STACK #132 Oct 2016

MUSIC

REVIEWS

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Iron Maiden The Book Of Souls A new Iron Maiden album is always an event. Whether you’re an old head banger like myself or new to the fold, Maiden is arguably the quintessential heavy metal experience. The same can be said of The Book Of Souls – a massive two-disc affair. Maiden leave no stone unturned here, further exploring the progressive sounds of the last decade as well as the more traditional up-tempo numbers they are known for. Those expecting a return to the eighties may be disappointed; Iron Maiden however, has been there, done it all, and in their twilight years are still creating music that remains challenging and engaging. ( Parlophone) Simon Lukic

Slayer Repentless

Repentless comes with an insurmountable amount of baggage. It’s the first Slayer album minus the late Jeff Hanneman and it features the return of drummer Paul Bostaph, after Dave Lombardo's incongruous departure. The question is, does Repentless deliver? Well, it’s easily Slayer’s strongest album in a long while and possibly the band's best since 1994’s Divine Intervention (not a difficult achievement, considering how weak their last four albums have been). It’s not all good – a number of songs should have remained in the rehearsal room – but for what it’s worth, Repentless is a solid effort from a band who have experienced better days. ( Nuclear Blast/Caroline) Simon Lukic

Robert Forster Songs To Play Songs To Play is a mundane title but a magical album. I mean, how could you not love an album that includes a song called I Love Myself And I Always Have ? Of course, one of Robert Forster’s '10 Rules of Rock and Roll' states that the second- last song on every album is the weakest. But I Love Myself – complete with country coda – is a

standout. “I hold myself in high regard,” Forster declares, “and loving yourself shouldn’t be so hard.” This is a record rich in irony. The opening cut, rock anthem Learn To Burn , is a song about impatience. Forster claims he’s waiting for no man, except maybe Dylan – though he has made his fans wait seven years for this solo album. Another one of his rock rules is that “great bands don’t have members making solo albums.” Fair point, though sadly the Go-Betweens’ career was curtailed by the premature passing of Grant McLennan. You can hear how they have influenced contemporary acts like Oh Mercy, Dick Diver and The Ocean Party, but Songs To Play shows that Robert Forster remains the master. ( EMI) Jeff Jenkins

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Dan Lethbridge Inner Western

Rob Hirst and Sean Sennett Crashing The Same Car Twice Rob Hirst is not waiting around for a Midnight Oil reunion. Hirst makes music. It’s what he does. Here he joins forces with Brisbane journo and muso Sean Sennett to deliver a cracking garage rock record. Opening salvo, When Darkness Comes , sets the scene: it’s a 1.51-minute slap to the face. The record has echoes of the Oils and snatches of The Saints, while Radio Birdman’s Deniz Tek pops up on Call To Arms . It’s classic Oz rock: big guitars, but plenty of melodic hooks, showcasing Hirst’s underrated vocals. Who would have thought a couple of old blokes would have so much youthful exuberance? ( Sony) Jeff Jenkins

The Arcs Yours, Dreamily

City and Colour If I Should Go Before You

The title of Dan Lethbridge’s third album says a lot. These are not songs for the latte-sipping inner- eastern elites; these are sturdy songs, robust and true, gritty and real. Produced by the ever-reliable Shane O’Mara, highlights include I Want You With Me , with its Byrds- like chiming guitars, and Love Is The Only Thing Left , in which the singer confides: “All of the hearts I’ve held in my grasp, but I only break them.” Dan Lethbridge is 2015’s best songwriter that you’ve never heard of. Indeed, in the opening track he confesses: “It feels like nobody is listening.” It’s time he got the audience he deserves. ( Vitamin) Jeff Jenkins

‘Side project’ of The Black Keys' Dan Auerbach, this is a most up-beat, almost poppy affair. Not a bad thing if you’ve the chops to mix that up with carnival-after- closing melodies and soulful flashes of vocal flair ( Put a Flower in Your Pocket ). It’s nigh on disturbing how this guy (and of course a team of talented musos) can effortlessly conjure such immersive and comfy tunes you feel at home with immediately. Akin to Dr. John’s amazing 2012 album Locked Down , The Arcs offer intricacy and exotic depth to this menagerie of many ideas. You’ll be rewarded. ( Nonesuch/Warner) Chris Murray

Labeled as a ‘folk’ artist, here you’d be excused for thinking Dallas Green (the man behind the moniker) is a huge star from the late ‘70s, delivering tales of loves lost and unrequited, with a sound that licks your ear. You can picture him sitting on a stool singing the title track: it’s late and the bar is full of lost souls enveloped and swaying within his spellbinding truths. You cry, you understand, you lament – and then you buy his CD on the way out, as it’s now the soundtrack to the rest of your misery and hope. Yes, it’s that good. ( Dine Alone Records) Chris Murray

OCTOBER 2015

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