STACK Nov #133

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On My Speakers
With a lustily low singing voice such as
Jack Bourke’s, you’re likely to get a few
unwarranted comparisons from folks. “I remember
playing a Battle Of The Bands when I was about
16 or 17, and we were judged very harshly,” he
begins. “One of the reviewers made this backhanded
compliment – I don’t know if it was a compliment,
actually – it was something like, ‘The lead singer is
clearly trying to sound like Ian Curtis.’ I was like, who
the hell’s Ian Curtis? Looked him up, made my own
assessment and decided the reviewer was full of
sh-t.” Curtis is a worthy lodestar, but when you hear
the voice leading City Calm Down’s
ethereal guitars and synths you’re
more likely to invoke Kirin J Callinan
or Jack Ladder. “I try and sing in a way that
feels natural,” Bourke says. “There are a
few songs on the album that probably push
what I’m capable of, which was an exciting
thing to do, but different voices just sound
better in different ranges, and finding where
that range is is a really important part of the
process.” It’s possible that producer Malcolm
Besley – who has worked with the band
many times previously, most notably on their
2012 EP Movements – had something to do
with that rhythm of push and repose. Bourke
has previously described Besley as a “true
believer”, and it seems his emotional support
was valued as much as his musical feel and
technical ability. “Malcolm reinvigorated the
project, and I really see that as his main role:
to reinvigorate the project right at the time
it needs it, right when we might’ve lost our
energy after writing… and then there’s enthusiasm
again, because we can see that the songs are
coming to life. No idea is off the table, but he also
came to each song with a vision for what it could
sound like,” says Bourke. He is confident they've
plucked the strongest tracks from what was, initially,
a huge cluster; the album roams beautifully between
galloping drums, tender and tentative lyrics, all-out
synth smashes, transcendent laments and even a
sassy duet. The ones that didn’t make the cut aren’t
necessarily dead pets (loved but not coming back),
and could be returned to later, laughs Bourke: “In a
world of infinite time we’d work on it all, but band
practice generally goes for about six hours as it is."
MUSIC NEWS
I am not going to pretend it was easy staying mousey-
quiet about what could be the most anticipated release
of the year. In fact, I'll tell you it was straight up arduous,
but let's not dwell on my travails and instead relish the fact Adele
is back in our ears again where she belongs. We're also elated
about Joanna Newsom (pictured) releasing her first album since
she married actor Andy Samberg (!), City Calm Down have finally
dropped their debut LP (look out for a pretty special feature we
have lined up next month), and I interviewed dishy, self-described
'sad boy' Bill Ryder-Jones. Bon appetit. Zoë Radas (Music Editor)
Jesse Davidson
Lizard Boy EP
Yppah
Tiny Pause
Roots Manuva
Bleeds
Floating Points
Elaenia
MUTEMATH
Vitals by
Mutemath is out
now through Remote
Control.
CITY CALM DOWN: JACK BOURKE
In A Restless House by City Calm Down is out November 6 through I OH YOU/Mushroom.
Mutemath have been
underground darlings for
a long time, with cultish fans
who love the whip-cracking
rock which displays the band’s
technically immaculate roots at
every turn. The last album from
the New Orleans four-piece,
2011’s Odd Soul, was full of
wheeling guitars, Hammond
organs abruptly sucked into
tight drumbeats, and vocalist
Paul Meany letting his pipes
vault and whisper around it all
(perfect example: single Blood
Pressure). On new release
Vitals, things take a distinctly
electro turn; some old guitar-
head devotees won't dig it but
the truth is Mutemath were
always perfectly poised to go
alt-dance, with their impeccable
timing, feel for samples and
repetition, and penchant for
the soulfully strange. Lead
single Monument proves they
can do it with panache, but
we’re also loving the airy tick of
Stratosphere, and the very Tame
Impala feel of All I See.
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Joanna Newsom
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