|
 SINGLE OF THE WEEK
WOLF & CUB – One To The Other EP
(Dot Dash)
More than most of their mad rockin’ peers, Adelaide’s Wolf & Cub come across as a bunch of guys who own a lot of vinyl. There’s just something very other-yearly about the eclectic and smoky rock these dudes deliver. This four-track EP’s One To The Other, for instance, is based around a repeated heavy, thoroughly chunky riff that sounds like it’s been inspired by an all night substance abuse session listening, in the dark, to alternating Zepplin and Sabbath records. However, to describe this EP only as retro-tinged guitar bedlam would be irresponsible, ignoring as it would the pumping electronic and trippy psych-out elements, obvious in both the lead track, and most of all in Master, a nervous mind-expanding trip to the edge of maintaining control of your own mind. Of course it’s entirely possible in this futuristic day and age to own obscure early ‘70s spacerock-psychedelic albums on any number of formats – mp3 (very common I’m told), CD (still available in most good stores), ringtone (although most unlikely) and tape (the leading source of music in the Mine’s On The 45 car fleet). It’s just that Wolf & Cub generally sound like they’ve more likely removed the 12-inch from its plastic inner sleeve, heard the hiss of their fake-wood-panelled turntable, and headbanged and headtripped around their lava-lit rumpus room, soaking up ideas, concepts and exciting subterranean sounds straight from the stylus.
 BANAWURUN – Insanity EP
(Independent)
Got a guitar in one hand and a political message in the other? Take note – you could do a lot worse than Banawurun in the musical protest stakes. Known as Troy ‘N’ Trevelyn & The Tribe until being renamed by a Gu Gu Yelangi Elder, Brisbane’s own local Banawurun is based around the core of the indigenous Troy Brady and the Zimbabwean woman Trevelyn Brady, with the band’s lyrics and social messages centring around the corresponding race issues that people from such cultures might well raise. As with any message-based music though, no matter how much you may endorse the politics, without a decent song to back it up it may as well be an unpalatable media release. It’s here that Banawurun step up, with lead track Definition Of Insanity mixing the five-piece’s guitar rock with a light touch of harmony soul, ending up with a sort of didgeridoo-laden rhythm and blues. Even on CD, the song sounds like it’s made to be played live, a scenario that you get the feeling would allow Trevelyn’s smooth yet throaty vocals to unleash even further. While final acoustic track Non Citizens treads down the more literal protest road, paling in comparison to greats like Archie Roach, this EP is nonetheless a resounding reference for further investigation.
THE DANDY WARHOLS – Mission Control
(Etch N Sketch Records)
A group that for roughly a decade now has been more loved and embraced than their records’ individual sales shows, The Dandy Warhols have finally ditched the major label status that was (needlessly) the cause of some conflict in Dig!, and started their own label Beat The World Records (though released here through Etch N Sketch). In the greater context, it feels like it’s decision time for the Warhols. Will their seventh album Earth To The Dandy Warhols revive the adoration from alternative-pop lovers everywhere, or will they continue down the path started by 2005’s Odditorium Or Warlords Of Mars of playing still interesting and catchy boutique songs though to an increasingly niche market? Mission Control is all we have to go on at this stage. Almost certainly inspired in part by ex-tour partner and original space oddity David Bowie, it’s a darkly melodic two minutes that combines that familiar Dandy goodtime rollicking aesthetic we know from their most popular songs with a spacey echo. The most unexpected aspect is Courtney Taylor-Taylor’s deep voice, not immediately recognisable. It’s a characteristically fun and unconventional pop blast, but while good, I don’t see it being great or memorable enough to launch The Dandy Warhols back up into a wider audience. Still, while those car ads can pay the bills…
 POLAROID FAME – Facing Extinction
(Independent)
Most unusual ‘way we were discovered’ story of the week goes to Byron Bay five-piece Polaroid Fame. The band, then known as The Frankie Band, were featured in the relatively credible Melbourne broadsheet The Age, at #1 on a list entitled ‘What’s on Pete Murray’s iPod’. #2 was Creedence Clearwater Revival. Unusual, yes? What’s perhaps even more unexpected is that despite being from unimaginative-surfer-hippie-drop-in Byron Bay and featuring heavily on the playlist of the person cynics may call Australia’s most humdrum roots-pop musician, Polaroid Fame do not play dull surfer roots music. No siree. They wear shoes. When singing, they sound totally awake. And the caption with the #1 listing in the Age read ‘Young exciting indie band’. Facing Extinction is the first single to be released under the Polaroid Fame name, and it’s a quiet-loud shot of chimey guitars and staccato vocals that hints at a group of At The Drive In fans, albeit ones that interprets that band’s sound through a Gyroscope or The Paper Scissors filter. You’ll be able to make up your own mind about adding Polaroid Fame to your own iPod after seeing them in this neck of the woods around the end of July and start of August. Creedence should already be on there.
 JESSE MALIN – Russian Roulette
(Creative Vibes)
For those of us who find little in life more rewarding than compiling, reviewing, reprioritising and being generally pedantic over music lists, outlining the playlist for our own imaginary covers album can be an ongoing and frustrating joy. You need to find the right mix between the ‘hits’ that people know, and therefore recognise as covers, and some semi-obscure stuff that means a lot to you personally but isn’t as populist. It’s like preparing your own Rage playlist but even more concise. And anyone who thinks about these sort of lists without considering how ‘cool’ their choices will make them seem is a more self-secure music nerd than I. New York longtime eccentric singer-songwriter Jesse Malin has put some worthwhile thought into his new covers album On Your Sleeve, with an intriguing mix of songs from Tom Waits, The Clash, The Kills, Sam Cooke, The Hold Steady and Lou Reed. For the lead single, however, Malin’s opted for the more obscure end of things with Russian Roulette, a cover of a Lords Of The New Church song that I’m unfamiliar with, yet is an instantly pleasing cheesy dance-rock punk shot, like New Order doing a New York Dolls cover. The piano ballad B-side of the Flaming Lips’ Yoshimi Battles The Pink Robots also brings a level of confidence towards Malin’s ability to imbibe each song with enough respect for and difference from the original. Now, back to my list. Do you think a Rogue Traders song from each album is too much?
SIMON TOPPER
|
| Comments are submitted for possible publication on the condition that they may be edited. Poster's IP addresses are logged. |
|
Be first to comment on this article
