STACK NZ Aug #65

48 / 62

48 AUGUST 2015 JB Hi-Fi
The Fratellis
Eyes Wide, Tongue Tied
Nearly a decade since the Glasgow
trio debuted their unique take
on rock/pop/garage fun, it’s now
apparent the gloves are off and
sounding BIG ain’t no crime to The
Fratellis. Of course, that’s why on
track two it’s also okay to jump into
a Tom Petty/ Springsteen stadium
shuffle-hustle. In fact, a country-
twanged vibe slips through on
Desperate Guy, making one think
that references to The Boss aren’t
a mere coincidence. Thief fires
a straight-to-the-brain anthem to
which one can imagine hundreds
pogoing in unison at festivals the
world over. It’s pop, but sharp,
calculated and smart.
Chris Murray
Deaf Wish Pain
After eight years of slept-on albums and repeated
hiatuses, Melbourne quartet Deaf Wish have signed
to Sub Pop to release their best record yet. Pain
showcases all the invigorating noise-punk you’d
expect, but there’s much more happening too.
The Whip opens the LP at a dirge-like pace before
hitting a series of short outbursts punctuated by
the twanging Sunset’s Fool and dreamily driving On. Dead Air is saturated
Kraut-psych, powering through six minutes of riotous jamming, and then an
eerie dispersal. All four band members contribute singing (or screaming), but
these varied tracks hang together perfectly. Sarah Hardiman’s simmering
vocal cool recalls Kim Gordon on They Know and Sex Witch ; many of the
album’s gnarled, surreal guitar threads nod to Sonic Youth as a whole. But
beyond the undeniable influence of milestones like The Stooges and Husker
Du, Deaf Wish tap into veins more melodic and volatile. The closing Calypso
could pass for a Kurt Vile tune with its daydreaming vocal drawl, and other
tracks are immediately accessible despite showers of splintered distortion. A
devastating brute of an album with surprising subtlety throughout.
DougWallen
Eb & Sparrow
Sun/Son
After last year’s fine debut and
opening for Pokey LaFarge and
others, this Wellington-based
five-piece centred around singer-
songwriter Ebony Lamb have
ensured a receptive audience for
this world class sophomore set.
Sun/Son drips with alt-country
languor– think KD Lang or Chris
Isaak at their most sleepy –
together with Spaghetti Western
desperation (the cinematic sweep
of Coward's Son), classic country-
folk (nods to Johnny, Bonnie and
Emmylou), Tex-Mex and more. I
Want You has the spaciousness
of Ry Cooder's best soundtracks
(courtesy of producer Ben Edwards
and Bryn Heveldt's lap steel), but
Lamb conjures up spook-spirits and
menace too. Diverse but coherent.
Recommended. Graham Reid
Northlane
Node
No one saw it coming. Not only did
Australian band Northlane manage
to part ways with their singer
with grace and composure, they
opened the auditioning process
for his replacement to the public,
identified a fitting new frontman and
confidently marched on – utterly
unperturbed – to record one of the
best albums of their career. Node
is heavy, make no mistake, but it’s
the sparser moments that are its
best and most bold. Here the band
that endured the aforementioned
turbulence get to prove that their
mantle as one of Australia’s finest
rested with their adventurous spirit.
Bravo.
Emily Kelly
Motörhead
Bad Magic
Motörhead’s influence cannot
be measured, even transcending
music to impact on fashion and
art. Their mascot, Snaggletooth,
defines rock'n'roll, becoming an
iconic figure to many who have
never even heard of the band.
Bad Magic is Motörhead’s 22nd
studio album and another solid
collection of tunes. Lemmy’s
recent health scares may have
slowed him down, but he
continues to snarl and spit out
tales of war and revenge without
missing a beat. Motörhead offer
no new tricks with Bad Magic,
but like any act with 40 years of
experience, they always put on a
great show.
Simon Lukic
Albert Hammond, Jr.
Momentary Masters
There’s no mistaking those
controlled guitar ribbons, and
The Strokes’ Albert Hammond,
Jr. brings his usual in-the-pocket
flair to this solo album. But after
the promising opener Born
Slippy and the dancey Power
Hungry, Hammond, Jr. spins
off in too many unsatisfying
directions. While Losing Touch
does well with chugging 1980s
power-pop (think Squeeze),
Caught By My Shadow is a
glowering, Black Keys-esque
detour, and Don’t Think Twice is
a stilted Dylan cover. Even as he
strives to branch out, Hammond,
Jr. keeps evoking his usual band,
right down to the anxious pulse
and distorted vocals.
DougWallen
Jackie Greene
Back To Birth
Former frontman/guitarist for Phil
(Grateful Dead) Lesh's touring
band, member of The Black
Crowes (for two years before their
dissolution a few months ago) and
credible country-rock/roots player
here delivers his seventh album,
which has some comfortably
familiar reference points (The
Band, Tom Petty, the Allmans,
and the Crowes of course).
Greene carves out immediately
accessible road-song stories, be
they reflective, string-enhanced
acoustic ballads (A Face Among
the Crowd), downhome stoner
country (the harmonica-coloured
Motorhome), Southern soul-blues
(Where the Downhearted Go) and
more. Solid Middle American rock
with deep roots. Graham Reid
visit REVIEWS MUSIC