Album Review - "Port Of Morrow" by the Shins

Port Of Morrow (2012)            ★ ★ ★ ★

The Shins kept their fans waiting five years for a follow-up album to Wincing The Night Away and although they are usually categorised under the indie/alternative genre, their latest release Port Of Morrow delves into a more commercial, electronica sound. James Mercer, frontman and lyricist, has created a piece full of reverie, unfinished sentiments and introspection, yet it is very much a complement to his previous work and The Shins collection.

The album continues the band's weaving of cryptic lyrics into folkish arrangements and Mercer's voice sounds even more mature. It's sort of like a gathering of songs that ask questions about the world, about disappointed efforts, about personal experiences. Port Of Morrow is a refreshing return to seamless, coherent album listening in an age where singles rule - that's not to say that some tracks off the album haven't succeeded alone.

Rifle Spiral makes a bold entrance with an energised crescendo into Mercer's infectious voice reminding fans of the very reason why The Shins are so popular. It's the ideal mix between poetic lyrics and dynamic musicality that isolates their tracks from other indie work. They also recently released a Hugo-inspired stop-animation music video to accompany it. Main single Simple Song follows as an upbeat track with universal lyrics: "Don't go thinking you've gotta be tough, and play like a stone."

Port Of Morrow progresses into more acoustic, lyrical tracks reminiscent of their old songs on heartbreak and regret. For A Fool is a slow, melancholy address to an old love and September is a dreamy folk-inspired reflection on looking past the flaws.

Personally It's Only Life is a favourite and a great representative of the album's versatility - with some pop/electronic influences but carrying along Mercer's expressive voice and emotional lyrics. It was performed on Saturday Night Live recently.

This album seems to be more sing-a-long friendly, especially in the uplifting choruses! Port Of Morrow won't be a great hit with new fans but is sure to please old listeners.

'Macbeth' at the Sydney Opera House

Bell Shakespeare's production of Shakespeare's 'Macbeth' at the Drama Theatre maintains the original language and arrangement of the play but deep down it was not true to an Elizabethan production. Directed by Peter Evans, it extracts the mysterious and obscure aspects but instead of superstition, the character's motives focused more on their psychology. The performance space was a postmodern ambiguous outdoor set, which allowed for plenty of movement around the stage, and the actors' presences were quite dynamic. A glass ceiling tilted towards the audience highlighted the play's exploration of individual tremor- the blurred lines between dark and light, male and female, moral and immoral.

At the start of the performance Dan Spielman as Macbeth seemed to have a weak stage presence, or at least deliver the lines without any extra conviction. However as his character's conscience made a turn for the worse, Spielman harnessed the overwhelming guilt for a representation of a man at once both weakened and energised by mad frenzy. Blood was aplenty, with Macbeth's victims returning on stage to haunt him, dripping consciously with in a gory wet red. Spielman's partner, Kate Mulvany, played a convincing Lady Macbeth and embodied the manipulative, androgynous and erotic wife. Soliloquies from the remorseful leads proved to be a highlight in the adaptation- with each character indulging in their moment in the spotlight. The language was audible in the close setting but often too much deliberating over archaic language stopped the natural flow of the narrative performance.

The only aspect which was a complete mystery to me was the female witch (Lizzie Schebesta) who appeared as both a slaughtered child, messenger boy and young soldier. She appeared to bring elements of the tortured cryptic witch (replacing the original three witches which appear in Shakespeare's play) into her various characters which disrupted the illusion of a flowing story. At times it was hard to get lost in the narrative as there were moments of disjoint, especially as the characters left from the stage, making it clear that they were doing so and leaving a scene unfinished or abruptly did not help.

With eerie sound effects and contemporary strings, the audience was sure to get the feeling of a classic play filled with horrific tragedy. Costume was selected minimally, with a contemporary twist on heavy, overbearing traditional wear. Overall, Evans has presented an interesting adaptation on a play about morality, full of life's questions- and resorted to answer none of them. A mysterious, yet provoking piece, it is not the most comprehensive Shakespeare but a dark, psychological work evolves on stage into a subconscious nightmare. 

Underlights release EP on iTunes

Sydney foursome Underlights are about to jetset on their own east coast Australian tour after releasing their self-titled EP on iTunes last week. The band’s previously been picked up by Triple J as an unearthed artist and compared to the likes of Oasis, Black Rebel Motorcycle Club, and The Stone Roses.

Their sound is mainly indie rock but there are also 60s-style harmonies and psychedelic undertones intertwined in their music. Lead singer Jack Friels cuts through their sweet backing vocals and dreamy melodies with a husky Bono-style voice (minus the overpowering self-praise), and fellow band members are schoolmates Darius Navidzadeh on guitar/vocals, Johnny Took on bass and Tom O’Dell on drums (apparently, he’s the cute one).

Not afraid to dig into the shredding guitar and pulsating bass, Underlights are something of a mix between a subdued Tame Impala with the lyrical verses and Australian feel of Crowded House. If you didn’t catch them at Big Day Outthis year, a good track to start with is their much-loved single ‘Now That You’re in Love’ – suited to both retro music and indie pop lovers alike.

Published on Purple Sneakers.

Bon Iver live at the Sydney Opera House

11/03/12

The stage was full of musical instruments on Bon Iver’s first night at the Sydney Opera House this March, ready for a much more ferocious and experimental performance of their quiet-sounding last two albums. In a live setting they really captured the dynamics of their songs, blending carefully constructed interludes with aggressive improvisation. Bon Iver slowed down the music, deliberating over the poetic lyrics and communicating with each other, and not the audience, as to what was to come next. In fact, frontman Justin Vernon probably only spoke a few times throughout the whole show, but the five-minute standing ovation pleading encore at the end showed that no fan in the Concert Hall was particularly disappointed.

 The show mainly focused on Justin Vernon, he even performed a delicate solo “re: Stacks” on acoustic guitar. However, for the majority of the concert it was bright lights, two booming drum sets and that famous falsetto. Vernon’s voice had less conviction than on the album tracks; maybe he had other things to focus on (like leading a nine-man band on the stage of an international icon.) There was much-loved single “Skinny Love” building up into an angsty chorus full of regret, all band members joining in – as well as “Holocene”, performed quite closely to its original form on the record, with the opening strums captivating the silent audience. Ragged material was draping from the roof of the stage, seeming just for aesthetics, but throughout the concert there were abstract projections on it, engulfing the musicians and reflecting back into the audience. It certainly wasn’t your usual Sunday night at the Opera House.

The brass section sounded the best live, especially the trumpets in “Hinnom, TX” and Colin Stetson’s impressive sax solo intro the bold yet vulnerable “Blood Bank” which was my favourite performance of the night. Despite Vernon mumbling into the mic to his devoted audience, he managed to get the hall singing along for the final “The Wolves (Act I and II)” with the swelling chorus line ‘what might have been lost’ echoing in the House. The songs appear delicate, hypnotic and seamless on the album but on this night they were much more forceful and overpowering.  A live Bon Iver displayed its musical talent but challenged its fans to listen to a more raw, extreme performance.  

Remembering Sparklehorse- "It's A Wonderful Life"

Back in the days before every indie band took a three-month-long hiatus to the nearest rural shack for album inspiration—there was Sparklehorse, and his 2001 hit ‘It’s A Wonderful Life.’ A little bit folk, a little bit electronic- the music of Virginian-born Mark Linous never really hit off commercially; despite this he toured with Radiohead in 1996 and gained the respect and appreciation of the music elite and mag industry (with write-ups in the Rolling Stone and NME).

A fatal drug overdose was said to have inspired this track- but it’s also about seeking hope in the world and both embracing and overcoming depression, loneliness and alienation. There’s some great animal imagery and cryptic lyrics: “I’m full of bees who died at sea” – take what you will.  The solid waltz played on a kilter optigan (a sort of old organ) provides the foundations to a haunting, fragile melody- dotted with radio static and played through a crackling filter.

‘It’s A Wonderful Life’ is a good starting point to explore Sparklehorse as a band. Besides, we love rediscovering forgotten musical treasures. You may even recognise it from the Skins season 3 soundtrack.

Sadly Mark Linous killed himself on March 6, 2010- making the song’s optimism linger. This track truly is a riddle, wrapped in a mystery, wrapped in an enigma.

Published on Purple Sneakers.

R.I.P. Davy Jones

Davy Jones, singer for late-60s band The Monkees, died this week at the age of 66. Labelled the "cute monkee", he wasn't especially instrumentally talented (he played tambourine when not on vocals), but was part of a family-friendly phenomenon that gave carefree pop to its loving fans.

Davy Jones was born in 1945 and he began his career as an actor on various British television shows. After a casting as 'the Artful Dodger' in a West End production of Oliver!, his vocal talents were noticed and Jones appeared on the Ed Sullivan Show among others. At the young age of 21 he started his famous role as the Monkees' frontman- playing tambourine and singing on hits like 'Daydream Believer' and  'I Wanna Be Free.'

According to his publicist, Jones died of a heart attack at his home in Florida. Here is appearing as himself on the Brady Bunch Show, where he attended Marcia's prom to save her from social ruin.

Film Review - "The Artist" directed by Michael Hazanavicius

The Artist (2012)                  ★ ★ ★ ★

An ode to the pre-talkies era, The Artist is up to win ten nominations including big prizes 'Best Picture', 'Best Actor' and 'Best Director'. For a film of few words (completely silent, shot in the classic black and white frame) it seemed a surprisingly natural viewing experience. Without the ability to lure audiences with witty one-liners, comedic sarcasm or romantic dialogue – The Artist draws upon simple, physical humour and sincere human emotion. It's an enjoyable watch, especially for cinephiles, and the loveable dog Uggie almost steals the show!

Jean Dujuardin is George Valentin- a much-loved silent movies actor, whose facial expressions and bold gestures cause his audiences to laugh in an uproar (or at least they look like they're enjoying themselves.) At one of his many film premieres he stumbles upon a keen fan, the young fresh-eyed Peppy Miller (played by Argentine beauty Berenice Bejo). Later, she progresses into the world of Hollywood glamour and fame by starting out as an extra, and then wooing film executives with her dancing skills, cheeky smile and emotional delivery. Ultimately, we follow Valentin's demise as an actor, when he refuses to accept the new technology of 'talkies' films- showing how quickly fame can disappear and loneliness ensue.

The Artist was shot in lower resolution frames and the classic silent film screenshot ratio to create a more authentic piece. Interestingly, the screenplay itself took longer to write than the actual production process- with the film swiftly completed in LA over 35 days. It is clear that Hazanavicius has done his research and his cinematographer Guillame Schiffman beautifully shot the scenes with soft lighting, atmospheric background and character focus. The combination of original supporting music (Ludovic Bource) and slick alluring costumes (Mark Bridges) articulates the vision of 1920s Hollywood the film aims to portray. The combination of American and French staff on set brings European sensuality to a traditional American creation.

There is a rather simple structure, the film follows the characters chronologically throughout their Hollywood careers and there are few settings – the filming studios, the stars' homes, the public cinemas. However, it's hard for any audience member- young, romantic, cynical or learned- not to appreciate the creativity and refinement which oozes out of this timeless, romantic classic.