Alex's opinion and documents of music

THE SOUNDTRACK OF OUR LIVES
Origin Vol.1 (Telegram/Warner)

To call Soundtrack… grand is possibly the biggest understatement you could hastily make – there’s so much more bubbling under the surface of these 12 songs than a simple desire for larger-than-life sound.

These six individuals have successfully injected a purebred rock’n’roll bloodline with tripped-out psychedelica (‘Transcendental Suicide’), triple-hooked pop melodies (‘Mother One Track Mind’) and a sensual surrealism of some lost corner of the 60s (‘Midnight Children’). It’s this mixture of sexual psychedelic voyeurism and big-chord, balls-out rock that Soundtrack… place themselves within, their feet firmly planted a long lineage of sweeping pop experimentation, from early Pink Floyd to Spaceman 3.

With this fourth album, these Swedes are sure to expand not only minds but also defunct genre categorisations – the textures of Soundtrack… come from truly unique origins.

THE PONYS
Celebration Castle (In The Red/In-Fidelity)

There’s a shimmering vibrancy about The Ponys that sets them outside of any easy pop or rock classification. Guitars glisten with vitriol and the songs pound with a determined and moving force, but between the notes are delicate melodies and songs that would be much more perishable in any other hands.

From the outset of ‘Glass Conversation’, with its 100m-dash energy to the bouncy, sunny summer day sound of ‘Today I’m With You’, this debut album has that ingredient that bands like The Only Ones had – an air of celebration mixed with the moodiness of an unwinnable fight. Vocalist Jered Gummere is possibly that something extra, in possession of a unique voice, not perfect for its duties and therefore communicating more emotion than pitch-perfect clarity. There are a few dour rainy-day moments (‘We Shot The World’), which allow the listener to rest, collect and prepare for the next propulsion into boisterous skewed rock bliss.

VETIVER
Between (DiCristina/Stomp)

This band of travelling troubadours have seemingly wandered straight out of the psych-folk scene of the 60s and landed firmly in the centre of the current folk revivalist scene. Essentially the creations of Andy Cabic on vocals and guitar, these three studio tracks and two live tracks are minimalist and wafting in an air of sweet serenity, the group rounding its sound out with close friends including Devandra Banhart.

ARCADE FIRE
Power Out (Rough Trade/Spunk)

Whereas ‘dour’, ‘mournful’ and ‘sombre’ are terms usually associated with the eloquent Arcade Fire, ‘Power Out’ is the energised, fervent and explosive side of this Canadian quintet. Guitars squeal, the backbeat throbs and the vocals are taught and unrestrained. The two versions of the song here are enough to make you swoon into the night, themselves but a prelude to painting a bleak world… red!

78 SAAB
No Illusions (Ivy League/Slanted)

The latest single from one of Australia’s best and criminally ignored pop talents. These three songs from Sydney’s 78 Saab are glistening with swooning melodies, soaring vocals and undeniable sincerity – sounding as timeless as The Church or Died Pretty. Coupled with the title track are a sophisticated B-side, ‘Turn Out The Lights’, and a stripped-back version of ‘Come On’.

JOHN DOE
Forever Hasn’t Happened Yet (Yep Rock)

The former X punk frontman’s journey into country has been gradual and almost unnoticed over the past few years, but with this album it’s hard to imagine he ever played anything else. Enlisting the help of a hoard of talented musos, Forever Hasn’t Happened Yet is as sophisticated as it is rough-shot and real.

There’s a high level of rollicking momentum within the songs, Dave Alvin adding an almost honky tonk feel to ‘Losing Kind’ and ‘Mama Don’t’, while Grant Lee Phillips adds his unique, distinctly rural feel to ‘Heartless’ and ‘Twin Brother’. It’s the second half of the album though, when Doe teams up with ladies like Neko Case or Kristen Hersh, that the songs’ chemistry seems complete. Their duets give the songs a tenderness that simply sounds like remorse in earlier tracks.

John Doe has re-invented himself with this album, paving the way for a bright but not necessarily chirpy country career.

THE CORAL
The Invisible Invasion (Deltasonic/SonyBMG)

Don’t take the brown acid! Don’t take the brown acid! Oops, too late.

The strangely psychedelic Coral return with their third foray into skewed British Pink Floyd-flavoured pop.

Still intact is the retro groove that previously defined their sound, this time though the scope has been widened and the kaleidoscope enlarged. From the dreamy surf vibe of opener ‘She Sings The Morning’ to the eastern undertones of ‘Cripples Crown’, these seven lads create an irresistible world of hazy hopped-up bop. There are simple frolicking moments like ‘So Long Ago’ and ‘In The Morning’, but ultimately it’s ‘The Operator’ with its crazed organ and ‘A Warning…’ that truly define and draw you into their time-warped wide-eyed bliss.

For a journey minus the cheese and paisley posturing, The Invisible Invasion is a wonderful way to tune in and drop out without the freak-out.

THE POSIES
Every Kind Of Light (Ryko/Stomp)

You know, if the Posies hadn’t disappeared into the ether for the past seven years, it’s quite possible that they could be where the Shins, Bright Eyes or Death Cab For Cutie are now. God knows that these four from Seattle laid down one of the finest blueprints for majestic pop rock in the last 20 years.

With the songwriting duo of Ken Stringfellow and Jon Auer re-established at its core, the 12 songs here are more sophisticated, and intoxicating than anything from their first incarnation. ‘Anything And Everything’ and ‘Last Call’ are sweeping and delicate tunes akin to Brian Wilson’s fractured genius, while ‘Second Time Around’ is a powerhouse of rock riffage housing grand musical visions.

There’s a real history to great pop-rock and while there’s a lot of good alternative bands filling the limelight, thank god there’s a few chapters out there still unfinished.

OKKERVIL RIVER
Black Sheep Boy (Jagjaguwar/Low Transit Industries)

Country music is usually sad, lonely, maybe joyous but very rarely does it have a frightening air that hangs heavily above it. Some of Palace’s songs were frightening, the songs of a lost Johnny Cash were so and here in Okkervil River lies the frightening voice and music of Will Sheff.

He’s like a strange soothsayer rocking on the porch with his battered acoustic guitar, knowing exactly when and where Armageddon will arrive, but choosing to wrap the clues and answers up in beautifully delicate songs.  Each of the 11 songs here successfully punctures your heart with its sad barbs; even when disguised in a fractured rock song (‘Latest Toughs’) or apparently upbeat melody (‘Black’), they’re in fact masks covering what lost hope is still left. Both a difficult album to listen to or understand, it’s on a par with Magnolia Electric Company and certainly a one dark star in the night.

HATER
The 2nd (Burn Burn Burn/Stomp)

In amongst the grunge tornado that ripped through the 90s was a little known Soundgarden side-project of psych-dirge rock known as Hater; some 10 years later The 2nd chapter has arrived.

Comprised of the songs of Soundgarden’s bass player Ben Shepard, also on vocal and guitar duties, the band is filled out with Alan Davis from Mark Lanegan’s band on bass and Soundgarden/Pearl Jam drummer Matt Cameron.  In the years between albums, the band’s sound has become a lot darker and dirge-ridden, tracks like ‘Zombie Hand’ and ‘Otis & Mike’ full of low-end riffage, Love-like piano lines and an overall Zombies-styled 60s experimental psychedelic garage sound.

There are moments of acoustic exploration as well, ‘All Good’ holding a hazy West Coast summer of love vibe within its lazy-sounding chords. If you take the time to forget the individuals’ names and their Top 40 past, there’s a lot here to like and get lost within.

LOUIS TILLETT
The Hanged Man (Timberyard)

The long, dark and perilous road that has been Louis Tillett’s career over the last 20 years has found him unsung to too few and totally unknown to too many. Consisting of his distinct, eerie baritone voice and delicate piano and guitar lines, this album it has to be said holds more hope within it than we have seen from him in many years.

Definitely a kindred spirit with the likes of vocalist Scott Walker or guitarist Charlie Owen, Tillett here mixes his forlorn ballads (Four Walls…’, ‘Around You’) with a healthy dose of rollicking shanty-type rockers (‘Ocean Bound’, ‘Prayer Before Dawn’) – the latter having the most impact on the album’s overall mood.

It is clear that Tillett holds many skeletons and haunting memories, these songs being the result. But while this is beautiful art that may have been suffered for, still it fills you with everything but suffering.