STACK Issue 151 May 2017

82 / 92

20 MAY 2017
visit MUSIC REVIEWS
Linkin Park
One More Light
Fun fact for you Linkin Park purists
(can we use the word virgins?):
did you know that the group used
to be called Hybrid Theory? It’s
ironic, since a hybrid is comprised
of different elements and Linkin
Park bring a whole new swing-set
to the playground for One More
Light. The ex-nu metalists are
more electronic and alternatively
inclined this time around, and only
some tracks manage to pull it off
(Nobody Can Save Me, Halfway
Right). But where their songs
usually build to a satisfying release,
OML unfortunately just doesn’t
have that bite. It’s no secret that
they treat each album as a blank
canvas on which to experiment,
but we’re not sure if we’d hang
this one on the fridge.
(Warner) Savannah Douglas
Little Cub
Still Life
Naming a debut album Still
Life may seem suitable in the
arty sense, but you will not
find any of the songs on Little
Cub's first record rendering
the inanimate qualities of fruit.
In fact, Still Life is lively in the
most mercurial of ways. The
British indie-electronica trio
paint life into each song with
unabashedly honest lyrics, and
the synthesized, bassy beats –
like water: sometimes choppy,
sometimes rolling, always
alluring – feature as a spirited
asset to vocalist Dominic Gore's
almost deadpan lyrics, which
call out things for what they
really are. So tell us, Little Cub:
“When do you tire of being right
all the time?”
(Domino) Savannah Douglas
Perfume Genius
No Shape
Mike Hadreas is Perfume Genius
and this, his fourth full length
release No Shape, breathes new
life into his compelling sound.
Otherside is a delicate opener
that surprises with moments of
bombastic eruption. The beat
sampling on the album is the best
we’ve ever heard, with Go Ahead
steered by a relentless thump
that can be felt in the pit of your
stomach. The electrifying Sides
features Weyes Blood, who stuns
with her magnificent soprano.
Closing track Alan is a touching
song dedicated to Hadreas’ partner,
someone who has been integral to
both Hadreas' musical endeavours
and his coming to terms with his
struggles. Hadreas isn’t afraid to lay
himself bare within his songwriting
– a trait that listeners will continue
to find comfort in. (Matador/
Remote Control) Holly Pereira
Allday Speeding
From Adelaide to Los Angeles via
Melbourne, rapper Allday – real
name Tom Gaynor – is carving his
own lane in Australian hip hop.
Avoiding the old school clichés that
are often associated with our local
scene, he instead takes cues from
current artists like Drake, Travis Scott
and Tory Lanez, mixing in his own
distinct flow and pop sensitivities.
In Motion – featuring a dreamy
soundscape by Japanese Wallpaper
– hits right in that rap/pop sweet
spot; likewise, Melbourne singer
Nyne’s hook on Sides wouldn’t
be amiss on an OVO project.
But don’t let Gaynor's mumbled
verses fool you for laziness – his
style is purposely crafted. For all
of the album’s drinking, smoking
and partying bravado, there is an
underlying theme of a young rapper
growing up and reaching out to grab
deserved opportunity.
(UNFD)Tim Lambert
She-Devils
She-Devils
She-Devils are the Montreal-based
duo of Audrey Ann Boucher and
Kyle Jukka. Their debut album is
quite accurately self-described as
"a fun-house world of beautiful
chaos". It's a vivid pop vision that
draws on various movements from
the past few decades: slick '50s
greaser rock with the romantic
sheen of '60s jukebox staples, for
example, or rhythmic '70s punk
played by an '80s chart-topper.
She-Devils cite icons and auteurs
like Iggy Pop, Madonna and T-Rex
alongside Yayoi Kusama, Andy
Warhol, John Waters and Quentin
Tarantino, and while there's a clear
reverence for these past masters,
She-Devils also offer something
exciting and entirely new.
(Inertia) SimonWinkler
Aldous Harding Party
There's a particular range of
emotions that arrive before the
party. At the party. After the party.
Excitement, anxiety, vulnerability.
Ordinary moments are elevated and
by contrast our everyday lives are
brought into focus. So too with Party,
the new album from Aldous Harding.
It's a rare artistic achievement to
evoke these heightened feelings, and
capture with poetry and precision
something of our interior lives. But
Aldous makes it appear effortless
with her finger-picked guitar melodies,
slow deliberate piano chords,
commanding, uniquely phrased
vocals, strings, and subtle saxophone
interludes. In this space the usual
rules don't apply, and songs such as
Imagining Your Man are punctuated
with unexpected moments that
thrill with playful boldness. Deep
feelings and details that usually hide
in the silence are amplified. And like
the best parties, it's a completely
transporting experience. (4AD/
Remote Control) SimonWinkler
Screamfeeder
Pop Guilt
The ’90s were a brilliant time
for Brisbane music, with
Powderfinger, Regurgitator,
Custard and Screamfeeder all in
play. “I’ve gone away for a long,
long time,” Kellie Lloyd sings on
Screamfeeder’s first album in 14
years, which comes 25 years after
their debut. “I might have some
regrets,” Tim Steward adds, “but I
don’t let ’em kill me.” These songs
sound like sonic souvenirs from
the ’90s, conjuring flashbacks to
that era of triple j. But while the
record is gloriously retro, it also
manages to sound fresh and vital,
with undeniable energy and depth.
Pop guilt? Nothing to feel guilty
about here. This is an album filled
with diverse delights.
(FOUR|FOUR/ABC) Jeff Jenkins
Strangers
Mirrorland
From the depths of personal
anguish comes Mirrorland from
Melbourne rockers Strangers.
On their sophomore record, the
four-piece continue the rich history
of Australian progressive rock
started by stalwarts like Karnivool
and Dead Letter Circus. Frontman
Ben Britton’s understated growl
anchors the anxious undertones
of a record fighting its way out
of the pits of human emotion.
Built on roaring riffs, rolling drums
and a snarling thematic vocal
performance, Mirrorlands is a
brooding ten-round heavyweight
championship bout, with The Wall
and Hex Mob packing the biggest
punches of all.
(Sony) Adam Colby