STACK #135 Jan 2016

REVIEWS MUSIC

Lush Chorus It was the best of times, it was the daftest of times. Somewhere between "shoegaze" and "Britpop", the lunatics of the UK music press took over the asylum in a hyperbolic attempt to sell papers and make America love them like the Fab old days. Led by the girlish trills and aquaplaning guitars of singer-songwriters Miki Berenyi and Emma Anderson, Lush burbled just beneath the blokey first division (Blur, Pulp, Suede, Oasis) for

Various Stranded: The Chronicles of Australian Punk Punk is probably the most contentious genre, if not word, in the modern music industry, so it’s a pretty bold endeavour to take on the project of compiling the ‘Chronicles of Australian Punk’. That said, Four|Four music have done so rather deftly. Even the most discerning old punk might have trouble criticising inclusions so broad and well- researched that they range from The Saints, Celibate Rifles and The Eastern Dark, to Blueline Medic, Mindsnare and The Peep Tempel. (Four|Four) Emily Kelly

Horror My Friend Stay In, Do Nothing

three albums and a handbag of EPs, before the horror of drummer Chris Acland's 1996 suicide. These five discs span an archetypal story of naïve enthusiasm cloaked in the uncertain waft of early EPs, rising by degrees of songwriting craft, corporate interference and media suggestion, to the blunt sexual politics of their swansong, Love Life . It's here Lush makes most sense as a pop group, between the bracing pub-brawl of Ladykillers , the cute car song 500 (Shake Baby Shake) , and the atmospheric clincher, Last Night . Melody Maker hoarders are more likely to argue for Spooky

Poison City Records’ newest recruits have considerable hype to live up to on their debut album. Reflecting the label’s ever expanding breadth of sound, these young Adelaide friends are carving out their own distinctly dour and shoegazey corner in the PCR stable. In this confident swan dive they ensure hooks nestle in snugly with '90s indie refrains, and lo-fi post-punk meets slacker sizzle. Give this one time to dig its roots in and enjoy its eventual bloom. (Poison City Records) Emily Kelly

(1992), with its buried vocals awash in dreamy grungedelic swirls, but each disc's swathe of B-sides, demos, mixes (ooh, Kevin Shields!) and other found objects will excite "early stuff" aficionados. The 4AD link ensures an elegant physical package (not reviewed), while the inclusion of Best Of disc Topolino makes sure we get the good stuff twice. Oh yeah, and they’re back. Stay tuned. (4AD) Michael Dwyer

MUSIC

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Slim Dusty The Den Tapes Slim Dusty is the iconic and undisputed Australian King of Country. Coinciding with the opening of The Slim Dusty Centre and Museum in Kempsey (New South Wales) is the release of this discovered gem of recordings. Found by accident on a single cassette, here are 10 songs Dusty recorded in his small home office ‘den’, sometime in the late ‘90s. These traditional Australian songs represent the music he grew up listening to on the radio and gramophone on the farm as a young boy. Previously unreleased and unheard, this is Dusty unplugged; a chance to spend some special time with Slim and

Johnny Cash Man In Black: Live In Denmark 1971 More Johnny Cash? Yes, please. Cash was one of very few artists who had a natural connection with the people. Riding high in 1971 with a string of successful singles and the popular TV series The Johnny Cash Show , this is Johnny in his prime. Man In Black was originally recorded for Danish television, and with his trusty trio The Tennessee Three, his wife and duet partner June Carter Cash, Mother Maybelle with Carter sisters Anita and Helen, and touring buddies Carl Perkins and The Statler Bros, you just can’t go wrong. Sing it to us, Johnny! (Sony) Denise Hylands

Abbath Abbath After a bitter parting with Immortal in 2015, black metal’s most iconic frontman Abbath returns with his new band. It has been seven years since Immortal’s last outing and Abbath is sure to satisfy fans. As expected, the Norwegian black metal sound pulses furiously from each song, and while the riffs, arrangements and Abbath’s charismatic vocals are instantly recognisable, there is a greater emphasis on melody and hooks. Those of you who enjoyed Abbath’s side project will find that same traditional metal vibe here, giving Abbath a diversity not found on any of Immortal’s recordings. (Season of Mist/Rocket) Simon Lukic

Megadeth Dystopia Megadeth were once the most innovative of heavy metal bands, and if it wasn’t for guitarist/ vocalist Dave Mustaine, the genre would not be what it is. His guitar playing alone helped mould both Metallica and Slayer’s sounds, making him an instant legend. This isn’t the case anymore. For all the talk, Dystopia isn’t a return to the band's glory days. It’s a modern day Megadeth album, no more, no less. If you enjoyed, say, Endgame , then you should like this, but if you’re looking for the energy that inspired Rust In Peace then you'd best look elsewhere. Despite the hype, Dystopia is dys- appointing. (Universal) Simon Lukic

his guitar. Pure joy. (EMI) Denise Hylands

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