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14 JANUARY 2017
MUSIC REVIEWS
Cold Chisel
The Live Tapes – Vol 3 – Live
At The Manly Vale Hotel
This Sydney gig, in June 1980,
coincided with the release of Cold
Chisel’s breakthrough album East.
Fresh from nailing their sound in
the studio for the first time, this is
Chisel at their best: rough, raucous
and brimming with confidence. Ten
of the East songs are showcased,
plus covers of Shakin’ All Over (a
thrill for Chisel completists) and
Knockin’ On Heaven’s Door, which
Barnesy dedicates to their roadies
Alan Dallow and Billy Rowe, who
died in a crash two months before.
Cold Chisel have sold nearly seven
million albums in Australia, and
this record shows why – they’re a
killer live band with killer songs.
(Universal) Jeff Jenkins
The Weeknd
Starboy
Could Starboy break the record The
Weeknd set as an immovable radio
staple with The Hills and Can’t
Feel My Face last year? Nothing
seems to have caught on quite like
that, but not for lack of jams – and
Tesfaye keeps you guessing. Most
tracks are underpinned by disco
and aughts R'n'B, but then he
throws in the electropunk squall of
False Alarm, the '70s rock noodling
of Sidewalks with Kendrick Lamar,
the bass-heavy melancholy of
All I Know with Future and even
a ballad with Lana Del Rey?
Starboy’s problem might be
offering too much of a good thing,
but there’s never a dull moment.
(Universal)
Jake Cleland
Testament
Brotherhood Of The Snake
Testament have a dedicated
worldwide following, but remain
on the outer when it comes to
the commercial accolades the Big
Four of Thrash have received. To
their credit, Testament never really
strayed beyond their sound, and
unlike their peers they never flirted
with alternative rock. Brotherhood
Of The Snake arrives with mixed
messages from the band, as
they claim it was rushed due to
excessive touring. It’s not often
that a group apologises in advance
for their material, but despite
this, Brotherhood Of The Snake
is no disaster. Expect a hybrid
of Practice What You Preach and
Souls Of Black, mixed with a touch
of The Gathering.
(Nuclear Blast/Caroline)
Simon Lukic
HammerFall
Built To Last
Having flown the flag for traditional
metal since their inception in
1993, HammerFall remain true
to both their sound and vision.
Their 10th studio album, the aptly
titled Built To Last, reinforces this
attitude unreservedly. HammerFall
certainly have their naysayers, but
it’s easy to forget that they were
one of a few that dared to play
“heavy metal” at a time when
extreme and nu-metal ruled the
scene. HammerFall succeeded
due to talent, solid songwriting
and passion – Built To Last displays
all of these qualities and will no
doubt get heads banging and fists
pumping worldwide.
(Napalm Records/Rocket)
Simon Lukic
The Flaming Lips
Oczy Mlody
Ripped straight from the
spaced-out dreams of a buzzed
brain, The Flaming Lips have
returned in a cloudy haze which
billows with their classic sound.
They’ve continued their trend of
experimentation with each release,
and Oczy Mlody emits a serious
buzz of atmospheric music while
falling deep down the rabbit hole
to an unexplored fantasyland
where smiles are rainbows and
faces are fairytales. Hiding in the
roots of the album comes Lips’
newest team-up with Miley Cyrus
(We A Family), a moody space-
electronica highlight that is worth
the album in itself. Get high with
the feel-good vibe of Oczy Mlody
in good faith that you can enjoy it
sober or not.
(Warner) Savannah Douglas
Aaron Keylock
Cut Against The Grain
18-year-old English guitarist/
singer Aaron Keylock – who began
playing professionally at 12 –
has recently released his highly
praised debut album of self-written
blues/rock.
It's not difficult to identify his main
inspirers; they include Johnny
Winter (Medicine Man), Rory
Gallagher ( All The Right Moves)
and Led Zeppelin ( Against The
Grain). The cleverly-placed tempo
changes in Down create space
for Keylock's slide playing; a slow
blues number, Just One Question
(the first song Keylock ever wrote
when he was 13) is enhanced
by the young musician's superb
soloing. An outstanding debut.
Watch this space.
(Mascot/Warner)
Billy Pinnell
Brian Eno Reflection
Eno is a sonic cat who deserves his own planet.
From recording a metal lampshade in the mid-'60s
(what he credits as perhaps his first foray into
‘ambient music’) to being chief knob-twiddler and
space overlord with an esoteric aesthetic in Roxy
Music – to then lending his skills to some of the
most popular artists of the 20th century (remember
when U2 were actually cool?; and of course God himself, David Bowie).
All the while he’s produced consistently challenging solo material, whether
it is purely experimental soundscapes or indeed pop excursions into
upsetting the most rigid of apple carts. His latest here is simply one piece
of composed brain food that runs just under an hour and is one continuous
track. As you listen, one can imagine this continuation of his The Ship
album – yet denser, deeper, darker, and all the while challenging you to
let go of all you know and drift into mental states unashamed, unabashed
and unchartered. One second you’re flying past Saturn, the next you’re
discovering sea creatures you’ve never imagined, and all the while you’re
looking inward into what it all means to your subconscious; Eno has that
effortless ability. It’s not for everyone, nor should it be, as we also trust Mr
Eno has never dined at McDonalds and never will.
(Warp/Inertia) Chris Murray