Album Reviews

ALBUM OF THE WEEK

COLLATERAL

NERVO

[SONY]

* * *

SIA Furler is not the only Australian to put words into the mouths of global stars.

Melbourne’s Liv and Mim Nervo launched their career as topline writers (the lyrics and melodies) of David Guetta’s When Love Takes Over, their words sung by Kelly Rowland.

Since then they’ve written for Kylie and Britney, become international DJs and drip-fed singles under their surname.

Some are collected on this overdue debut album that’s unashamedly commercial dance in the same throbbing, pulsating vein as Guetta.

Their toplines add the human touch to electronic music, something for people to connect with not just fist-pump to. They’ve also stepped up as producers here and also write the music on Rainham Road.

Bulletproof, sung by Swede Harrison Miya with beats by Nicky Romero, is a club banger in touch with its emotional side.

Did We Forget mixes big drops with the Ellie Goulding-style vocals of Amba Shepherd.

Oh Diana dips into trance, Haute Mess (with Melbourne’s Ivan Gough) steers close to novelty EDM while Hey Ricky adds a welcome truckload of sass via vocalist Kreayshawn.

The sisters sing on Let It Go, which is almost an electro ballad, save for the heavy bangage in the chorus.

The highlights move away from today’s DJ culture. It Feels (also sung by the siblings) was co-written with Adrian Lux (Teenage Crime) with a moody ’80s sheen replacing waiting for the turbo drop.

Also refreshingly stepping away from mainstream EDM is The Other Boys, a disco dream team of BPM buddies Nile Rodgers, Kylie Minogue, Jake Shears and Fred Falke. Sometimes some Chic A-list funk beats a basic banger. / CAMERON ADAMS

SOUNDS LIKE: a soundtrack to shredding for Stereo

IN A WORD: pumped

ANOTHER ONE

MAC DEMARCO

[SPUNK]

* * * *

Is this Mac DeMarco’s Sea Change? No, he’s still with his girlfriend of five years, Kiki, they now live in a huge far-off house in Queens, NY. The evergreen, always-dusty DeMarco writes heartbroken love songs like nobody’s business. He offers a mini-LP of mogadon torch-songs and nimble alt.blues numbers. “Never believe in a heart like hers again” he cries, then “Will she love me tomorrow, I don’t know, I don’t think so.” DeMarco pulls you in close on these paeans — you can lay down on these things like they’re banana lounges. At the conclusion, he offers his home address (!) and a cup of Joe to fans who make the trek. Don’t underrate this release like I did with initially with Salad Days. Idiot. / MIKEY CAHILL

SOUNDS LIKE: a break-up record, in the third person

IN A WORD: therapeutic

SPEAKERZOID

THE JUNGLE GIANTS

[AMPLIFIRE MUSIC]

* * *

When Cake toured for Harvest Festival three years back, everyone rubbed their ears in disbelief at how well their streetwise, jive-talking had aged. Brisbane op-shop pop tarts The Jungle Giants have their cake and eat it too — they’ve retained a tactile sound you can dance to as Sam Hales hovers above like a film-narrator then floats down to sing the hooks/choruses. In the same way Ballpark Music’s new-found seriousness doesn’t suit them, The Jungle Giants willingness to be the weirdo at the party fits them like that beanie on Chet. “Do yo wanna go to Mexico?” Hales asks, ready to jump on the next courier flight in a chicken cage. Still, this feels like the good album before a truly original, great album. / MIKEY CAHILL

SOUNDS LIKE: Creepy Cool is the way to groove forward

IN A WORD: fluttery

HOOPS

THE RUBENS

[IVY LEAGUE]

* * * 1/2

SYDNEY’S The Rubens follow up a platinum first impression on their debut album with warm familiarity. It’s a wise move — there are no second chances for the wrong sophomore set these days. They sit in that sweet spot between Triple J and Triple M, the way Powderfinger did. Hallelujah packs a swampy rock swagger, the gospel nods matching the saint v sinner lyrics. The booming Cut Me Loose and The Night Is On My Side sound like a band who now know big works better live, title track Hoops realises less is more when it comes to a short, sharp (radio) hit. There’s some new tricks — Bitter End throws a touch of James Blake vocals in to an epic mix while Things About To Change fires up some welcome soul. / CAMERON ADAMS

SOUNDS LIKE: wasn’t broke, didn’t fix

IN A WORD: solid

LOUVRES

REQUIEM

[MINIMAL AESTHETICS]

* * * *

Emerging Aussie MC Requiem has made an exploratory — and imaginative — “official” debut spurred by his relocation from Melbourne to Darwin. But Darwin’s turbulent tropical climate also seeps into the music here – Requiem, collaborating largely with beatmaker Cam Bluff (Allday), contemporising classic ‘90s hip-hop with an equatorial, downbeat post-trap orientation that, textured with occasional turntable cuts (and beatboxing!), evokes The X-Ecutioners’ illbient excursions (cue the older Early AM). Louvres admirably showcases Territorian MCs and singers – among them Roymackonkey frontman John Coulehan on the cruisy, G-funk Tropical Low. / CYLCONE WEHNER

SOUNDS LIKE: Northern exposure

IN A WORD: unusual

Agree? Disagree? Wanna argue about in 140 carefully crafted characters or just follow people with decent taste? Be my guest: @cameron_adams,@joeylightbulb and @therealcyclone

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