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098 MAY 2015 JB Hi-Fi
Raised by Eagles
Diamonds in the Bloodstream
The Eagles have never been a
'cool' band, but Melbourne’s
Raised by Eagles are not afraid
to admit they’re fans; and Falling
Through, the tasteful opening cut
on their second album, shows
that they can pull off that laidback
feel with classy harmonies.
And they’re also capable of
throwing some Tom Petty-like
crunch into the mix – check out
Jackie. But Raised by Eagles are
no copycats; they’ve got their
own thing going on. Like a classic
West Coast album, this is concise
and precise, with just eight tracks
clocking in at 35 minutes. And it’s
all quality.
(Vitamin) Jeff Jenkins
Django Django Born Under Saturn
It's fair to assume that Django Django's feet are yet to touch the ground since their
elevation to 2012's darlings of the indie rock frontier. The evidence is in chapter two:
a whooshing and bubbling astral trip of an album seemingly formed though an act of
creative condensation somewhere in the synth-pop stratosphere. Lyrically, Vincent
Neff has had his head in the clouds from the outset, happy to "stitch the phrases
together until something starts to make sense," to quote an earlier tune. And the
polyrhythmic weirdness that first tweaked our attention remains a trademark from
track one, Giant, in which Neff finds himself looking down from a great height on a
drumkit and piano apparently dancing sideways to overlapping time signatures. Shake
and Tremble accelerates through blue sky and smoke drifts like Primal Scream on
chill pills but it's on track three, Found You, that Born Under Saturn finds its default
groove halfway between the choogling roll of The Stone Roses and the soft-harmony
psychedelia of Herman's Hermits. The mothership chugs low through waterfalls and
daydreams of fields ablaze in First Light. Pause Repeat is all valleys and dunes at the
edge of the world, where "the start of the end is upon us and now it's beginning"
and wait a minute, the piano's Cuban but the drum sounds African. Reflections picks
up a galactic hitchhiking saxophone player and Vibrations touches down on a drip-
dripping swamp planet awash in twittering birds before again climbing "higher and
higher" through thunderclaps and rainbows to High Moon and 4000 Years, traversing
looking-glass realms and other unattainable dimensions. All oddball synth textures
and off-kilter metrical challenges considered, this is a weird enough twist on the old
second album cliché about the never-ending road to uphold Django Django's rep as
one of the UK's more intriguing recent exports. (Warner) Michael Dwyer
Nightwish
Endless Forms Most Beautiful
With Endless Forms Most Beautiful
Nightwish confidently enter the
next stage of their career. The
decision to welcome vocalist
Floor Jensen to the fold is given
credence here, on this, her debut
with Nightwish. Jensen’s voice
gels effortlessly with the bands
music, adding new layers to
Nightwish’s already multifaceted
sound. Endless… doesn’t veer into
uncharted territories per se,
but it does – in an understated way
– highlight Nightwish’s ability to
gently push the envelope without
alienating fans. Nightwish’s impact
today isn’t comparable to the late
’90s, but when it comes to female-
fronted symphonic power metal,
they remain the benchmark.
(Roadrunner/Warner) Simon Lukic
Jeff the Brotherhood
Wasted on a Dream
Self-proclaimed by the ever-rockin’
Orrall brothers as the “most fully
realised record we’ve ever made,”
it’s clear within seconds that
album eight offers more polish and
orchestration than ever. A good thing?
Considering they’re now a three-
piece on these 11 tracks (with The
Dead Weather’s Jack Lawrence) and
have added flute help from Jethro
Tull’s Ian Anderson (really!), it’s a
tight and calculated romp through
bright sludge. A ’90s alt-rock vibe
mixed with melodic anthem and
vibrancy; it’s odd to hear tracks like
the Foo Fightery Coat Check Girl or
comfy-socks-groove within In My
Dreams. Never fear, In My Mouth’s
cheeky nod to the past revives your
faith effortlessly. Multi-listens will
reward. (CookingVinyl/Universal)
Chris Murray
Sam Outlaw
Angeleno
Yes, that is his real name –
and quite a name, for a country
singer based in L.A. Sam Outlaw
gave up his day job to pursue
his love of making music, and
he’s quickly attracting all the
right attention. For his debut,
he’s brought in none other than
Ry Cooder on production duties
and a band featuring members
from My Morning Jacket, Punch
Brothers and Dawes to help out.
An incredible bunch of songs
overflowing with classic country
sounds influenced by some his
favourite singers George Jones
and Dwight Yoakam. Remember
the name: there’s definitely
a buzz about this boy.
(CookingVinyl/Universal)
Denise Hylands
Dan Cribb and
the Isolated
As We Drift Apart
As We Drift Apart is the first
album from new Perth-based
trio Dan Cribb and the Isolated.
For this debut, the former Decline
frontman has secured convincing
guest appearances from Kisschasy
frontman Darren Cordeaux, and
singer of Detroit punk band
The Swellers. Reminiscent of
the late ’90s approach to honest
and simple songwriting that
propelled the likes of Tony Sly
and Joey Cape into the hearts
of pre-emo pubsecents, As
We Drift Apart is a good, old
fashioned, convincing punk rock
romp.
(Pee Records/MGM) Emily Kelly
Paul Mac
Holiday From Me
There was almost an
Avalanches-like wait for Paul
Mac’s new album. Holiday From
Me is aptly titled – it comes
10 years after Mac’s second
album. Disappointingly, the
electro-pop pioneer doesn’t
break any new ground here,
though he still has a knack for
taking club sounds mainstream.
Ngaiire, who appeared on
2005’s Panic Room, takes the
lead on three tracks, Kira Puru
shines, The Reels’ Dave Mason
delivers dark delight Not Even
Jesus, and Megan Washington
provides the pop highlight with
Idiot, which starts with the
classic line, “I’m in love with an
idiot.” (Eleven Music/Universal)
Jeff Jenkins
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