It takes patience and determination to be a Faker fan. Which isn’t to say good things don’t come to those who wait, but for this beloved Sydney band, we have all grown significantly older since the release of their sophomore album Be The Twilight in 2007. Having already released the dance-embraced about face that was “Dangerous”, Faker are strengthening their return with the prelude-to-album release entitled How Did We Not Get Loved?. The EP features five new songs, including the strangely titled “Back When Solvents”, which Hudson confessed on twitter as being “possibly our best song about bike safety ever”. Well, there you go. How Did We Not Get Loved? is out October 9, coinciding with a nation-wide tour.

Back When Solvents by Faker

The second in what we’re sure will be a long running series, Future Pop 2.0’s premise is to capture what’s hot in pop (did I just say that) and electronica and compile these with a few remixes in a capture all two disc set.

All the big hitters are here and the playlist runs like a who’s who of popular music: Empire of the Sun, The Presets, MGMT, Cut Copy, Pnau, Santogold, CSS… you get the idea. The first disc starts out safe enough, how can you not like The Tings Tings? (answers on a postcard to the usual address). But a couple of tracks in and not for the last time we do our first Scooby double take — Cindy Lauper! Hardly cutting edge but fair enough everything is cyclical and all that, so she’s probably due her next flogging, figuratively of course.

It’s all a bit too saccharine sweet though. We can imagine our kid sister going mad over this, and she can certainly keep Sam Sparro, but this is definitely top heavy on the pop. Even the inclusion The Cardigan’s “Erase/Rewind” has been given the commercial remix treatment. Maybe we’re listening to the music in the wrong format, the girls on the bus this morning seemed to think that it sounds better out of the speakers on their phones, so possibly we’re missing the point.

Disc two is like the cooler older brother kicking off with a bit of Luke Steel’s craziness with Empire of the Sun’s “Walking on a Dream”. There’s not much to fault here and the inclusion of both Neon Neon’s “Left Her On Alderaan” and Ladyton’s “Ghosts” is inspired and certainly cleans the palette after some of the earlier tracks.

Future Pop 2.0 is never going to be a world beater, it does play to the middle ground mostly, but it is a pretty solid compilation if this is your type of thing. Basically if you’re after some advice — keep disc two and give disc one to your kid sister.

Garry Thomson

Win copies of futurePOP 2.0

January to March in Australia is much like June to August in the Northern Hemisphere — a time when every artist with half a brain (or a half decent good promoter) gets themselves on a summer festival bill. For bands the positives are obvious: the days are hot and sunny, the sets are short and the vibe relaxed. The money’s not too bad either. This year saw several new events try to get some of the festival pie but you have give the Sunset Sounds promoters full credit for such a ballsy move of creating a two day mid week festival. Still with  three stages and a diverse drawcard it has the potential to hold its own against the more established events.

An entry line that snakes for several hundred metres past the Botanic Garden entrance hinders our efforts to catch the start of our first day “must-sees” Tegan and Sara but we arrive just in time to hear their signature tune “Walking with a Ghost” waft, somewhat anaemically, across the Riverstage. There’s a sizable crowd and we can’t help but wonder why the twins weren’t allowed a later time slot. Quibbles aside it’s a pleasure to finally see the sisters (plus three capable but rather anonymous looking blokes) plough through one of Webcuts’ favourite albums of  2007, The Con. The songs which rely on acoustic guitars,  (e.g. “Where does the good go” and “Call it Off”), carry across the arena best, as the percussion and moog heavy numbers are a tad murky. An unexpected but welcome excursion into their back catalogue comes when “Hop a Plane” segues into “Superstar”, a song from their ten year old debut. While the humorous stage banter between the Quin’s is largely absent, much like shade, given a choice between songs and patter, I’m glad they chose the former.

Apparently Sharon Jones and the Dap-Kings put on a crowd pleasing show but Webcuts stays put for Faker whose Be The Twilight was also one our picks of 2007. The trouble is that they’ve been touring that album for eighteen months solid and cracks in Faker’s “fiery indie rock set” (© Webcuts 2007) façade are beginning to show. Exhibit a) only three songs from Addicted Romantic are aired, the rest are fairly obvious selections from …Twilight b) Nicholas Munnings has moved to lead guitar and a dude resembling a roadie on speed is now playing bass and c) Nathan Hudson’s clamber up the speaker stacks and subsequent jump down is no longer the thrill it used to be.  A new song is aired, which indicates a possible down-beat electronic path for the band, before they round up the set somewhat predictably with “Sleepwalking” and commercial radio/TV promo stalwart “This Heart Attack”. We would advise Faker to remember the three R’s — Rest, regroup and re-fresh.

As night falls and copious amounts of alcohol and to our surprise, corn on the cob, are consumed thousands descend upon the Riverstage to await the arrival of The Kooks. Webcuts isn’t too excited about the The Kooks to be honest. If it was fifteen years ago when Britpop was all systems go then their English accent vocal inflections, mix of Kinks acoustic guitar and staccato strummed rock anthems, a la Supergrass combined with fifth form poetry would’ve seen us up the front. It is 2009 however, and like DC Root try as we might we just can’t warm to Luke Pritchard’s delivery. They band play a tight set though, cherry picking selections from their two albums and seem to push all the right buttons. As we look around and notice the ear to ear grins spread across the crowd, we realise maybe it’s just us.

The Hives however, proceed to blow all proceeding artists — both the good and the average — completely out of the water. Marching out into the staid air with immaculate white dinner jackets, black shirts and trousers and striped ties, they immediately gain points for their admirable, if foolish, favouring of form over function. Careering into “Walk Idiot Walk” singer Howlin’ Pelle Almqvist is almost a blur whipping around the stage like a rabid animal, part Jagger part Iggy.

His bravado and frequent arrogant mouthing off would be idle boasting if The Hives didn’t have the songs to back it up. They do: “You Dress Up for Armageddon”, “Two-Timing Touch and Broken Bones” and “I Hate to Say I Told You So” apart from having long titles in common, are three minute blasts of classic garage rock — simple riffs, whip sharp percussion and shout-a-long choruses which make perfect festival fodder. Halfway through the set the sound is abruptly cut, due to amp damage or time restrictions, no one’s entirely sure, but it gives Pete material for the rest of the set continually reminding Brisbane that “You don’t cut the power on the Hives’. In-fucking-deed.

Day Two: Thursday 8 January 2009

Sunset Sounds Day two is slightly less populated and thus a more relaxed affair. Although the grey skies threaten to unleash their bounty they never do but at least make the heat more palatable although the humidity still reaches sauna like levels.

I Heart Hiroshima are well regarded in Brisbane but their trebly mix, partly due to lacking a bass player, rudimentary blues riffs and shouted vocals make this reviewer break out in a cold sweat as we are transported back to the riot grrrl movement. Though tracks like “PUNKS”, which has some semblance of melody, have an awkward charm and show more promise.

We were looking forward to Santogold as both aurally and visually she stands out from most of the acts gracing Sunset Sounds’ stages but we can’t help but wonder how she’ll translate live. As it turns out half her set is taken up by a DJ mashing up a pedestrian mix of rock and hip-hop before Santi White, resplendent in a gold outfit, treads the boards. This is a PA performance so she sings over the top of her records while an imposing female dancer on either side fills the stage. The new wave pop “L.E.S. Artistes”, dark dub of “Anne” and even the MIA style hip-hop “Creator”, are admirable songs delivered with relish, although obviously they don’t stray too much from the recorded versions. Ms White recruits a dozen audience members onto the stage to gyrate inanely for the last number and then it’s all over. Admittedly Santogold only has enough material for thirty-five odd minutes but we still feel a little short changed by the whole affair.

Webcuts has a wander to check out the other stages and discovers the leafy surrounds of the Botanic Gardens stage and Melbourne’s Blue King Brown. Now reggae/roots/blues isn’t really our bag but we’re impressed by the blue striped eye makeup of singer Natalie Pa’apa’a and the undeniably talented twelve piece band on stage. It’s just not enough to hold our interest for more than a couple of songs though and so we trundle back to the main arena for homecoming heroes The Grates. We’re perturbed initially to see the usual energetic, jumping jack flash singer Patience Hodgson sitting down on a golden throne but all is revealed when Patience explains the situation is due to a rock move gone wrong at a previous gig causing a sprained ankle. That she still manages a wide eyed, jubilant performance is a testament to her talent and permanent jovial demeanour.

Apart from the throne fit for a queen the stage is decked out with giant revolving stars, multi-coloured pillars and inhabited by an assortment of dancing characters (the grim reaper, astronaut, rabbit and er, a chicken) which just add to the sense of fun. For the band to be playing a homecoming gig with thousands in attendance all going apeshit and shouting the words to punk-pop anthems like “Science Is Golden”, “Aw Yeah” and “Burn Bridge” must be truly — wait for it – gratefying.

The Hibiscus stage is the smallest of the three stages and a perfect place to sit down and relax away from the sweaty hordes. In this setting we are introduced to locals The Boat People and find they are the perfect soundtrack for our evening meal. Catchy indie rock — like a grungier Lucksmiths – three part harmonies and self deprecating humour between sets. What’s not to like?

The Hives’ performance is still the talk of the festival so it is with an air of expectation that the four members of Scotland’s Franz Ferdinand stride onto the main stage. Suited and booted in matching red and black attire Alex, Bob, Nick and Paul are certainly not going to be outdone sartorially wise. As they launch into boisterous hit “You Could Have it so Much Better” it’s apparent they’re also going to give The Hives a run for their money musically as well. Career defining singles “Dark of the Matinee” and “Take Me Out” are early highlights but we begin to wonder whether it is a smart move to play the crowd pleasers so soon. Our fears prove unfounded as songs from their new album Tonight – Franz Ferdinand such as the steely, electro-disco thump of “Ulysses” and dark techno odyssey “Lucid Dreams” sound terrific and appease the masses.

Any suspicions that Franz Ferdinand would do a Kraftwork and be situated behind a row of laptops prove unfounded as Alex swaps between front man and knob twiddler roles seamlessly. The pounding, choppy guitar masterwork of “Michael” proves a mid-set crowd pleaser and as the epic closer “This Fire” morphs into an instrumental wig out, everyone leaves tired but elated eager to get home to their laptops and download the new album.

Sunset Sounds — you successfully lived up to your name and proved that a once unthinkable concept of a mid-week, two day festival in the heart of Brisbane city could be the surprise hit of the summer — we salute you!

View many more Sunset Sounds photos at Charlyn Cameron’s website or Flickr site.

There is a litany of bands that make the decision to pack their bags and move to Los Angeles to try and catch a spark of what makes the town such a magnet for the achiever and under-achiever alike. It carries a certain charm and superiority, to tell your friends that “you’re making an album in LA”, in as much that you’ve made the “big time”, the cynical flipside of this can be seen as throwing money against a wall, hoping it will stick. The considerable expense involved rarely justifies a record company’s return, and while it’s in an artist’s interest to make the best record possible, you’ve just given them an unarguable reason, if you fail to recoup their outlay, to show you the door.

As much as the cynic that I try not to be, this was my first thought upon hearing that Sydney-based pop/rock quartet Faker, in the process of planning the next stage of their career, were doing just that. Coming on the back of their celebrated, and for some, long-awaited debut Addicted Romantic, the band could in no way be considered a last gasp act. If knowing singer/lyricist, and essentially the heart and soul of Faker, Nathan Hudson, he would’ve taken the suggestion in both hands and seen a myriad of possibilities available, knowing the allure in working outside of a familiar environment, the appeal of the unknown, and the potential to succeed or to be a success in failure.

On Addicted Romantic you were greeted by a band with a passion and fervour that you can only get from an act who’ve had time to consider and craft the perfect pop album. It was a record brimming with nostalgia and longing, and with an openness and honesty that has become Hudson’s calling card. Be The Twilight could well be Addicted Romantic’s darker twin, an album with an undercurrent of change, severing relationships and putting distance between the emotional crises that dog our every move. For this record, the line-up was stripped down by one with the departure of guitarist Phil Downing and this absence allows …Twilight a clarity in instrumentation and the opportunity to fill those empty spaces with piano, keys and other ambient sounds.

I always judge an album by its opening lines, and with a couple of electrocardiograph bleeps that signifies the start of first single “This Heart Attack” Nathan Hudson bluntly declares what is to be a recurring mantra throughout Be The Twilight. “I’m going away to be alone, I’m coming back with answers”. The entire album is taken from a view of questioning yourself, your motives, your desires, and the decisions you make — “if you don’t go, you’re never going to know”. The “heart attack” here is a simple metaphor acknowledging it’s time to take a step back before you break. On “Are You Magnetic?” under driving guitars Hudson wonders out loud whether two people are meant to be, because they keep coming back to each other, or if this magnetism is just a fear of moving on.

The strength of Be The Twilight lies in its strong production courtesy of veteran producer Paul Fox (Sugarcubes, They Might Be Giants, XTC), and the obvious eclecticism in those acts reflecting in the variety of styles that filter from track to track, where each song has it own distinct voice while fitting neatly within the theme of the album. The most obvious departure in sound is in the icy rhythms of “Killer On the Loose” where the killer in question isn’t taking lives, but leaving a mess of broken relationships “there’s nothing left to do, move on”. The tough, exterior is shed briefly on the plaintive “Kid, Please Try Harder” where nostalgia takes hold and a plea is made not to give up, and the explosive impassioned ride of “Don’t Hide” suggests that if you take a chance, it could well pay off (the playing of drummer Paul Berryman is frankly astonishing here as it is throughout the entire album). As morbidly fun as “Death Beach Party” sounds its place as the final track on the album is an odd selection, or perhaps the obvious conclusion to the trail of bodies left in the wake of the albums dozen songs, the final jig before the setting sun.

All things considered for the casual listener, it could’ve been easy to dismiss Be The Twilight a passable successor to Addicted Romantic as on first listen it’s immediately what you’ve come to expect from Faker — upbeat, infectious, danceable songs, yet without the playful “ooh la-la-la’s” that first brought them to your attention. When the album is viewed as a whole you realise just how much this band has matured and moved on. Pop/Rock acts are notoriously inconsistent and pop music is often just a repetition of basic vowel sounds without meaning, but you get the feeling that Nathan Hudson writes for no-one but himself and that kind of integrity in songwriting is often found amiss. Faker are one of the few exciting and honest, heart-on-sleeve acts that exist in Australia. Be The Twilight is almost perfection. Almost.

The only thing wrong with this album is that there is nothing wrong with this album.
[ Full Review ]   1. Jacob Golden – Revenge Songs
(Independent/Sawtooth)        

It has been a long time between drinks, but Jacob Golden’s second album was worth every minute of its five year gestation.
[ Full Review ] 2. Sloan- Never Hear The End Of It
(Yep Roc)              

The albums ironic title reflects the intense musical content of 30 songs squeezed into one cd, and while the thought does come to mind from time to time, when you start to get sick of one song, it’s already out the door and another has started. Amongst these 30 songs are some of the classic Sloan gems you’ve come to expect, with a freshness that belies album number 8 from these pop genius Nova Scotians.   2. Interpol - Our Love to Admire
(Capitol/EMI)              

“Mammoth”, “Pioneer to the Falls”, “Pace is the Trick”, “Wrecking Ball” — the titles on the sleeve were not so subtle hints to the nature of the tracks within. These are huge, epic songs built around the best rhythm section in the business, incredible dual chiming guitar assaults, moody synth and piano coupled with Paul Banks singular voice and obtuse lyrics.       3. Ted Leo and The Pharmacists - Living With The Living
(Touch & Go)              

For heart on the sleeve roots rock reggae with a finger pointing political pounce, Ted Leo never fails to disappoint. Sometimes a little
too earnest for his own good, his intentions can’t be faulted and his enthusiasm is unbounded. Living With The Living is the sound of one man still kicking against the pricks.   3. Tegan and Sara - The Con
(Vapor/Sire)              

Another long awaited disc, the fifth from Sara and Tegan Quinn, was filled with more hooks than a fishing tackle box, juxtaposed by tales of growing pains and dysfunctional relationships. [ Full Review ]      

At first listen, The Stage Names left me unimpressed, and in as much as I was probably wanting Black Sheep Boy Part 2, this was never going to be the case. From sullen strums to dancehall stomps, repeated listenings were to bear fruit, and as Will Sheff sang “what gives this mess some grace unless it kicks, man” it’s a sentiment that holds true from start to glorious sea-shanty finish.  

Yes Shout Our Loud’s sophomore release borrows heavily from the holy trifecta of ’80s UK alternative bands (i.e. those beginning with C, N and S) but it’s also informed by the rich history of Swedish indie music, adding lush orchestration and layered percussion (credit must be given to Björn Yttling’s excellent production), resulting in one of the years finest pop records.      

The experimental approach to songwriting was the key to the success of this album. Where a band could’ve easily recreated the sounds that had brought them to the level of popularity they now enjoyed, The Shins decided to throw all that aside and take a chance, that when viewed from the other side, still sounds undeniably like The Shins, and undeniably a perfect pop record.  

The debut album from the former Jack and Jacques lead singer (with help from friends such as Dot Allison, Vashti Bunyan and Colin Wilson) is a plush affair of sweeping ballads replete with piano, beautiful strings and reverb drenched guitar. Odes to life in rural England, (“Country Girl”, “A Quiet Life”), childhood (“The Disappointed”) and breaking up, (“Song of Leaving”) are among its treasures.       6. Faker - Be The Twilight
(EMI)              

Faker’s LA album was less a distraction and more a distillation of the ground covered and material written since their debut. There’s no filler or wasted moments. Nathan Hudson chooses his words carefully, the self-proclaimed ‘addicted romantic’ now finding himself on the rails, looking for the positive amongst the negative and channelling it into a captivating listen.   6. The Concretes - Hey Trouble
(Licking Fingers)              

I know I’m in the minority but I actually preferred Hey Trouble to Taken by Trees’s Open Field (Victoria Bergsman’s, The Concrete’s ex-lead singer solo project). Lisa Milberg takes over lead vocal duties with aplomb and the shift from twee 60′s folk to a more new wave, rockier direction pays off.       7. PJ Harvey - White Chalk
(Island)              

PJ Harvey has reinvented herself so many times now that you’re never sure what you’re going to get one album to the next. White Chalk is her piano album, and it’s at times a bleak, meditative listen. The simple instrumentation finding an uneasy balance with Polly’s forceful, haunting voice. Lyrically, it’s more dark introspection that you’ve come to expect with a more pastoral, Victorian edge.   7. Feist - The Reminder
(Polydor)              

iPod and eBay ad overexposure aside: “1234″ is still a brilliant pop song. What’s more it’s joined on The Reminder by a dozen others. True they don’t all reach the heights of that bittersweet number, but they do demonstrate how much of a musical chameleon Leslie Feist is. Pop, jazz, folk, country and rock are all handled with adroitness, and sung with her amazing sultry voice.       8. The Scare - Chivalry
(OK! Relax/Below Par)              

One wonders what this album could’ve sounded if the band hadn’t been so laced with whisky, but even if Chivalry was to lose half it soused charm, it still would sound 10 times better than any other punk rock band out there.   8. The Honeys - Star Baby
(Origin/MGM)              

It’s been 19 long years since Perth/Sydney siders The Honey’s 1988 debut Goddess (disregarding the splendid Ultimo compilation) and 16 since they originally called it quits, but it may’ve well have been yesterday for the freshness of the songs here. Star Baby fused folk, rock and country with Andrea Croft’s angelic voice and tales of heartbreak.       9. John Doe - A Year In The Wilderness
(Yep Roc)              

Ex-X frontman, turned alt-country troubadour, John Doe finesses another slice of weary Americana fused with a little spit and spite that you’d come to expect from this well-journeyed songwriter. With help from the likes of Aimee Mann and Jill Sobule, A Year in the Wilderness sounds a more appealing prospect than you initially thought.   9. The National - Boxer
(Beggars Banquet)              

Sitting somewhere between the despondency of Joy Division and the late night melancholy of The Tindersticks, Boxer is the fourth and most accomplished album from Brooklyn’s The National. Matt Berninger’s gravelly baritone and his often inscrutable lyrics provide a mesmerising focal point against a backdrop of opulent orchestral rock.       10. Grinderman - Grinderman
(Mute)              

Taken from the perspective of four guys sitting in a room, trying to make the antithesis of the record they normally would, Grinderman is a success. A shift to a more abrasive sound permeates, but the lapse in character, when the men stop trying to be boys, is where the rewards here lie. It’s a mixed bag, but an enjoyable listen all the same.   10. Damn Arms - The Live Artex
(Unikron)              

Melbourne’s Damn Arms are damn hard to categorise. Rock or dance? Punk or post-punk? New wave or synth-pop? In the end the point is moot because with The Live Artex they released one of the best albums of the year regardless of genre. A bass heavy mix of rock and electronica that’s so sleazy you’ll be heading for the shower by the album’s end.      

The unexpected return of one of the most dynamic bands of the 80s (a reformation only eclipsed by that of the legendary Led Zeppelin), set the scene for one of most amazing live performances this year. Their tour may have generated the most cash for any live artist this year but it was also the one that set aside any doubt they were doing it just for the money. Like proud parents going through old photo albums, The Police tore through their greatest hits while we stood and applauded, the songs sounding as fresh and vibrant as they did in the 80
s.

Sloan
40 Watt Club, Athens, GA
(15.05.2007)
The Jesus and Mary Chain
Brixton Academy, London
(07.09.07)   Faker
The Tivoli, Brisbane
(29.11.07)              

The highlight came near the end of Faker’s firery indie rock set: mid-way through hit “Hurricane”, after nearly an hour of stalking and running around the stage singer Nathan Hudson climbed one of the three metre high speaker stacks before jumping off, much to the behest of the security. That, ladies and gentlemen, is entertainment.

Ben Kweller
The Zoo, Brisbane
(23.10.07)
Shout Out Louds
The Zoo, Brisbane
(29.09.07)       ]]> http://www.webcutsmusic.com/reviews/album-reviews/2008/webcuts-top-20-albums-of-2007/feed/ 0