Thief - "Broken Boy"

We are always on the look out for summer anthems and this one seems to be a prime candidate. “Broken Boy” transforms heartbreak and uncertainty into falsetto and handclaps, with enough of that dreamy Sydney sound to keep it light-hearted and danceable.

Thief (who you may previously know as songwriter PJ Wolf) has taken on more electronic in this project. With an indie twist, it’s not quite music for the club, but something in between.

“Broken Boy” has a synth interlude that harks back to 80s pop – never mind those lyrics (“she looked for me on the radio”). But the song also takes on the more minimalist structure of early techno with a modern, polished finish.

Published on AdamNOTEve.

Movement - "Us"

Movement have definitely kept to their initial brief of “night music.” The Sydney-based trio has performed small launch shows to festival performances and I can’t wait to see what else they will bring to 2013.    

Their latest track ‘Us’ is just as understated as its name, playing on the subtleties of R&B while creating an indulgent sound that ends up feeling a lot longer than a 3-minute single (in a good way).

Led by the soulful vocals of Lewis Wade, ‘Us’ is not as upbeat as Movement’s first single ‘Feel Real’ but instead fragile, with Wade’s voice almost delving into falsetto: “we could dance in the echoes.”

Photo: Facebook

Film Review - "Paris/Berlin: 20 Years of Underground Techno" by Amélie Ravalec

Paris/Berlin: 20 Years of Underground Techno (2012)            ★ ★ ★ ★ 

While electronic music is doing supremely well in Australia at the moment, we can’t say that it’s always been this way. We can only dream of regularly having warehouse parties and living up to techno hotspots Paris and Berlin. With links to the underground and drug scene, it’s no surprise that the mysterious depths of techno music have plenty of back stories. And Amelie Ravalec, 20 year-old Parisian filmmaker, has spent the past three years on research and production for her documentary film Paris/Berlin: 20 Years Of Underground Techno.

The film screened internationally in 2012 and it has returned to screen at the Sydney Fringe Festival after earlier success in Perth and Melbourne. At Leichardt’s Italian Forum the robotic sounds echoed around the room and as the opening interview of the film denotes: “It’s meant to be loud.”

Ravalec comes from a city where 16-year-olds have years of rave experience at and foten go to school straight from the party. Although born decades after the birth of techno, she said during post-screening Q&A: “It’s not my story but I managed to tell it.”

Most exposure in Austraila to the beginnings of techno stem from German artists such as Kraftwerk and Ancient Methods (both of whom have played in Australia this year). The documentary aims to not only explore the nuances of their music but also the historical background. In a series of thorough interviews with DJs and producers who were part of the original scene – we learn that the inhuman, apocalyptic sounds of the EBM scene pay homage to the mood of frustration after the collapse of the Berlin Wall. All of which originated in chaotic Detroit.

With a tradition of social experiment and creativity, it’s hard not to admire how much the original characters were breaking down barriers. Once the Berlin techno scene gained momentum, French artists quickly took interest but did not anticipate having to challenge the original image of the techno scene as a place for homosexuals and junkies. Interestingly, the comparison between the two cosmopolitan cities shows up Paris as a lot more institutional – and the nightlife, more exclusive.

Ravalec has dug up a lot of archive footage (no small feat considering a good chunk of it is analogue), which put us in place of the ravers and anonymous techno creators.

Not only do we plunge back into the EBM underworld but the film also explores the consequences of the Internet for the scene. Where techno began as a faceless expression- where the ideal setup was dark, loud and anonymous – international acts are putting more and more effort into creating an image à la rock ‘n’ roll star.

Ironically, with the rise of mass electronic events the techno scene is heading back underground and the sound alternatively venturing into dark dubstep. And the message remains poignant. The crux of the film celebrates self-expression and creativity during a period where individuals felt like they almost had no control over their surroundings.

Ravalec is now working on a film on industrial music, “Industrial Soundtrack for the Urban Decay.”

Published on theAUreview.

Alison Wonderland (live) at Oxford Art Factory

Photo: Antigone Anagnostellis

High expectations come with buying a ticket to a live DJ set. Unlike a live band, they can’t often interrupt the music to speak to the crowd or ask for an encore. But that’s how Alison Wonderland has gathered a band of followers - with a live show that interweaves top songs of the moment and those you used to love - that makes for a memorable night out.

First support act Willow Beats - the eccentrics of the indie dance scene at the moment - had a chilled set but Oxford Art enjoyed their unique groove.

Next LDRU held his DJ post almost anonymously at the back of the room to keep everyone dancing while holding out for Wonderland. He played many a track from young Sydney producers, as he his also one himself, including Wave Racer and What So Not.

But surely what everyone loves about Alison Wonderland is the sense of nostalgia from hearing old hip-hop tracks like Ludacris’ “Move Bitch” among Kendrick Lamar and the latest dance-floor favourites. She kicked off her set with Disclosure’s “When A Fire Starts To Burn” which set the high-tempo mood for the rest of the night.

Never mind the trippy visuals to match – with two cubes suspended in the air featuring matching graphics alongside a Saturday night lights production. As if that weren’t enough to pump up the crowd, she sent out a huge confetti explosion.

When people choose to watch a DJ set rather than come across it sporadically – it seems like they expect to recognise most of the music. Alison keeps the tracks on for long enough for us to sing along in chorus before moving onto the next track to cure our music ADHD.

Although it was similar to her recent set at Splendour In The Grass, Alison played for slightly longer and it works well in a smaller space. Certainly the lights and lit-up AWD sign amped up her profile and when she bops up and down singing along to the tunes –sometimes with vodka bottle in hand- it’s hard not to catch onto her infectious party vibes.

Published on theAUreview.

Album review - Melodie Française

Melodie Française (2013)            ★ ★ ★ 1/2 

We may seem far from a world of heightened suffering and melodramatic love affairs but the Australian reworking of French classics on Melodie Française could be the perfect soundtrack to a wine-heavy dinner party. Francophiles will love it – there is more value upon recognising the originals – but the album speaks to any music lover.

Oh Mercy’s Alexander Gow and Gossling open the album – the two seem to have spearheaded the project together – with ‘La Minute de Silence’. Between Gow’s deep drawl and Gossling’s high harmony it works well and sets the romantic (yet heartbroken) mood for the rest of the soundtrack.

There is plenty of Françoise Hardy on there – from Kate Miller-Heidke’s sensitive fresh interpretation of melancholy ballad “Il n’y a pas d’amour heureux” to Jinja Safari’s more upbeat take of “Le Temps de L’Amour”.

While Miller-Heidke’s cover brings voice to the fore with overlay, Jinja Safari include tribal percussion and sitar for an oriental twist (as well as female vocalist from Sydney Okenyo with an impressive accent). As you can already tell - in true French style - “l’amour” is a grand theme.

Standout track is “Bonnie & Clyde”, brought to us by Deep Sea Arcade, which is a little more playful than other tracks on the album. Where there were Bardot’s wispy vocals, this cover has a surging chorus with a dark and slightly psychedelic twist. It has a great energy and it’s clear why it was chosen as the first single.

Still in high energy, Dappled Cities generate an echoey upbeat sound for “Sexy Boy”, The Jezabelsbuild a strong layered background to “Morgane de toi” and Husky explore dynamics in a smooth groove for “Le Berger”.

“Bang Bang”, covered by Lisa Mitchell, was an interesting choice for the album, especially as English-speaking audiences are mainly familiar with the vocals of Cher and Nancy Sinatra.

In total control, Thelma Plum covers (not an easy act to follow) “the sparrow” – Edith Piaf- in what has almost become an anthem “La Vie En Rose”. It is slightly slower than the original and the minimalist arrangement showcases Plum’s voice.

In some parts more than others, it seems as if everyone has taken to whispering the lyrics in an attempt to channel the seductive French singers. Nevertheless there’s a great variety of tunes which showcase the work and musical depth of young Australia musicians.

Published on theAUreview.

Interview with Tim Nelson of Cub Sport

Photo: itsmykindofscene

Editor's Note: The following interview took place last week, before Brisbane's Cub Scouts announced they were changing their name to Cub Sport in response to legal proceedings from Scouts Australia. It's a pity to see this happen - but like The Preatures, PVT and DZ Deathrays before them, a slight name change might actually be a strong omen for their future... in any case, read on to learn more about Paradise and everything else going on for the busy Brisbane band...

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For most of us, impressing workmates means embellishing tales of the weekend. For Tim Nelson, it’s a simple matter of switching on the radio. "When I’m at work and I’m in a lab making retainers, I listen to triple j. I’ve been hearing “Paradise” come on lots so that’s exciting. It makes my day better."

Orthodontic work aside, Nelson has been writing songs since he was in high school. His Brisbane-based band Cub Scouts has recently attracted chart attention with their new EP “Paradise”. From buddying up with fellow acts at Splendour In The Grass last month and touring Europe before that, they have been keeping themselves busy.

Although it seems that he can’t please everyone. In a cab back from Splendour, when his friend mentioned his slot at the festival, the driver mistook him for another Australian act.

“When we got up to the house he asked if we could all get a photo together even though he had no idea who we were. He said, “My daughter might know who you are”. I was like “okay”. He seemed a bit disappointed that I was from Cub Scouts and not Flume.”

Funnily enough, the group have previously performed DJ sets. But now Nelson plans the tracklist and transitions which weren’t clear at the start. "In the first half of this year we got asked to do so many DJ sets. Until we were doing them none of us really knew what to do. I’ve kind of learnt now from doing and they’ve always been pretty terrible I think."

His forte still lies in song-writing and creating his own style of energetic indie pop. When it came to putting together their latest EP, some of the tracks came from earlier work. “It wasn’t like I wrote all of the songs around the same time. Some of them were written years ago and Paradise was the most recently written one.”

In fact, Nelson worked that one out the night before the band had a recording session booked in Melbourne. “I wrote it while I was just driving in my car and I just did a voice memo of the melody and the lyrics and I kind of knew how I wanted everything else to sound. When I got home I played it on piano and just figured it out start to finish.”

All of which might stem from his musical background –playing piano since age 6 and singing from 14 [“I was still a boy soprano so that was interesting”].

When Nelson finished school, he searched for musicians to help him out with a live show and from then on it’s pretty much been a coherent group. “We started playing together just as “Tim Nelson” and when we actually recorded some good songs that we were proud of –or songs that were better than what we had been doing before - we decided to create Cub Scouts, so that’s how it all started.”

As a follow up to the EP we can soon look forward to a music video for opening single “Paradise”. Looking at their past work - expect it to be colourful, quirky and featuring all band members. This one is a collation of footage that the group took in Spain earlier this year as well as from the studio.

“I’m happy with how it’s come together, so hopefully people will like it.”

While Australian crowds jump up and down during their shows, overseas it was a different situation. “I think rather than people getting into it as much, I saw people watching and listening a bit more. But I think that was kind of cool that we could see people engaging with it without having heard it before.”

“We haven’t actually released anything in the UK so far. The vibe overall was pretty different but I guess our reasons for playing the shows over there were different from the reasons we play in Australia. But it was awesome.”

And although they appreciate their fans, Nelson says that the nickname “Babe Scouts” is taking it a bit too far. “Cubbies is what we call ourselves – in our group text threads it’s “hey cubbies”. “Babe Scouts” I still feel weird about. I would never go calling us “Babe Scouts” myself.”

Photo: OpenAirCinema

Following their overseas summer tour, Cub Scouts had an afternoon set on the first day of Splendour In The Grass. “I’ve been to a couple of Splendours and it’s just such a good festival. To play at it was just incredible. The backstage area was pretty amazing and we got to meet lots of cool people from bands that we love.” [Including James Blake]

What caught some people by surprise at the festival was their performance of a Destiny’s Child medley. Cub Scouts have been doing covers since their support of Ball Park music last year and have decided to keep them on the setlist.

“I think I just started playing it on piano and singing it as a joke but by the end of the tour we had “Jumpin’ Jumpin’” in our set. Then in our next tour we started turning it into a medley and then we’ve kept it going and it’s been growing and changing.”

And the medley is due to change again for their upcoming shows on the Jinja Safari tour. “I’ve really liked them and their music since they won the unearthed competition to play at Splendour and they were awesome at that. I’m excited for the tour.”

Nelson’s favourite releases at the moment are Big Scary’s Not Art and Snakadaktal’s Sleep In The Water. “I think they’re both incredibly beautiful albums and they’ve been cleverly put together and I can just listen to them over and over. They’re both great.”

Apart from that we can look forward to a song out later this year which Nelson co-wrote with Sydney hip-hop artist Chance Waters. “I think it’s sounding pretty cool. I’m excited for people to hear it.”

In the meantime, we can look out for more pet-related posts on their facebook page. “I can’t choose between cats and dogs. I’ve got one cat and three dogs. But I think I always meet cute cats and dogs everywhere that I go so I’m just lucky. I do love animals a lot so that’s probably why they dominate our social media.”

Published on theAUreview.

Giraffage at Oxford Art Factory

Photo: Antigone Anagnostellis

Giraffage a.k.a. Charlie Yin took to the stage, still and unassuming, until he began playing and grooving along to his own music. He is no macbook act – working the board in real time and constructing his own soundscape.

Donned in black t-shirt and gold chain, he suggests an illusion of simplicity, while dipping into complex beats and hip-hop drops. At first the mood was relatively chill, with starry-eyed graphics and a crowd swaying along to his hypnotic eccentric music.

The real test is whether bedroom/laptop productions translate into a live setting. As it was a Saturday night, it seemed that Giraffage altered his set to suit the occasion. While he opened with his signature dreamy sound and musical quirks, it soon enveloped into a rich dance environment which had the whole room moving. Even Charlie was wiping his face with a towel in between sets.

The panelled visuals responded to his music, turning red at deep bass and featuring hand-drawn animation among the dynamic music. The audience were happy to hear original Giraffage tracks, including "Feels" and "Close 2 Me", among his remixes (90s club hit "Better Off Alone" was a surprise favourite) but when he dropped Flume’s ‘Slassherr’ remix towards the end of his set that really had the crowd going.

Oxford Art Factory was packed – no small feat, considering that this is the first time Giraffage has visited Australia, previously only having interacted with fans online. It just goes to show that giving away music for free isn’t a last resort in a changing industry but rather extending a hand to growing crowds, who inevitably end up following the tunes.

Published on theAUreview.