STACK #142 Aug 2016

MUSIC REVIEWS

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The Avett Brothers True Sadness “ True Sadness is a patchwork quilt, both thematically and stylistically,” claims Seth Avett on The Avett Brothers' ninth studio album. With brother Scott and a talented band of musicians, they offer a lot more than is expected on these 12 excellent tracks. Stitched within the quilt are many contrasting sounds of psychedelic pop, beats, orchestral strings, rockin’ folk and country and influences ranging from Queen to Gillian Welch and a whole lot more. Once again produced by Rick Rubin (Johnny Cash, Tom Petty), these are songs that are so beautifully raw, heartfelt and overflowing with disappointment, hope and true sadness. (Republic) Denise Hylands Dinosaur Jr. Give A Glimpse Of What Yer Not As an alternate to the instant nirvana of Farm (2010) and the effortless catch-and-embrace of I Bet On Sky (2012); J. Mascis’s latest with his most popular moniker offers an earlier-sounding tinge to this record, nowhere better exemplified than on Be A Part . It’s that unmistakable Fogerty-as-a-Gen-X-slacker vocal vibe and melody we love so well, again present on I Told Everyone . A distorted country/folk ballad arrives via Lou Barlow (written by, and on vocals) on Love Is… which segues masterfully into the fire/fury of Good To Know . This a grower – and like all DJ albums, it’ll take just two listens to feel like a well-worn pair of socks you refuse to throw out and instead wear to bed when no one’s watching. (Jagjaguwar/ Inertia) Chris Murray

Eli Paperboy Reed My Way Home

Trust Punks Double Bind More joy from NZ’s wall of sound in the debut from these five young men. 2014’s release was not quite a full album, but offered a garage-y affair with swagger and spunk – on these 11 tracks we’ve left the garage (not too far, mind) and entered the studio with a bucket of angst to chow down on. That seductively dangerous alternate punk sound of the early underground ‘80s combines with fresh vengeance on Leaving Room For The Lord , while the opener Paradise/Angel Wire would easily have captivated a thinking man’s mosh pit at a mid-‘90s outdoor festival. Fire, anger, sharpness and raw energy comes through effortlessly throughout this must- have grower, yet it still retains a refined and superior delivery usually reserved for far older artists. (Spunk) Chris Murray

The Amity Affliction This Could Be Heartbreak Amity have officially reached levels of popularity that very few people saw coming. The Brisbane- based metalcore band have enjoyed a steady rise to become synonymous with Australian mainstream ‘heavy’ music, with thanks in no small part to triple j who have lent them unwavering support in recent years. Recorded locally at fresh new Melbourne recording studio Holes and Corner with longtime collaborator Will Putney, the album’s clear standouts include This Could Be Heartbreak and nominated lead single I Bring The Weather With Me . Both are powerful but also incredibly vulnerable, leaving behind tough guy posturing in preference to hopeful honesty. Solid. (Roadrunner/Warner) Emily Kelly Masked Intruder Love And Other Crimes Masked Intruder’s 2014 LP MI was comfortably one of the year’s best, unexpectedly surpassing their self-titled debut in every way. The Wisconsin pop-punk band know how to write a hooky tune so effectively that their gimmick of secret identities and performing only in coloured balaclavas really seems totally unnecessary at this point. Their continued lyrical themes of crime, jail, retribution and endlessly, hilariously unrequited love sure work for them; Love And Other Crimes is another concise and woefully catchy collection of unadulterated pop. Most of these tunes could be performed acapella by a barbershop ensemble and not be a lick out of place. Still one of the most fun bands in punk rock. (Pure Noise) Emily Kelly

Guilty as charged; I’d never heard of the guy… that is until I HEARD him. From the first millisecond of his fifth album (*hangs head in shame*) you are hooked, sold, floored, seared, flayed, gobsmacked and pretty soon that dribble pouring out of your open mouth will attract flies. A Chicago soul swagger with deep roots in sassy floor-shaker ethics, it’s as if Jon Spencer and James Brown had a kid and it grew up on stage singing northern soul belters with enough lava-fuelled energy and authenticity to make death metal groupies weep and raise their palms to the heavens for forgiveness. There’s no dud on this album; just buy it and crank it, because it's toppled Will Toledo (he of Car Seat Headrest) from my Album of the Year list. (Yep Roc/MGM) Chris Murray

MUSIC

Jason Walker All Night Ghost Town

Ball Park Music Every Night The Same Dream Part of the brilliance of Ball Park Music is that their songs communicate messages about things we may neither think about nor necessarily want to hear, in ways that are inherently pleasing. A 'Life Lessons For Dummies' or a 'Nihilist’s Guide to the Galaxy', if you will. Their new record, Every Night The Same Dream , demonstrates an endeavour to find their sound, and features the first track ever not written by frontman Sam; Blushing . Keep an ear out for the improv’d centre of Pariah , and of course giggle at Nihilist Party Anthem – if you get a chance, the clip is well worth a watch too. (Inertia) Alesha Kolbe

Jason Walker is a writer, singer, songwriter and guitar twangin’ man. Originally from New Zealand, he has been making music in his hometown of Sydney for some years now, playing in various bands and doing his country thang. For his fourth solo album he has teamed up with producer and Golden Guitar-winner Shane Nicholson. Walker's love for real country music is evident in his songwriting and guitar twang, and these songs reflect influences from Guy Clark to Townes Van Zandt to Gram Parsons. The tracks tell stories of love; good and bad. Take note folks: Walker is a genuine country troubadour. (Lost Highway Records/ Universal) Denise Hylands

AUGUST 2016

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