STACK NZ Nov #79

MUSIC REVIEWS

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Hopetoun Brown Look So Good

Helmet Dead To The World

Agnes Obel Citizen of Glass Agnes Obel is an artist who paints whole worlds with sound. Layers and layers of instruments and manipulated, tones are sung, performed, recorded and arranged. The vistas that Obel builds are immense, full of ideas and imagination; for the string parts, 250 tracks were combined, and Agnes' own vocals are altered and harmonised into multi-part choruses. To press play on this record is to be immersed in Agnes' vision, a place inspired by glass, literal and metaphorical. A resilient sadness shines beneath the surface, reflected in the themes of loss and passage of time. The resulting record is a playground for the listener: crystalline ballads and sharp orchestral pop suites tower as if landmarks to explore. SimonWinkler

Lady Gaga Joanne Mother Monster has evolved into a grand goddess, and she has us all on our knees worshipping Joanne . The theatrics are stripped back; Gaga's rough but silvery voice gives us a surprising folky/ country vibe with a kick of Fame . If her previous albums were tasked with getting our attention, then Joanne ’s purpose is to give Gaga’s crazy soul a voice. Working with accomplished producer Mark Ronson (Amy Winehouse), Gaga proves she’s incapable of being pigeonholed – and for those hoping for wild antics, have no fear. Give Dancin’ In Circles and Just Another Day a few listens and you’ll be fawning. Savannah Douglas

Soft Hair Soft Hair Soft Hair is a beautiful meeting of the minds. Kiwi Connan Mockasin and Sam Dust have spent years deconstructing and reconfiguring the art and science of song. In various guises, solo and collaborative, the pair have produced a vast wealth of psychedelic pop gems spanning warped folk, modern funk, synth wave and digi dub among other less classifiable sounds. They both trade in the unexpected, so perhaps it should come as no surprise that the two artists have combined forces for this latest record. It’s everything you’d hope for and nothing you could have imagined. In other words, one of the more enjoyable experimental pop records of the year. SimonWinkler Although the joyous busking vibe they bring to their live shows has not been diluted, the two-man brass attack that is Hopetoun Brown have subtly fleshed out their sound for their second LP, with drums, percussion and keyboards added to the mix. They have also roped in a few old pals to help out as well, most notably Tami Neilson, who duets with Tim Stewart on the deliciously soulful slow-burner Hate I Don’t Love You and on a rousing version of the blues standard St James Infirmary . Other stand-outs include the bouncy old school ska of Nick Atkinson’s Long Time Ago and the closing-time jazz of Let It Show , both of which feature backing vocals from Marlon Williams. The Afrobeat-flavoured opening track says it all, really: Own It . John Ferguson

One of the pioneers (alongside Jesus Lizard) crossing between indie, full-force riffs and carnage bordering on metal since 1989 – these guys should sound a little tired. They don’t. This is as fresh and dangerous as one would hope with these guys, who’ve had a relatively agile line-up alongside founder Page Hamilton since 2004. Since Hamilton dabbles in everything from teaching to film and TV scores these days, the album offers much to the ear; Expect The World has an uncanny Mike Patton-meets- Tool flavour while Die Alone has so much groove, swagger, and black aggression you can feel sweat dripping off your own walls. A triumph – you won’t be

disappointed. Chris Murray

MUSIC

Empire of the Sun Two Vines

Sleigh Bells Jessica Rabbit

Leonard Cohen You Want It Darker It's not surprising that Leonard Cohen, in his 83rd year, continues to ruminate on mortality and life after death on his latest album, a companion to his 2014 release Popular Problems . Beautifully under-produced, Cohen's wizened voice sings, whispers, speaks, sometimes in the company of female gospel and soul singers, and a synagogue choir on at least two straight-ahead love songs; he also offers darker material with lines such as, "You want it darker, we kill the flame... I didn't know I had permission to murder and to maim," from the title track. Musically haunting, with subtle use of piano, violin, bass and guitar. Recommended. Billy Pinnell

Two Vines is the anomaly of a Dali exhibition come to life in the form of two heavenly music angels. As expected, Luke Steele and Nick Littlemore’s third album is nothing short of magical. What their previous albums were to futurisim and icy wonderlands is what Two Vines is to a gorgeous Tarzanian forest overtaking the modern world. While their spacey and synthy sound may seem like a step backwards from earthiness, it’s easy to feel well connected to the planet while breathing in the life essence of every song. May the breezy wind from Before , the soothing crash of cold waves in To Her Door, and the fiery single High and Low bring you much needed peace. Savannah Douglas

Since reviving the spectacle and glamour of arena rock in 2010 with their blaring debut Treats , Sleigh Bells have been trying to find the softer edges in their sound. Now on their fourth album, they’re almost unrecognizable from the duo that strutted to a track like Infinity Guitars . The blare still rears its head, but they make more use of drum machines and synths, and Alexis Krauss’s expanded vocal range. With verses that sound more Coldplay than KISS and pummelling riffs swapped out for piano ballads, Sleigh Bells prove they’ve ground left to cover yet. Jake Cleland

NOVEMBER 2016

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