This is the final NZ CD I shall be spinning this month - although I may move onto my cassette tapes.
The Chills are one of the classic Dunedin bands. Frontman Martin Phillips is the only consistent member of the band, and they have released six full length albums - several compilations and a bunch of EPs. This was their third album, and their most succesful (it attained #1 on the charts) - in part due to the explosion of popularity in the whole Flying Nun/Dunedin sound and aided rather by the opening track and first single "Heavenly Pop Hit" which I still regard as one of the Definitive NZ songs. Many of the more modern NZ bands have a polished, American sound, but the sludgy, low mix of the Flying Nun label will always stick in my head as being the true NZ sound. Although it should be noted, this album was not released on the Flying Nun label - this was their first release on a major label - Slash/Liberation.
The cover depicts, I believe, a jellyfish, although it also rather resembles a translucent mushroom. It is very blue.
The opening organ of "Heavenly Pop Hit" is utterly unmistakable, bringing with it a clarity and joy that stirs the spirit and the heart. Phillip's voice is sweet and moderately high.
We have piano and a slightly British feel to "Tied Up in Chains". It reminds me a little of Blur and Madness and that whole English Rock sound of the late 80s. Not so much the Dunedin sound at all. Of course, this is somewhat ruined by Phillip's very kiwi accent.
Another nicely rock number is "The Oncoming Day". It offers little new - just a good pace and steady rhythms, catchy chrous.
We drop to a slightly lower pace for "Part Past Part Fiction" with its dreamy, slightly surreal feeling.
"Singing in My Sleep" is vocally dominated, interlaid with tremolo guitar and keyboard rhythms.
The swooping and gliding flute leads a soft and lilting edge to "I Soar" with its slight folk feel. It's a pleasing, slow song with sunlight shimmering through dappled leaves and a leaf frolicking on the wind.
More organ/keyboards lead us into "Dead Web" with its catchy and rollicking chorus.
Fast paced "Familiarity Breeds Contempt" is a solid rock number, with its steady rhythm. Phillips' Kiwi twang really shows in this number.
Pianoleads us into the more haunting "Don't Be - Memory". Vocals are slightly distorted, echoeey, with a shade of Pink Floyd (but Kiwi).
The beautifully titled "Effloresce and Deliquesce" has a wonderfully folkish aspect to it. The vocals are fast, and pronounciation, an education! To blossom and decay. What magnificant words. And quite a glorious song too, with its playful rhythms.
"Sweet Times" is absurdly short, almost choral and over too soon.
Another haunting number, "Submarine Bells" has the symphonic power of the opening track, but is overset by a melancholy that makes it spine-chilling.
Aside from "Heavenly Pop Hit", this album was previously unknown to me. At least this time it was because it's not my CD, but my husband's (although I do own some CDs that I've not actually listened to). It certainly seems more English than I had expected - with the pacing and music found in bands like Blur and Madness - the whole Britpop explosion. Although, given this album came out at approximately the same time (or before, in some cases), it makes you wonder whether it was intentional or coincidence. The tracks are short, and the whole album only clocks in at around half an hour.
The clarity of sound is certainly very good, and it is an enjoyable and well produced album - just not entirely to my musical tastes. I could listen to it, but I'd probably not buy it (although I may be persuaded to acquire several of the tracks).
Rating = 7/10
Showing posts with label pop-rock. Show all posts
Showing posts with label pop-rock. Show all posts
Saturday, May 25, 2013
The Brunettes - Paper Dolls (2009)
We are now reaching the end of New Zealand Music Month and I had run out of NZ music cds (excluding my husband's Chills cd, which we have temporarily misplaced the case for, and I still have a number of cassettes to fall back on, anyhow). That was, until I went shopping today. To a music store. Two music stores in fact: the first, Penny Lane, almost lured me into purchasing Pumpkinhead's "Sloth" and the Nixon's "Foma". Luckily I resisted the latter, because I had neglected to remember that whilst there was an NZ band called The Nixons, they had to change their name to Eye TV due to the American grunge band by the same name. And this cd was that of the US band, misfiled in the NZ section.
Anyway, I found my way into another music store (Marbecks) and lucked upon this album instead, for the kingly sum of $10. Now, you might have come to the theory that I am a bit of a metalhead - so the fact that I now own all of the Brunette's full-length albums may surprise you. They are not even close to metal - they are bouncy, poppy; sweet and innocent with a touch of bubblegum and cotton candy. They are rainbows and kite flying; rollerskates and icecream. They are diners and discos; paper dolls and hairagami. They are a duo from Auckland that sound like the belong not only in California, but in California some 50 or more years ago.
They are a charming, quirky, whimsical and playful delight. As is reflected in the album cover. This one is a paperfold out affair with some lovely pencil renderings of Jonathan and Heather, including your very own set of very small paperdolls - complete with clothes. But don't cut them out, because you'll ruin your album cover! It has a clean and polished look to it, rather more whimsical to the sophisticated but sterile whiteness of "Structure..."
As the follow-up to "Structure and Cosmetics", this album also displays a distinct evolution from the 60s bubblegum of their first two albums. It seems they have now attained the 80s.
Piano starts us "In Colours". Colourful, playful, with tinkly, boppy rhythms and percussive instruments. Somewhat more electronic feel than the earlier two albums, and the drum machine merely accentuates that. Heather's voice starts us off, clear and sparkling like a bell, before Jonathan joins her in a harmonising echo.
The drum machine dominates "Red Rollerskates", synth/keyboards soaring back and forth like something from the 80s meeting the 60s - electronica meets retro. Jonathan's voice is distorted, fuzzy at the edges, Heather's chorus pure and sweet - as her asthma problem is cured by the acquisition of a pair of red rollerskates so that:
Electronica synth retro makes "The Crime Machine" sound almost like an old computer game, bringing us into the 80s. Singing about the 1920s. Echoey computer voices and those high bauble notes should make it feel very dated, but it's so polished and smooth it's just beautiful.
The synth, drum machines and bobbly music continues in "Bedroom Disco" with its powerful rhythms that almost drown out Heather's silver voice. The Macarena is mentioned.
Only the Brunettes could make chip tunes* sound eerie, as "Paper Dolls" has a hauntingly spectral edge to it, enhanced by the slow, high guitar tremelo and the occasional dip and dive of string instruments. It is an unusually eclectic combination of sounds. Heather's voice is its usual, innocent and fragile self; whilst Jonathan's more droll and serious strikes a strange harmony. The lyric sheet finishes about halfway through the song, with some odd stationery references in the latter part:
There's something very, very familiar about the opening melody to "It's Only Natural". It certainly has very bouncy rhythms. When I saw it on the tracklist I was kinda hoping it would be a cover of a NZ classic, but it's a song about hair colour, I believe. Very boppy and retro. Polka dots and high hair.
And the drum machine is back; bringing with it a somewhat dance vibe. "Magic (No Bunny)" is another playful duet; combining Heather's high and playful innocence with Jonathan's more sophisticated, droll humour.
A hauntingly melancholic piece, "If I..." has a romantic feel to the music, and also the lyrics - until you start studying them closer. The duo discuss their feelings on what should happen if one of them were to, well, die:
Guitars and actual drums bring us into the closing track, as the duet say "Thank You". To all of the fans, the listeners, around the world. It's bubbly and bright and kind of reminds me of ABBA.
Overall, this is a fun and playful album. The mix is not as strong as the previous endeavours: the electronica chip tunes drowning out the vocals in some of the tracks. Overall it seems a little less experimental, despite the 80s vibe to the instrumentation (I think I prefer the percussion, thank you) and lacks some of the freshness of the earlier albums. Whilst still a pleasing aural experience, it does feel rather like they've found their niche and are now stuck in it.
It's also a very short album, clocking in at around 35 minutes.
Rating 7/10.
* My husband just told me the official name for them!
Anyway, I found my way into another music store (Marbecks) and lucked upon this album instead, for the kingly sum of $10. Now, you might have come to the theory that I am a bit of a metalhead - so the fact that I now own all of the Brunette's full-length albums may surprise you. They are not even close to metal - they are bouncy, poppy; sweet and innocent with a touch of bubblegum and cotton candy. They are rainbows and kite flying; rollerskates and icecream. They are diners and discos; paper dolls and hairagami. They are a duo from Auckland that sound like the belong not only in California, but in California some 50 or more years ago.
They are a charming, quirky, whimsical and playful delight. As is reflected in the album cover. This one is a paperfold out affair with some lovely pencil renderings of Jonathan and Heather, including your very own set of very small paperdolls - complete with clothes. But don't cut them out, because you'll ruin your album cover! It has a clean and polished look to it, rather more whimsical to the sophisticated but sterile whiteness of "Structure..."
As the follow-up to "Structure and Cosmetics", this album also displays a distinct evolution from the 60s bubblegum of their first two albums. It seems they have now attained the 80s.
Piano starts us "In Colours". Colourful, playful, with tinkly, boppy rhythms and percussive instruments. Somewhat more electronic feel than the earlier two albums, and the drum machine merely accentuates that. Heather's voice starts us off, clear and sparkling like a bell, before Jonathan joins her in a harmonising echo.
The drum machine dominates "Red Rollerskates", synth/keyboards soaring back and forth like something from the 80s meeting the 60s - electronica meets retro. Jonathan's voice is distorted, fuzzy at the edges, Heather's chorus pure and sweet - as her asthma problem is cured by the acquisition of a pair of red rollerskates so that:
"...I bought some rope and red rollerskates - now I pull her 'round behind me"Their lyrics are as delightfully quirky as ever.
Electronica synth retro makes "The Crime Machine" sound almost like an old computer game, bringing us into the 80s. Singing about the 1920s. Echoey computer voices and those high bauble notes should make it feel very dated, but it's so polished and smooth it's just beautiful.
The synth, drum machines and bobbly music continues in "Bedroom Disco" with its powerful rhythms that almost drown out Heather's silver voice. The Macarena is mentioned.
Only the Brunettes could make chip tunes* sound eerie, as "Paper Dolls" has a hauntingly spectral edge to it, enhanced by the slow, high guitar tremelo and the occasional dip and dive of string instruments. It is an unusually eclectic combination of sounds. Heather's voice is its usual, innocent and fragile self; whilst Jonathan's more droll and serious strikes a strange harmony. The lyric sheet finishes about halfway through the song, with some odd stationery references in the latter part:
"... a post it note beside the phone. An HB pencil sharpened well..."It's time to make a "Connection". Opening with more of the eerie and synthesized keyboards, then the boppy, poppy rhythms come in, Heather's voice all pure sweetness and innocence. Interestingly enough, the lyrics reflect a more modern era than the music does, and it appears that they both enjoy French films. The drum machine is back in, along with some very tinkly rhythms.
There's something very, very familiar about the opening melody to "It's Only Natural". It certainly has very bouncy rhythms. When I saw it on the tracklist I was kinda hoping it would be a cover of a NZ classic, but it's a song about hair colour, I believe. Very boppy and retro. Polka dots and high hair.
And the drum machine is back; bringing with it a somewhat dance vibe. "Magic (No Bunny)" is another playful duet; combining Heather's high and playful innocence with Jonathan's more sophisticated, droll humour.
A hauntingly melancholic piece, "If I..." has a romantic feel to the music, and also the lyrics - until you start studying them closer. The duo discuss their feelings on what should happen if one of them were to, well, die:
"If I should accidentally die and leave you much too soon - would you play and sing our songs the same, with somebody new?"The reference to Jonathan as a "sweet romantic tool" is quite amusing.
Guitars and actual drums bring us into the closing track, as the duet say "Thank You". To all of the fans, the listeners, around the world. It's bubbly and bright and kind of reminds me of ABBA.
Overall, this is a fun and playful album. The mix is not as strong as the previous endeavours: the electronica chip tunes drowning out the vocals in some of the tracks. Overall it seems a little less experimental, despite the 80s vibe to the instrumentation (I think I prefer the percussion, thank you) and lacks some of the freshness of the earlier albums. Whilst still a pleasing aural experience, it does feel rather like they've found their niche and are now stuck in it.
It's also a very short album, clocking in at around 35 minutes.
Rating 7/10.
* My husband just told me the official name for them!
Friday, May 17, 2013
Dead Flowers - Sweetfish (2004)
Auckland band, Dead Flowers, followed up their 1993 release with this album - "Sweetfish" in 1994. The cover is very colourful and reminds me of some of the Art Trading Cards I've seen on my favourite forums. Lots of faces, eyes, hands and worms all randomly juxtapositioned around each other and all in vibrant and bright colours. It is vibrant and psychaedelic and fun.
First track "Watch Her Play" varies little from those on their earlier album - it is poppy and colourful, fast and sunny.
Still bright and bouncy, but Bell's vocals are taking on a slightly rawer edge with the inappropiately named "Gothic". The lyrics and vocals have a somewhat nasty edge but overall, it's fast and almost cheerful sounding.
Somewhat moodier, "Same Same" might seem an odd song to release as a single - given the chorus is along the lines of "it's the same, same shit... no one to blame everyone to bitch" and of course it got editted when it was played on public television. You can't say "shit" on tv! Another with a bitter edge. Good rhythms: fast verses, smooth purr of a chorus. Kinda catchy, but you've gotta watch where you sing it!
This is followed by the other single release: "Home". Released the year after Pumpkinhead's "Home" and a year before Shihad's "Home Again". Not sure what it is about NZ bands' obssessions with home. This one is a fast and frantic, helter-skelter piece with aggressive guitar and whining vocals.
A slower number, "She Can't" features the now fairly standard semi-whining vocals. The music is smooth, but with erratic quirks and the chorus a steady and catchy pace.
A nice intro into "Dead Boy" with repetitive twiddly guitar rhythms giving it an almost oriental flavour. repetitive but shows some pretty competent guitaring. The last line is pretty cool:
We mellow a little for "Shades", slowing the pace and with Bell's voice returning in its usual maudlin counterpance.
Heavy bass leads is into "Some Brain Ride" with its low and somewhat ominous vocals and rhythms.
Picking up the pace again, "Not Ready" starts with a guitar eruption and displays some rather competent rockin' out.
Slow again, as we fall into "Slumber". Starts slow and dreamy with the lightest of drums. Building, vocals rising like a gentle embrace. Soothing, soft, like lying in a pile of pillowy clouds. The guitars join in, lightly strumming. Then it surges into awakedness. An goes on for a very long time...
"Spaceboy" is the slow, melodious and haunting conclusion to the album, and the stand out track in my opinion. It's beautiful.
Overall, a fairly uninspiring album, perhaps following too fast on the heels of the debut. Very few of the songs offer anything new or different and it all rather blurs into one. Not a bad album by any regard, just not particularly fresh and original and with few stand-out tracks.
Rating = 7/10
First track "Watch Her Play" varies little from those on their earlier album - it is poppy and colourful, fast and sunny.
Still bright and bouncy, but Bell's vocals are taking on a slightly rawer edge with the inappropiately named "Gothic". The lyrics and vocals have a somewhat nasty edge but overall, it's fast and almost cheerful sounding.
Somewhat moodier, "Same Same" might seem an odd song to release as a single - given the chorus is along the lines of "it's the same, same shit... no one to blame everyone to bitch" and of course it got editted when it was played on public television. You can't say "shit" on tv! Another with a bitter edge. Good rhythms: fast verses, smooth purr of a chorus. Kinda catchy, but you've gotta watch where you sing it!
This is followed by the other single release: "Home". Released the year after Pumpkinhead's "Home" and a year before Shihad's "Home Again". Not sure what it is about NZ bands' obssessions with home. This one is a fast and frantic, helter-skelter piece with aggressive guitar and whining vocals.
A slower number, "She Can't" features the now fairly standard semi-whining vocals. The music is smooth, but with erratic quirks and the chorus a steady and catchy pace.
A nice intro into "Dead Boy" with repetitive twiddly guitar rhythms giving it an almost oriental flavour. repetitive but shows some pretty competent guitaring. The last line is pretty cool:
"Too much like a praying mantis couple - give it up lest your head will tumble."Now we race into the almost-punk frenzy of "What Do You Take Me For?" Vocals by Damon Newton, who is a lot rawer than Bell.
We mellow a little for "Shades", slowing the pace and with Bell's voice returning in its usual maudlin counterpance.
Heavy bass leads is into "Some Brain Ride" with its low and somewhat ominous vocals and rhythms.
Picking up the pace again, "Not Ready" starts with a guitar eruption and displays some rather competent rockin' out.
Slow again, as we fall into "Slumber". Starts slow and dreamy with the lightest of drums. Building, vocals rising like a gentle embrace. Soothing, soft, like lying in a pile of pillowy clouds. The guitars join in, lightly strumming. Then it surges into awakedness. An goes on for a very long time...
"Spaceboy" is the slow, melodious and haunting conclusion to the album, and the stand out track in my opinion. It's beautiful.
Overall, a fairly uninspiring album, perhaps following too fast on the heels of the debut. Very few of the songs offer anything new or different and it all rather blurs into one. Not a bad album by any regard, just not particularly fresh and original and with few stand-out tracks.
Rating = 7/10
Wednesday, May 15, 2013
Straitjacket Fits - Blow (1993)
Continuing in the 1993 vein, we now have Dunedin band, the Straitjacket Fits, led by Shayne Carter (now of Dimmer). They formed in 1986 from the ashes of The DoubleHappys after the accidental death of one of the members, and rose to prominence on the NZ music scene. They are probably one of the most well known bands of the era, along with The Chills. One of my High School friends was a bit SF fan, and I became quite familiar with their music - alas at that point they had already parted ways. However, we did attend a couple of Dimmer concerts at local pubs.
This album was their third full length release and I acquired it second hand via Bishopdale Library. Either that, or I've had it out on hire for a great many years! The poor disc has seen better days, being scratched quite badly, but we'll see how well she spins. In terms of album desire - the cover is not overly dramatic - blueish-green, the word "BLOW", some dandelion "parachutes" dancing across it. Inside the band look very young and quite feminine. Carter has adorably high cheekbones.
We rock it off with the cruisy "Done". Carter's vocals are smooth with a bit of a quirky lilt and the music seems to overwhelm them in parts.Slightly fuzzy-sludgy edge to the recording that I've come to think of as the "Flying Nun" sound.
"Falling" gets off to a lively start. The guitar plays a bouncy poppish rhythm, trilling and dancing like some sort of vibrant insect. the vocals leap and dance gleefully around the chords.
A dramatic cascade leads into "Brother's Keeper" with its surging rhythms and sludgy vocals.
"Cat inna Can" is a somewhat playful piece, with poppy-rock rhythms and a "mew-ing"chorus line.
A rather moodier number, "Burn It Up" is laden with sludgy-dreary darkness. The bass kind of looms and the vocals spark whilst the guitars flicker and trace smoke through the air.
Then we surge into the jubiliant "Joyride". Still sounding somewhat mired in fog, but with a youthful enthusiasm.
Gentle plucking picks up the pace as we dash into "Train". There's a sense of "goodbye" here, but also the hopeful expectation of new beginnings - like moving from the old life and into the new.
Another poppy-boppy number "Let it Blow" The guitar strums start light and the vocals thickly distorted. The chorus has a sense of childishness: Probably because of the "la-la-la-la-la-la-la let it blow" which sounds like a pretend "I'm not listening" brush off if ever I heard one.
The hauntingly melancholic "If I Were You" is a beautiful, if somewhat bittersweet piece. The vocals are soft, dancing lightly across the gentle caress of the music.
Heavier rhythms herald the start of "Turn". Vocals distorted, almost like a feral purr.
Vibrant and poppy; with a cruisy surge to it we ease into the dreamy "Way" with its fleetingly sweet vocals and gentle instrumentations.
Equally cruising and oddly soothing is closing track, "Spacing". There's something lethargic and dreamy about it, thick with mellow rhythms and slow, relaxing.
Overall, the Straitjacket Fits are a gentle, nostalgia inducing band; their thick Dunedin sound combined with quirky guitar (and other instrument) rhythms to add a dreamy, otherworldly quality to their music. They sound young, and fresh. Listening to them always makes me hark back to a time of sneaking into smoky bars (you could still smoke inside, once), of drinking bitter brew (Speights, pride of the South - not my choice!) and talking myself hoarse with my friend Vaughan, who was very fond of the band (albeit we never actually saw the Fits live, only Dimmer, but they did play the occasional Fits song, IIRC).
They've never been a particular favourite of mine, although I do enjoy their music. The production is a bit mired down and the vocals muffled, thus I shall rate this album: 6.5/10.
This album was their third full length release and I acquired it second hand via Bishopdale Library. Either that, or I've had it out on hire for a great many years! The poor disc has seen better days, being scratched quite badly, but we'll see how well she spins. In terms of album desire - the cover is not overly dramatic - blueish-green, the word "BLOW", some dandelion "parachutes" dancing across it. Inside the band look very young and quite feminine. Carter has adorably high cheekbones.
We rock it off with the cruisy "Done". Carter's vocals are smooth with a bit of a quirky lilt and the music seems to overwhelm them in parts.Slightly fuzzy-sludgy edge to the recording that I've come to think of as the "Flying Nun" sound.
"Falling" gets off to a lively start. The guitar plays a bouncy poppish rhythm, trilling and dancing like some sort of vibrant insect. the vocals leap and dance gleefully around the chords.
A dramatic cascade leads into "Brother's Keeper" with its surging rhythms and sludgy vocals.
"Cat inna Can" is a somewhat playful piece, with poppy-rock rhythms and a "mew-ing"chorus line.
A rather moodier number, "Burn It Up" is laden with sludgy-dreary darkness. The bass kind of looms and the vocals spark whilst the guitars flicker and trace smoke through the air.
Then we surge into the jubiliant "Joyride". Still sounding somewhat mired in fog, but with a youthful enthusiasm.
Gentle plucking picks up the pace as we dash into "Train". There's a sense of "goodbye" here, but also the hopeful expectation of new beginnings - like moving from the old life and into the new.
Another poppy-boppy number "Let it Blow" The guitar strums start light and the vocals thickly distorted. The chorus has a sense of childishness: Probably because of the "la-la-la-la-la-la-la let it blow" which sounds like a pretend "I'm not listening" brush off if ever I heard one.
The hauntingly melancholic "If I Were You" is a beautiful, if somewhat bittersweet piece. The vocals are soft, dancing lightly across the gentle caress of the music.
Heavier rhythms herald the start of "Turn". Vocals distorted, almost like a feral purr.
Vibrant and poppy; with a cruisy surge to it we ease into the dreamy "Way" with its fleetingly sweet vocals and gentle instrumentations.
Equally cruising and oddly soothing is closing track, "Spacing". There's something lethargic and dreamy about it, thick with mellow rhythms and slow, relaxing.
Overall, the Straitjacket Fits are a gentle, nostalgia inducing band; their thick Dunedin sound combined with quirky guitar (and other instrument) rhythms to add a dreamy, otherworldly quality to their music. They sound young, and fresh. Listening to them always makes me hark back to a time of sneaking into smoky bars (you could still smoke inside, once), of drinking bitter brew (Speights, pride of the South - not my choice!) and talking myself hoarse with my friend Vaughan, who was very fond of the band (albeit we never actually saw the Fits live, only Dimmer, but they did play the occasional Fits song, IIRC).
They've never been a particular favourite of mine, although I do enjoy their music. The production is a bit mired down and the vocals muffled, thus I shall rate this album: 6.5/10.
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