Latest Album Reviews
Will Josh Pyke or will he come around to your house? Do you take our review of Gurrumul as gospel? Is Albert Hammond Jr. playing different strokes? Can Ducktails stay high and dry? And will you have what Lianne La Havas is having?
ALBUM OF THE WEEK
BUT FOR ALL THE SHRINKING HEARTS
JOSH PYKE
[WONDERLICK/SONY]
*** 1/2
Josh Pyke got lucky by getting attention for his songs, not his scene.
Ironically impassioned, sensitive male folky singer/songwriters are the default setting for the Australian music scene right now.
For his fifth album Pyke hones his musical comfort zone.
It wasn’t broken, it didn’t need fixing, but it’s finetuned with complimentary new tricks. His not-so-secret weapon remains: those tunes, that voice.
There’s a Line has an intergalactic electronic pulse without losing any of his trademark warmth. Think Nick Drake meets Radiohead.
It’s also one of the many moments here with gorgeous string work to sweeten the deal.
Songlines is a bear hug of a song; Pyke knows how to make a chorus really smile.
It’s one of two co-writes here, penned with Marcus Azon of Jinja Safari, possibly responsible for the driving, military percussion.
The other songwriting guest is relative newcomer Dustin Tebutt, who helps Momentary Glow sound heartfelt and haunting.
Book Of Revelations has an enticing woozy feel, while Pyke sounds like a broken man on the glum When Your Colours Go.
Album highlight Doing What You’re Told channels vintage George Harrison as it evolves into a happy, hippy singalong.
Late Night Driving’s intimacy is reinforced with tender strings while at the other extreme Still Some Big Deal rustles up some swagger.
Someone To Rust With provides a direct hit of pure Pyke, stripping things back to showcase the solid foundation everything else is built on. / CAMERON ADAMS
SOUNDS LIKE: refining not reinventing
IN A WORD: inviting
ST. CATHERINE
DUCKTAILS
[DOMINO]
***
There’s a season/reason for unassuming baroque pop: winter. Just as lemon sorbet is a nonconformist treat when it’s cold, Ducktails’ just-getting-the-job-done-over-here-don’t-mind-me songs warm up freezing physical extremities better than listening to Noiseworks’ Hot Chilli Woman. On his fifth album away from Real Estate, LA’s Matt Mondanile gives his drum machine a little pop pourri on Church feat. Julia Holter and writes us an instrumental postcard on The Disney Afternoon. Rob Schnapf (Elliot Smith) dresses these songs up in a paisley Snuggie and on Headbanging In the Mirror feat. James Ferraro they come across as a well-adjusted Vampire Weekend meets Broadcast. / MIKEY CAHILL
SOUNDS LIKE: Stereolab replace white coats for sweaters
IN A WORD: niiiiice
MOMENTARY MASTERS
ALBERT HAMMOND JR
[LIBERATOR]
*** 1/2
The man behind the signature sound of The Strokes mines indie gold on his third effort but you wouldn’t tell from its deceiving tracklisting. Born Slippy and Razors Edge aren’t the disastrous Underworld and AC/DC covers haters would want. The album drifts from frantic rock, pop and angular indie for his most consistent release since 2006’s Yours To Keep. On Momentary Masters Hammond finally finds his voice can match the songwriting. The angular Caught By My Shadow would make Bloc Party blush and brilliant yet daftly titled Sideboob would make fellow stroker Julian Casablancas rethink his abominable last solo effort. Above all it doesn’t leave you wondering — Is This It? / SAM KELTON
SOUNDS LIKE:Albert’s theory of relative indie
IN A WORD: triumphant
THE GOSPEL ALBUM
GURRUMUL
[SKINNYFISH/MGM]
*** 1/2
If you don’t say much, when you do, people listen. Gurrumul is testament to this. It’s not custom for his people to give interviews, he doesn’t need to, all you need to know is within his quivering, ever-reaching timbre. Gurrumul sings in his Yolngu language on this album, a combination of the music of his clan and what he hears at his local Methodist church. Jesu genuflects first with drum brushes, wizened cellos and that singular, time-stopping voice. Garray Jesu (My Lord) won’t bother God a bit, it moves around the room finding genuine purpose in the details, Baptism harks back to Miss Sarajevo, Hallelujah wiggles around like a freshly caught fish and Saviour is a jolting, rolling bluesy cut. / MIKEY CAHILL
SOUNDS LIKE: Antony and the Johnsons in Holy Motors
IN A WORD: soothing
BLOOD
LIANNE LA HAVAS
[WARNER]
*** 1/2
The Prince-approved folsky UK soulstress Lianne La Havas loves Radiohead. Yet this assured sequel to 2012’s Is Your Love Big Enough? bears the sleek elevation of Massive Attack’s neo-dub. La Havas, teaming with Paul Epworth, Jamie Lidell and reggae don Stephen McGregor, isn’t “future” but modern soul – more Corinne Bailey Rae than Laura Mvula. She celebrates her Jamaican and Greek heritage on the smooth, groove-led Green & Gold. The retro, brassy Midnight betrays Amy Winehouse’s influence. However, it’s Never Get Enough that is incongruous – raucous, distorted rock. Epic lead single, Unstoppable, remains Blood’s apex: ‘80s Tina Turner-meets-John Legend. / CYCLONE WEHNER
SOUNDS LIKE: blue (blood) lines
IN A WORD: polished
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