Album review: Ribbons Patterns - Ribbons Patterns (2010)

In the current flood of punks turned acoustic songbirds, you would be forgiven for thinking 'what can one Melbournite bring to the table that hasn't already been brought?'. Only just though. I'd kick you in the shins, give you a copy of the CD and then you'd buy me a beer, then perhaps we'd talk forgiveness.

Donnie Duraeu has put together a stellar team for his debut effort, Ribbons Patterns. It really is a transparent album in more ways than one, and I mean that in the very best way. For one, the album art is the most innovative and ingenious efforts I have seen in a very, very long while. Big bands take note: this is how you combat the download demon, not suing Napster. Jeez.

Secondly, and more importantly, Donnie brings a honest and sincere style of writing that lets the listener see straight into his living room, headspace and heart. With a 'write it as I see it' style, evoking thoughts of Paul Kelly and The Lucksmiths, Dureau delves into our collective psyche using smart yet relate-able lyrics and catchy pop melodies. The album builds beautifully, and from go to whoa it is irresistible with its punk sincerity, folk sensibility and pop ingenuity. Its very hard to try and pick a highlight, as each song takes you on a slightly different journey, which marks a fantastic album with much thought put into every facet. Tracks 'Rain Rain' and 'Harry Baker', the two standouts from 2009's Tyre Swans EP (the stunning EP put out as a collaboration from Dureau, Jamie Hay and Darren Gibson) still hold fast as well written portraits of the city and country respectively. 'This is the Road' is a catchy travelling tune whilst 'Larry' takes you on a tour of a well loved home. I can't honestly pick the best, only tip my hat to Dureau for making a new listening staple for my collection.

'Ribbon Patterns' is a standout album of 2010, and one that I'm sure will stand the test of time. I was worried that production would taint those beautifully stripped back songs from Tyre Swans, yet it has just added complexities that make it better and better with repeat rotations. Get out and buy this album, you'll thank me. I'll be at social, you can buy me that beer there.

(image courtesy of Poison City Records www.poisoncityrecords.com)

Black Hill Five & Cuba is Japan @ The Birmingham 16/6/10

The name. Cuba IS japan. It confuddles me. Yet gets me thinking, and then gets me excited about thinking.Much like the band. Try as you might to put them in a box,one by one they will break out of every bond you try to put them in. Opening tonight for Black Hill Five's residency at the birmy, they draw a surprisingly big crowd, and do not disappoint. Once a four piece, now a three piece, all members work seamlessly to create a set that has so many influences,but the main theme is passion.

Beginning with James 'He-man' Heenan on keys, Darcey Pimblett on guitar & vocals and Cameron Potts on drums, you may be forgiven for thinking it is your run of the mill prog rock offering.Yet as they interchange instruments as if they were K. Rudd changing stances on policies (effortlessly!), you soon learn that they are much, much more. Highlights come as Potts conducts the audience, strutting around the floor like a arrogant and confident matador with his violin as baton. Heenan confidently plays his violin like a lead guitar, and Pimblett quietly yet powerfully shows his prowess on both bass and guitar.The crowd is given a treat when Pimblett sings, a voice that is a born storyteller and lends itself perfectly to the soundtrack-esque nature of Cuba songs.

Not content to have one set under his belt, Heenan comes out but minutes after the Cuba set under the guise of Black Hill Five. An incarnation of Ballarat band Paperhouse, with the added bonus of Heenan and Will Mason, this lovely little rock and roll band show the crowd that it is OK to pick up those pretty little hipster boots and dance. Having just come off a support slot with Dan Kelly, BHF are headlining all June at the Birmy, and are well worth checking out. Guitarist and vocalist Michael Barnes shows that he is unfazed by minor tuning mishaps,and with the support of fellow members, takes us back to a 60's & 70's inspired rock and roll good time. Mason deftly shows his vocal skills as well, with a few ballads thrown in for good measure, with harmonies from Heenan and unflappable keys player Rick Parnaby. Nigel Moyes is clearly a standout on the kit, ensuring that the birmy's split stage does not split the feel of the show. All in all, an enjoyable Wednesday out.

Continues the next week, so get along if you can.
-r

Album Review: High Violet - The National (2010)

High Violet brings us back into the world that Brooklyn based, Ohio born, THE NATIONAL have created so carefully. Singer and songwriter Matt Berninger is deft at bringing the listener into his melancholic headspace, with 2007's brooding 'Boxer' a pure highlight and still high on my rotations.


The latest offering is not as engaging as its predecessor, but it feels like a step up into the big city. Opening with 'Terrible Love', I was taken to the shining lights and grey-scape of a New York or Tokyo, where the quiet loneliness is deftly juxtaposed to the racing rats. This is heard in the sharp production, the synthetic sounds and deliberate build of each track. The lyrics too have a bigger world feel to them, bringing an outside influence into the generally introspective nature of Berninger's writing. On the whole, it is a restrained portrait of one man surrounded by skyscrapers, the hopeful sounds coming when the songs move outside the urban sprawl (Bloodbuzz Ohio, Lemonworld). Highlights in the haunting 'Sorrow' and opener 'Terrible Love'.


I really hoped that this album would traverse new heights, and at first listen I was disappointed. Yet, the more repeats that play, the more I am finding I am content with exploring the concrete jungle from The Nationals warm, glass house. In all, a good, solid offering without breaking new ground. Like the line from 'Sorrow' suggests, 'I don't want to get over you', The National. This album still has the emotional heart of what I did love, but it seems both of us have moved on in the last few years.
7/10

Strung Out & The Loved Ones @ The HiFi 10/6/10

The walk down the infamous HiFi stairs was almost like a dream sequence out of a cheesy American TV show. You know, the ones where everyone you know appears in the high school hallway, and gives you the fonz-esque "Ey!" with obligatory fingers pointed like pistols. I felt like I knew all the characters intimately, and yet was so far removed from it all. Strung Out Guitarist Jake Kiley and Bassist Chris Aiken were heading out, getting their hands stamped, smiling at everyone as they leaped up the stairs. Lead singer of the Loved Ones Dave Hause was quietly tapping away on his macbook on a bench in the corner, perhaps writing home, perhaps pay bills, perhaps writing Like a Rolling Stone for the new millennium. The folks at the bar were relaxed and gave me a smile as I walked in, and the merch table guys were at home surrounded by clutter and chaos. How they know exactly where to find my girls M tee in 2.5 seconds, I will never know.

In actuality, it was like returning home. So fresh, yet so familiar, Strung Out are a seminal punk band that has been leading the way for 20 years now. Which way they are leading, I don't reckon they know, or care. They play for the love of the music, and it shows in their loyal fanbase that comes out time and time again to see them pump out some loud and exciting tunes. I myself have been lucky enough to say this was my seventh outing across 2 states, but this is nothing to be shouting from the bell tower. My good friend has just attended his 13th, and punk rock folklore tells us of a girl who has been to 100+! The band knows this, and rewards the eager punters by returning time and time again, playing small towns and outback regions amongst the big city shows.


This tour sees them returning to our shores with up and coming Philadelphia band The Loved Ones, as well as local acts in each town. In Melbourne this was The Backyard Surgeons, punk rockers who have played some pretty cool supports in their time. They present a fresh and excited face, playing their first show after a few months off writing at what not. The set was played to a decent crowd for that early time, but most were hanging at the bar. I can't wait to hear new releases to come, and with a little more polish, these boys will hopefully be off to represent our fair city in style.

Having been to the SO/TLO show in Adelaide a few nights earlier, I confess that The Loved Ones worried me on that cold Sunday in the city of churches. Playing to a small and intimate crowd, they threw down that gauntlet so hard I was worried that my stalwarts Strung Out would not be able to recover and come out on top (note: they did. See pics @ http://www.fasterlouder.com.au/). I was shown the same raw talent and emotion again at The HiFi. The crowd moved forward, and were thoroughly captivated for the entire set. One excited patron tried to dance with anyone who would make eye contact, and how could they resist? Tight, melodic punk rock with a little bit of swagger... The Loved Ones brought a little bit of Gaslight Anthem's Americana feel combined with some intoxicating youthful hopefulness. Highlights were singalongs to fan favourites Jane and 100K, as well as cover of Conor Oberst's I Don't Wanna Die in the Hospital.


2 down, and the stage was set. The crowd was anxiously moving its combined feet, waiting for the men in black. They certainly did not disappoint. On cue, they opened up with Black Crosses, the first single off their latest offering, Agents of the Underground. The sound took a couple of songs to settle in, but when lead singer Jason Cruz began the familiar lines to Ultimate Devotion, the night really began in earnest. With all the command of a general, Jason strode from side to side, perching on the barrier and launching into his emotion filled and raw style of vocals. The guitar prowess of Rob Ramos and Jake Kiley shone on old favourite Velvet Alley, with the pure energy coming from Jordan Burns on the kit. Chris Aiken may look a lot like your daggy uncle on bass, but I say if only. My uncle doesn't rock like that. A good combination of old and new, the set encored with Bring out your Dead, bringing the crowd up before sending them on their way. Unlike many bands though, the band took time out to come and shake hands and chat to the crowd, which is appreciated. I will keep on coming back again and again if they are still excited to be playing to the world.


2010 brings a new decade, and if this tour has anything to say about what is on punk rocks murky horizons, I am ready. Old, new, whatever you've got, I'm ready.

Where is my mind??

Page 1. Stage 1. Le tour de delirium.



So I have recently decided to take a little detour from the well beaten track, and adventure into the music world. Here i'll detail the new, the old, the loud, the brash and the beautiful, as I see it.



Just a little casual delirium.



-r