in our personalities. We don’t shy away from bearing our souls. Sometimes our music can be dark and depressing and sometimes we make incredibly uplifting music. We are fine with making people smile but we have never set out to make a comedy record.”

At this point Gruff brings my attention to the band’s website www.superfurry.com, where fans can view two videos taken while the band was recording Dark Days/ Light Years. As the camera swoops through the spacious and isolated studio each member is smiling and laughing as they jam together. It’s a perfect illustration of how this group produces such a playful style of music.
“Also we bring different influences in,” Gruff explains. “All the members have known each other for a really long time. [Keyboardist] Cian Ciaran runs a minimal techno label and I specialise in downbeat folk music. It definitely makes our music more unlikely and more unique. I think when you listen to it, it is very much grounded in the history of music. You can hear a lot of references because we are all record junkies. So it is important for us to bring it to a unique conclusions otherwise we just sound like our record collections.”

Calling Super Furry Animals a band of ‘unique conclusions’ may well be the most apt description available. Dark Days/ Light Years is an album of endless surprises, cheeky grins and sideways glances.

Published @ www.fasterlouder.com
Link: http://www.fasterlouder.com.au/features/17959/Super-Furry-Animals.htm

The Big British Sound @ The Paddington Town Hall

The Big British Sound was a strange beast. Outside of festivals it's rare to find live gigs that are hosted by a corporate partner with such a heavy influence over the event. Unsurprisingly Ben Sherman dressed The Paddington Town Hall in blue and white lights on Friday night, nostalgically celebrating that 1960s British chic. The main hall was draped in photos of double decker buses and young mods driving scooters while each set was followed by popular British hits from The Stone Roses to The Ting Tings.

On the surface it looked like a great event, albeit a little cliched. The Paddington Town Hall’s luxuriously large space hovered over a comparatively diminutive crowd. The large hall peppered with people clumped in groups or just sitting against the wall, which had no shortage of Ben Sherman paraphernalia. From the fashion label’s symbols to Andy Warhol-esque portraits of Mr Sherman himself, everyone was constantly and shamelessly reminded of who was running the party. At the bar the Sosume DJs danced by themselves with an uplifting enthusiasm that, according to the wandering crowd, was not contagious.

It was this constant wandering brought about by the event’s layout that detracted from the diverse and talented lineup. As beautiful as it may be The Paddington Town Hall provided too much space. The bar was located outside of the enormous main hall and oddly short sets (half an hour to forty-five minutes) were separated by a 20 minute block of aimlessly put together “British music.” The result was a constant flux of people walking in and out, buying drinks and occupying themselves form balcony to balcony waiting for some live music.

Before I knew it Art vs Science had left the stage and The Seabellies were announcing their final song. A shame as these two speedy sets were the real highlight. Art vs Science enveloped the room with their happy-go-lucky electro pop, which at times assaulted the ears but nevertheless drew the small crowd together. The Seabellies were flawless. Vocalist Trent Grenell belted out each lyric at the top of his lungs, perfectly in pitch. Feet shuffled ever closer to the stage as we were all introduced to a band with vast amounts of talent. Their set finished with a cover of Rod Stewart's Young Turks. It was hard to see even a glimmer of Rod’s straightened hair as The Seabellies had doused the 1980s hit with a fresh coat of their own originality. It was disappointing to see them walk off stage leaving everyone to another twenty minute block with little to do.

In good time Jack Ladder gathered everyone back in the main hall. After a shakey set at his previous gig supporting The Duke Spirit I was happy to have another opportunity to see a comfortable performance. Again Jack quickly opened with The Barber’s Son a track dripping with his unique, soulful essence. I always feel a sense of anticipatory excitement at the future of Jack Ladder as his awkward body and startlingly smooth voice lather the crowd with this song. I stood thinking, “now I’ll see Jack Ladder really nail it.” But that was not to be the case. Standing before him was a crowd bemused. As the rapture of The Barber’s Son wore off I looked around too see those shuffling feet, shuffle away. You need to be close to that voice in a small dark room heavily clad with smoke. The clean cut feel of The Big British Sound was not the place. Once again Jack Ladder performed a set misunderstood.

When wonder kids Tame Impala coasted on stage it was refreshing to see less floor as fans poured into the over sized hall dancing with little inhibition. Modular took a big risk with this relatively young band from Perth but their talent is unquestionable and for the first time in the night I saw everyone really enjoying themselves. Since their last few Sydney gigs in 2008 the set list hasn’t changed and that Boy Blue cover is still a staple. So it’s no surprise that there was a repetitive nature to Tame Impala’s live performances. Each song starts with a kick ass riff that has the crowd chanting along. Then without fail everyone is taken on a long minimalist psychedelic journey that becomes predictable. I look forward to seeing Tame Impala diversify their live performance, breaking up their solos and a daring to be more flamboyant in their jams onstage.

After a night that felt like a light bulb being switched on and off *Little Red* delivered a very appropriate closing set. Simple and fun there is no question that every song of Little Red’s has been inspired by 1960s British rock ‘n’ roll. The hall was transformed into a scene from Grease as the band performed with popped collars and broad grins. At last the space was being used as intended. The intensity of the previous bands washed away as a party atmosphere brought The Big British Sound to a close.

Published @ www.fasterlouder.com.au
Link: http://www.fasterlouder.com.au/reviews/events/17864/The-Big-British-Sound--Paddington-Town-Hall-Sydney--03042009.htm

Interview with Silverstein

From Sgt Pepper’s Lonely Hearts Club Band to Smile the concept album has always held a bizarrely sensitive place in the hearts of reviewers and music historians. Do it right and you have bought yourself a one way ticket to the rock ‘n’ roll hall of fame. Make one false move and your credibility as a musician takes a battering.

When Shane Told from Silverstein embarked upon writing the band’s latest album, A Shipwreck in the Sand, he drew inspiration from a very powerful source. Boredom. “All three previous records had been written the same way. We would jam until we had enough songs and then work out an order for them. We were bored of doing the same thing.”

After boredom, however, came a thirst for change. Silverstein’s career at this point was defined by songs and albums that focused on personal struggles. Their last album Arrivals & Departures was entirely written about a seven year long relationship of Shane’s that had just ended. Now A Shipwreck in the Sand follows the story of a family who experience a horrific set of circumstances which parallel the defunct state of much of the planet. In Shane’s own words “the world is pretty fucked up right now. That was the biggest motivation behind the album.”

So from a band that predominately wrote about heartbreak Shane believes Silverstein have matured musically enough to tackle politics in the concept album format. “If somebody had a gun to your head and asked you what really concerns you that answer is always bound to change. This record has a lot of political undertones to it. It is a political record. That’s not something I would have done eight years ago.”



Shane, however, admits that writing A Shipwreck in the Sand was not an easy task. Taking over a year to produce the finished product, a great deal of creative planning was involved. While grappling with an emotionally heavy topic and the rigors of producing a worth while ‘concept’ Shane’s main concern was writing an album that everyone would want to listen to over and over. “I was concerned I wouldn’t be able to write a concept album. But it really came out great. It was difficult, it was a lot of work but it came together so well. If people listened to this album one hundred times each it would make me really happy.”

Musically A Shipwreck on the Sand showcases Silverstein’s gradual progression towards a heavy metal sound. Song such as Born Dead drag the album deep into ‘hardcore’ territory. “We have always written lyrics separate to music. We have always been influenced by metal bands. It really works for the concept of the record though.”

Yet one last frontier remains unexplored in this concept album. So often bands who embark on such an ambitious project become drawn into a narcissistic level of musical experimentation. This is perhaps the reason why concept albums are surrounded by such turbulent criticism. But for Shane Told a respect for the band’s roots and the accessibility of the album were always a major concern. “I like the experimental stuff a little but for our band I just don’t really know if it’s right. It might be fun for us but not for those listening. I don’t want someone to listen and think it is boring. We are just gonna try and write great song.”

It is this endearing dose of modesty that has lead to Silverstein producing a very rounded and polished album in A Shipwreck in the Sand. When I read the following quote from a press release about the album: “After A Shipwreck In The Sand it will be easy to understand why Silverstein are in the ranks of bands like Rise Against and the Foo Fighters,” Shane’s response was a small chuckle and “I don’t think we are in the ranks of those bands. I’m not sure if this record will get us there. I don’t compare our band to other bands. This record we are really happy with it. I think people are going to embrace it.”

A Shipwreck in the Sand is in full release as of the 31st of March.

Published @ www.fasterlouder.com.au
Link: http://www.fasterlouder.com.au/features/17863/Silverstein.htm

Interview with Steve Wilson

Steve Wilson’s own brand of psychedelic rock and industrial noise (of Procupine Tree fame) has never been music for the faint at heart. In fact, it questions the very boundaries of what music really is. Steve caught up with FasterLouder for a chat about his latest solo album Insurgentes the most ambitious and challenging work in his critically acclaimed career. Whether it be from practice or a calculated conviction his arguments are verbose and amazingly convincing. Insugentes is in full release and a recommended listen to those sonically open minded.


So tell me, what was it like working with Yoko Ono?
I was given a track she produced in the seventies. I was a great admirer of Yoko and I thought she was underrated. She was a very innovative artist. She was lovely. It was a great honour to work with, arguably, one of the most famous women of the twentieth century. I get Christmas cards from her every year now, it’s great.

It’s interesting that you started Porcupine Tree by dubbing all tracks yourself. How have you drawn the line between early Porcupine Tree and this solo album?
Early Porcupine Tree was focusing on my love of psychedelic music. This is an album that encapsulated all of the aspects of my musical character. We have everything from piano ballads to industrial noise. That is why I thought I could use my own name rather than an alias.

How do you justify producing industrial noise as a musician?
For me I never think of music. People often say “how can you think of noise or ambience as music?” For me it is very simple. When you go to the cinema and you are watching a film. Say a horror film. Your sense of dread is being enhanced by a certain sound or texture a drone or a noise. That for me tells me that anyone can respond to pure texture or noise as an emotional trigger. So I see no problem using noise as a musical devise. Pure texture and pure sound can be very emotional. I think of music in terms of certain sounds triggering emotion. At the end of the day that is what music is, it's not just pretty melodies.

Why does the music you write diverge over so many different genres?
It has come from my love and passion for different kinds of music. My taste in music is more diverse and eclectic than most peoples. For me the gift of making this music is a real honour. I think it is a gift that I can do this for a living. For me it's just an extension of the passion and enjoyment of listening to music. I have never just wanted to stick to a certain style.

What has motivated you to pursue solo work after such success with Porcupine Tree?
The sense that there was still something that was not being expressed within that context. Porcupine Tree is a collaboration and there are certain things that I would never ask the band to play. Noise music for example. I wanted to make a record less about musicianship and more about atmosphere. In a collaboration you tend to find a common ground. Making a solo record liberates you from those considerations. I made Insurgentes in a very selfish way. Making a solo record is a purist expression of that. That was quite liberating.

Insurgentes has been recorded in a variety of locations around the world. Do you think influences from those location crept into the tracks?
I think they did but I couldn't tell you how. When your a musician or a creative person of any kind anything that happens to you always influences what you create. You should always be absorbing your experience and it should be influencing what you create. But they are more intangible. There is a more obvious influence from Mexico in the name. It is not a world music thing. That is a kitschy thing. It was a way to get fresh environments and fresh experience.

The Album was written over two years. Was that because you require such a high standard of work from yourself. Or is solo work a side project?
Neither really. Everything I do I aspire to make it as good as it can be. The origins of the music came from a pool of songs that I had written for other projects but were never used. Not for lack of quality but they did not fit into a context. I wanted to finish them off and give them a life. Most songs were written in about three months in a fairly concentrated period of creativity and writing.

Why do you think rock and electronic music fuse so well to create a very atmospheric tone?
Rock music has always thrived in the studio when it has been more aware of the pure quality of sound. I'm not a great fan of musicianship. I don’t like music where the musicians are showing off. I like music that has an intellectual core about it. Creating sonic worlds. Electronic music is really the great innovation of modern music. If you want anything to do with something fresh you have to embrace electronic music.

How do you write a track?
It's almost impossible to answer. If I knew the answer to that question I would never have periods of writers block. And I have those periods. And then sometimes I have great bursts of inspiration. It can come from a title, a fragment of a melody, a movie I've just seen. If anyone could answer that question we would bottle it and sell it. Every time I write an album I think its the last i will ever write. Every time I prove myself wrong. Experience is my secret.

Published @ http://www.fasterlouder.com.au/
Link: http://www.fasterlouder.com.au/features/17885/Steve-Wilson.htm

The Duke Spirit @ The Oxford Art Factory

The Duke Spirit Australian tour promoting their sophomore album Neptune has been surrounded by an excitable hype prompting each venue and ticketing agency to reveal their own personal anticipation. On their event page Mostix announced “Wow! We cant believe its actually happening - the mighty Duke Spirit are finally breaking from their relentless UK and US touring to visit their avid fan base down-under!” At the same time it was FasterLouder’s gig of the week.

So it’s no surprise that such candid eagerness evolved into an intoxicating buzz as word of the night jumped from blog to blog and at last it arrived. Before The Oxford Art Factory got an opportunity to open its doors a small bunch of animated fans began to collect on the foot path. As the bouncers pulled back the rope barrier in front of the entrance punters came streaming out of all of the adjacent pubs bringing a lively vibe to to the venue that hadn’t even had a chance to start playing some background music.

It’s always hard to ignore the manufactured cool of The Oxford Art Factory. Brick walls perfectly manicured to look warn and industrial are met with clean sheets of glass and edgy black bench tops. But it all feels so in place when the DJs fire up a few tracks as your crammed between hordes trying to get a few drinks.

Just as I was checking the set times black curtains parted to reveal a stage billowing with smoke and as it began to clear Jack Ladder stepped forward clutching the mic, black guitar hung around his neck. His opening grabbed the attention of a splintered crowd grouped for conversation and his velvety voice turned everyone’s heads in his direction. The recent winner of the Red Bull Award In Recognition Of Outstanding Potential began to really prove his worth. There were tones of blues, soul and rock backed by his pulsating and anguished voice as his awkwardly tall frame writhed knock kneed on stage. It was all going so well until his second song was delayed by a lengthy re-tuning session that led some ungrateful audience members to yell “your first gig mate?” Jack responded politely without making much fuss but the incident seemed to effect his nerves drawing the punchy rock sound away from his unquestionable talent. Instead the rest of his performance was cautiously timid.

Jack Ladder finished his set while the crowd looked upon him with a sense of impatience. Bodies started to pack into the centre of the club quietly searching for the best view. As the striking blond hair of Leila Moss appeared from behind purple smoke and drawn curtains the crowd quivered but never broke out into dance. Amidst fans standing still I watched as Moss’s figured jumped around on stage like the perfect front woman. Throwing about her mic stand in-between innumerable changes of percussion instruments. Her voice filled the room as The Step And The Walk was performed with such character and precision it blew the recorded version of the water. But my personal favourite was a grungey and hard hitting rendition of This Ship Was Built To Last.

The hype was justified. Flawless vocals were backed by a practiced and clinical band standing like thin black pillars around Moss. Luke Ford and Toby Butler kept to their own corners as if they were afraid of being seen. Carefully strumming out each note without a hitch. At first I thought this was simply there ‘look’ but when they both let rip during the encore I couldn’t help but think what could have been had they both been as animated during the whole performance.

I stood, like everyone, in awe and just plain happy to watch some solid rock ‘n’ roll again. The Dukes Spirit are true masters of building up and breaking down rhythm. Each slow ballad seemed like it was perfectly in place. Once all was said and done the band quickly left the stage without to much to say. But looking around me I could tell everyone had just seen a truly great gig.

Published @ www.fasterlouder.com.au
Link: http://www.fasterlouder.com.au/reviews/events/17752/The-Duke-Spirit--The-Oxford-Art-Factory-Sydney-260309.htm

Interview with Chimaira

To promote their latest album, The Infection, Chimaira launched www.spread-the-infection.com a site where fans can download flyers and stencils they must use to in their local area to spread awareness of the release. As a reward for their efforts fans who submit photos of their exploits receive song samples from the album and other prizes. When onthebarrier spoke to guitarist Matt DeVries one of the first questions that came to mind was “what were some of the most creative or ‘out there’ submissions?” Without much hesitation Matt DeVries replied “the tattoos.” Two dedicated fans had decided to up the ante by tattooing the symbol from The Infection album cover onto their arms. An act that may be very hard to beat.

Chimaira can thank this new found fanaticism to a renewed and revived dedication between the band’s members. In 2000 the E.P. This Present Darkness, showcased Chimaira’s unquestionable talent and exciting sound, which saw them quickly signed to Roadrunner Records with whom they released their first full length album Pass out of Existence. After their debut Chimaira’s work in the studio began to deteriorate as band members became disillusioned and rarely participated in recordings. Since signing with indie metal label, Nuclear Blast, much of band’s mentality has changed.The Infection will be Chimaira’s second album with their new label and Matt admits the band is finally producing albums where every track feels like a completed and polished piece.



It may be this turbulent history that prompts Matt to doggedly dismiss any probing questions about the band’s past. It was made very clear that Chimaira try to keep a positive frame of mind. “I’m not regretting anything we have done perviously. I like the way we have evolved as musicians and a band. You really can’t complain about everything. In the last record we started to be happy with everything in general.” This strong stance made it clear that this latest album was written looking forwards rather than dwelling on past issues. Matt claims that Chimaira are truly attached to The Infection. “ We were trying to put out something we love. I think this is our best record yet. I guess every band says that with every record. But for the first time I can say any song could be my favourite.”

The Infection can be best described in Matt’s own words “brutally honestly Chimaira.” It contains all of the thrashing guitar riffs and pounding drums that any metal fan can instantly enjoy. Chimaira sound as though they have returned to their roots while broadening their musical scope as the album spans every metal genre from classic to progressive. This genre ‘hopping’ was a result of the improvised nature in which the album was written. “The lyrics were impromptu,” Matt explains. “The music was subconscious. It just came out like that. We have six members that all have very strong voices with what they want to explore.” One stand-out track on The Infection is the epic instrumental The Heart Of It All. All fifteen minutes are an amazing show case of the bands musical proficiency and range of understanding in the metal genre.

In the mean time Chimaira’s ‘spread-the-infection’ website continues to gain momentum. The idea was originally brought to life by vocalist Mark Hunter and the incredibly crafted web design was developed by keyboardist Chris Spicuzza. Since it’s creation the project has been a surprise success and now a standing testament to the dedication of Chimaira’s fans. “We thought it was a cool way to reach out to the fans. It’s doing a lot more for us than we imagined. One hundred percent I think our fans are some of the best fans out there. They just keep coming back. I think it’s the nature of metal that breeds such dedicated fans. They are the coolest, most open minded people.”

Chimaira are currently touring America but Matt did reveal that at least two tours of Australia were planned in 2009. All tour dates and venues are yet to be announced. The Infection is due for release on the 21st of April ’09.

Yeah Yeah Yeahs, It's Blitz

Much of the hype surrounding It’s Blitz focused on Yeah Yeah Yeahs triumphantly announcing that it wont be like anything they have ever done before. To add to the speculation in an e-newsletter Modular proclaimed “It’s Blitz! was inspired by the ’70s disco collaborations between Italian producer Giorgio Moroder and R&B songstress Donna Summer, Joy Division, and, well, Karen O’s love of dancing.” As the first single from the album, Zero, hit the airwaves all was confirmed. The track set a precedent for a highly produced album edging from grungey - indie over intro something more electronic.

Zero is perfectly placed as the opening track of It’s Blitz, it’s flickering guitar riff stirring every ounce of excitement you might have had for this release right up as you follow it to the ecstatic crescendo at the end of the song. And then, before you know it, Yeah Yeah Yeahs lead us into self proclaimed unchartered territory. To confirm that Zero wasn’t just a dabble in a new sound Heads Will Roll hammers the genre home, synthesizers and samplers hard at work.

Karen O’s spunky, chanting vocals still grace the album (just in case you were worried everything had changed) but they are accompanied by far more polished tracks, at the expense of that raw sound many fans know and love. But there is no need to mourn the passing of Yeah Yeah Yeahs their sound of old still very much remains in this new form, only their guitar and drums have been passed through the filter of electro and some experience.

For most fans It’s Blitz will feel like having your cake and eating it to. The band has taken a new and exciting direction without forgetting where they came from. This is very much confirmed by Dull Life and Shame and Fortune, two tracks capturing the fast and heavy sound that had you bouncing off your bedroom walls when listening to Show Your Bones. The only time I stopped smiling while listening to It’s Blitz for the first time was when Dragon Queen jumped out of left field. Its The Ting Tings - like dancey, playfulness is a real surprise.

It’s Blitz really proves Yeah Yeah Yeahs’ desire to evolve and grow as musicians. They have really nailed the genre shift, however small it may be, demonstrating a maturity and skill that should allow them to be one of Indie’s all time greats.

4/5

Interview with Satyricon

When reading Satyricon’s bio one can’t help notice the inherent lack of biographical detail. What remains instead is a dedicated and convincing argument defending the band’s choice to remain unique and challenging within the metal genre. So often this musical purist line forces the reader to judge a band as a one with tortured genius syndrome defending their very lack of success by criticising the taste of others. In Satyricon’s case this judgment could not be farther from the truth. Instead those that listen and appreciate the unforgiving riffs and brutal drumming are celebrated in their achievement.

You may, if you like, compare listening to Satyricon’s latest album, The Age of Nero, to reading a classic novel. It is densely layered but ultimately rewarding. So it is no surprise drummer, Frost, has no objections to his music being labeled ‘thinking man’s metal’. “I can see the point in calling it that, there is a certain depth to our music. It is much more about an artful approach to an extreme kind of music. We make music we want to hear, music with substance. It takes the mind and heart of the listener to understand. We feel too many metal bands are sticking to a simple formula. We don’t want to do that.”

There is no weakness in their resolve for individual and artful metal. Frost answers each question with a practiced grace that is nothing short of infallible. Satyricon’s very purpose is to make music one has to listen to many times before they truly appreciate its carefully constructed layers. Considering singer and lead guitarist, Satyr, wrote the album isolated in an forrest cabin in Norway, Frost’s drums are worked in seamlessly. More proof of the bands painstaking and timely pursuit of their musical beliefs. “We spent quite a lot of time just playing around and rehearsing. You have to work very closely with a composer to complete his visions. He will always have a better idea of the complete vision while I can only see one small part. In the end it has to be functional. I have to bring the track up and take it down where the composer wants.”



The Age of Nero is Satyricon’s seventh album and after working together for some 17 years, Satyr and Frost have continued to redefine their form to satisfy their ideals. “It is progressive no doubt about it, we are progressive and unpredictable. You always have to try and focus on what makes the music as good as possible. There is a wildness and rawness there that we didn’t have on previous albums. Along with grand and epic elements. This combination is unique to this album.”

The Age of Nero is musically stripped down to metal’s most simple but calculated form. This minimal and brooding mood influenced, in Satyr’s view, entirely by the deteriorating state of the planet and human culture. “The album is a reflection of an entire mind. Obviously Satyr as been very influenced by experiences that have had a strong impact on him. At the moment we can see the end of an empire, things happening around us. Take global warming, a very new issue a very destructive phenomenon. There is nothing we can do about it except the best we can. We are doomed in a sense. That whole feeling is reflected in the apocalyptic title that sums up the essence of the album.”

Satyricon have currently been promoting The Age of Nero by touring the Americas and come late March they will begin a tour of Australia. One that Frost predicts may be Satyrcon’s best to date. “First of all they [Australian fans] will see Satyricon touring their the best album ever. If I may say so. That’s how we feel about it. It brings an enthusiasm and energy that will take us to the next level. Plus the songs from the album work really well live.”

To match their well honed philosophies fans are bound to see a band completely and utterly devoted to their performance and their crowd. Frost describes his favourite performances with a pseudo-religious fervor seeking an energy and ‘fire inside’ that help to make a gig great. “It has a lot to do with energy. Before each gig I bring up a lot of raw energy. Energy that drives you almost to the brink of madness. When I feel this it creates a connection with the audience. We get a strong feeling that we are sharing something.”

In a perfect world we would see many more musicians like Satyr and Frost. But until that time, even if extreme metal isn’t your thing, one can’t help but respect Satyricon’s views and conviction.

Published @ www.fasterlouder.com.au
Link: http://www.fasterlouder.com.au/features/17579/Satyricon.htm

Interview with Stuck Mojo

When Stuck Mojo started to lay down demos for their next album, lead vocalist Rich Ward had one goal in mind ‘keep it different’. A prerogative that may seem a bit difficult as Rich confidently announces “I think we are one of the most unique bands in the world.” Whether you’ve heard it all before or not, in Stuck Mojo’s case it’s a very accurate statement. Their brand of Rap Rock fusion is a path few have ventured down. Despite their niche genre holding them back from excessive fame and fortune Stuck Mojo are having a Renaissance both in inspiration and band cohesion. So it’s no surprise Rich decided to call their latest release The Great Revival.

For a band with such a turbulent history the production of The Great Revival was a true breath of fresh air. “The album was really different. Everyone in the band was really excited as an organism. It was a revival of the spirit of when we first formed when it was just young musicians enjoying playing with each other.” One has to admire this dynamic in the band considering the conflict of interest experienced when heavy metal and rap are combined. As Rich gets on a roll his bursts of inspiration have to be curtailed to fit in the desires of other members.


The ‘keep it different’ mantra also influenced the content of The Great Revival’s lyrics. Stuck Mojo have left behind their political activism and explored more personal themes. “We were a band who loved to write about politics. We are passionate about it. I’m a news junkie so I love to do songs about it. But we live in a day in age when people are so sensitive you can’t talk about those issues anymore. I’ve had death threats. Its a freakin’ song! If you disagree is it worth killing me? I don’t want confrontation. This new record gave we an opportunity to talk about things that people can connect to. Things we all experience.”

Unfortunately the recording was not entirely positive. Rich had some seventy five minutes of music he wished to record for a double album but record company Napalm imposed a strict time limit for The Great Revival so that Stuck Mojo could meet newly establish tour dates. As a result Rich has his reservations about the album and the music industry. “I really like the songs on The Great Revival but it’s not a complete album. I will never let anyone force me to finish an album early again.”

Published @ www.onthebarrier.com
Link: http://www.onthebarrier.com/feature-interviews/stuck-mojo-release-the-great-revival.html

Interview with Death Angel

From their first gig at a sandwich stand to a sold tour of Japan, Rob from Death Angel tells of a life where there was no option other than the heaviest metal around. At the age of twelve and eight, Rob and his cousin Andy decided a career as Thrash Metal musicians might be ‘a cool thing to do’. “It was the place and the time we were at, we just somehow gravitated to that music. We were influenced by our parents, they listened to a lot of music like Pink Floyd and Led Zeppelin. We kept digging further and further into music. It kept getting heavier and heavier. We were drawn to the heaviness.” This dream, fueled by a disarming confidence led to the band’s regular gigs around California while most of it’s members where in their early teens. “It was very strange to everyone else around us. To us it seemed like the thing to do. We were just stubborn kids looking for a life of rock and roll. We just wanted to rock and play and rock out... do our thing.” Each performance was typically preceded by skeptical bouncers and nervous bar managers hiding the band backstage. “We had a hard time getting into clubs to. It was really really fun.”

In time the thriving Californian Metal scene realised confidence wasn’t the only thing Death Angel had in abundance. Their talent was intoxicating. From what seemed like innocent beginnings the band (comprising of Rob’s close family) was a regular fixture on the Metal circuit. Kirk Hammett and Cliff Burton, from Metallica, being two of their bands biggest fans. “Kirk produced our demo that got us signed. They were in the scene so we knew each other. Especially Cliff. He was the one that was closest with us.”



Unlike some bickering siblings the close familial ties of the band only gave them a tighter dynamic on and off stage. “ It was the coolest thing. That’s how we lived it form day one. I’m very used to the comfort zone. We know we each like brothers and we fight like brothers at the same time. There is so much mutual respect between us.”

In 1990 tragedy struck as the band’s tour bus crashed, critically injuring drummer Andy Galeon and prompting lead singer Mark Osegueda to pursue a life outside of music. “There was a moment of devastation. Death’s Angel’s not Death Angel without Marc.” In the subsequent down time the rest of the band continued to produce music under various side projects. Eleven years later the band reformed for a one-off performance in 2001. “It was very very interesting. It was also totally amazing. We just didn’t know what to expect. What we had before was so intense. It is like being married to 5 people at the same time. It was strange and we didn’t know what to think. When we hit the stage the crowd just lit up. It was one of the most memorable moments of all time.” Since that gig Death Angel has been performing and producing music without a break.

Now coming to Australia (with Armored Saint in March) Rob finds it hard to contain his excitement at exploring a new frontier. “Going to Australia for the first time ever in our whole lives. This is very very big for us. It’s definitely one of our dreams.” And that extremely confident aura will certainly be part of the show. “Expect a full on Death Angel experience, which means we are coming to delivery the goods. We are very energetic and very into it. You will get no less than you have ever hear of. They will be super charged shows.”

Interview with Forever the Sickest Kids

As their name might suggest Forever the Sickest Kids are no conventional powerpop band. Although guitarist Marc Stuart insists “we do our own art and write all our own songs, we have the final say in everything we do,” the band did not start its meteoric rise with such calculated precision. After forming in 2006 from two separate groups losing their creative steam, Forever the sickest kids can thank their discovery and subsequent popularity to a sloppy mistake. Some five days after officially forming lead singer Jonathan Cook accidentally placed an add for a front page song placement. Rather than ruing the investment of $350 they didn’t have the band went into action writing and recording their first major hit ‘Hey Brittany.’

The playfulness and spontaneity of this amazing rise to fame is certainly carried on by the band, in it’s image and philosophy. Marc makes no hesitation in describing the band’s motivation to produce and perform music. “ We are doing this because its really fun. we’re just here to have fun. We are a happy go lucky band.” It only took one look and the band’s photo shoots to see they enjoy poking fun at convention. Despite this trend Marc is adamant Forever the Sickest Kids aren’t planning to supplant popular culture, they are just letting their personalities through. The band’s myspace proudly announces “Voted “1 Worst Band Name of 2008" by AP Magazine,” but the endless criticism and flaming has no effect on morale. “ It’s our attitude to announce things like that, it’s funny that they make awards for those things.”

With this comic exterior one would be forgiven for assuming the band is in it just for fun. This assumption, however, couldn’t be farther from the truth. When commenting on the band’s endless touring schedule Marc comments, “we make the best of it all, the touring, the interviews. We like to do as many interview as possible. This is our work and we might as well be working.” When playing live Forever the Sickest Kids feel truly at home. “It gives me such a rush to perform. Expect really high energy stuff.” Australian fans will have their first chance to see Forever the Sickest Kids at Soundwave Festival, which will be touring the country in February and March with one of the most carefully constructed line ups in years.

Published @ www.onthebarrier.com
Link: http://www.onthebarrier.com/feature-interviews/forever-the-sickest-kids.html

Interview with Armoured Saint

If your reading this from behind long greasy hair and a worn out Motor Head T-shirt, rest assured Metal is coming back from the underground, loud, fast and in your face.

1980s Metal pioneers Armored Saint along with Thrash Metal legends Death Angel will be coming to our humble shores in March to play gigs at all capital cities across the country. I spoke with Gonzo Sandoval, drummer for Armored Saint, about the upcoming tour, music, life and everything in between.

From a blisteringly hot Sydney to a breezy Los Angeles Gonzo Sandoval’s introspective voice beamed over the phone line. No words were minced no answers were uncertain Armored Saint is a live band that is ready to “rock out” come March. Despite having released their first E.P in 1983 I certainly wasn’t dealing with a group of aging rockers reliving the old days. Gonzo stressed the high energy and intensity they bring to their live performances. In fact his thirst for music and live shows is as strong now as when he first stole his mum’s car and drove to a gig in Hollywood. “I want to use my time to play music, do what I do and do it now!” With all this enthusiasm comes one of the most prolific periods in Gonzo’s long career, working on side projects: Son’s of Sandoval with his brother Phil as well as MX Machine who recently released their new single “Dog Town.”


Not bad for an older guy huh? This burst of inspiration comes from nothing short of an intoxicating aura of positivity and love of music. When asked how this optimism translates to the Metal genre, Gonzo conceded it hasn’t always been his perspective on life. “I understand the angst and anger of youth in rock ‘n’ roll.” After all Armored Saint has been through its fair share of hardships losing guitarist Dave Prichard as their careers really started to soar. Despite having a short hiatus afterwards, it is these untimely reminders of their own mortality from which the band drew a lot of inspiration. “In youth I drank a lot, I rocked hard. I have been allowed to have a second chance... I feel I have been reintroduced to music for the first time. Finally I am allowing music her self to play me.”

Death Angel, a band Gonzo met when it’s members were just 14 years old, now has a close connection with Armored Saint. Together their live performances should leave your ears ringing and tongue wagging. Gonzo tells me confidently “the Aussie audience is in for a surprise.” Playing at some intimate venues around the country Gonzo admits Armored Saint is best suited to large stadium rock but the close quarter gig will be better experience for the fans. “Our sound is nice and tight. You are gonna really feel Armored Saint.” As always our reputation as an awesome crowd proceeds us. “I hear you guys love to rock ‘n’ roll, we are all in the same boat.” So brush off those leather jackets and start growing that hair because Metal is coming back and it’s on for young and old. “Metal has always been the black sheep. It seemed to have gone away for a while. I think a new generation is coming out. It time for a merging of generations.”

But after all what would my interview be without a leak, get excited because we will be hearing some new material from the band during their tour and a full length studio album is in the making.

Published @ www.ontherbarrier.com
Link: http://www.onthebarrier.com/international-music-news/armored-saint-merges-generations.html