Like a long weekend, The Bank Holiday’s follow up to 2007’s Like a Film is as pleasant as a day off work. The Perth band, once noted for creating perhaps the most glorious musical tribute to the sport of badminton, have returned with Sail Becomes a Kite, a well-crafted record filled with so many different angles, tangents and vertices, protractors couldn't possibly reveal its full dimensions.
Staying safe within the walls of the indie pop genre, The Bank Holidays have produced a likeable, sensible and ‘grown up’ album with a surfeit of contemporary influences evident across its twelve tracks. You could easily mistake singer James Crombie’s voice for that of James Mercer of The Shins. Opener ‘Tripping Up to Fall in Love’ along with ‘Oxford Street’ recall the similar narrative song writing that The Shin’s do so well. These elements similarly define The Bank Holidays of a band of equal proficiency. In addition, you’ll hear tones incorporating ideas evident within the work of The Beatles and The Beach Boys, 'The Motif' being a definitive example of the former.
However, it is Bekk Crombie’s alluring performance that reinforces the record’s pop credentials. She’s a Norwegian by birth, meaning she may have either genetic predisposition or superhuman abilities when it comes to penning pop songs. Her performance on the standout ‘Thereabouts’ is highly palatable, blending her gentle and uplifting vocal melody reminiscent of Harriet Wheeler of The Sundays, with a winding guitar lick drenched in reverb, a sound so common to this sort of music. ‘In the Desert’ is also similarly outstanding, but in a more melancholic and reflective way.
It’s a solid outing for the Bank Holidays, 'Sail Becomes a Kite' representing a win for fans of intelligent and sensible pop music, something that will satisfy existing fans, but also perhaps see them attract more local and international attention.
In case you followed the other great Brisbane based blog "Plus One", due to confusion with Plus One, the local record label, it has relocated to Passenger Side. Update your links yo!
Despite this fact, they're newsworthy. Three artists have been announced so far. Tame Imapala for Innerspeaker, Sia for We Are Born and Cloud Control for Bliss Release.
I haven't had the chance to listen to the Sia record in full, but it sounds OK from the one or two tracks I've heard from it. Obviously, I like the Tame Impala record. I was a bit disappointed with Bliss Release.
The thing I have always disliked about the J Awards is the apparent bias for rewarding artists who already experience high rotation on the station. It seems like a perennial backslapping exercise. I have always thought it would be great to make this about 'best debut record' or something like that. Reward rising talent, instead of rubber stamping bands or artists who already have an established fanbase.
Then again, I think it is fair to reward a well-crafted Australian record. But I also think that many of the nominees in previous years have released work that was questionable at best.
I don't know, perhaps I'm totally wrong here. What do you all think?
So I was mucking about on the myspace page of Soda Fountain Rag , having being led there by a little ditty mentioned on Everett True's blog, when I came across a link to a demo song by Herr Nilsson, a fellow Norwegian group who also dabble in the art of pop music.
It seems the Scandinavian's may have perfected these type of songs. While the rest of us struggle in our bedrooms trying to put together the sort of chords that will make girls (or boys) melt at the very mention of our names, the Scandinavian's put them out like a factory production line.
Have a listen to 'Little Bird Giant Wings' and you might see what I mean.
Ahead of the launch of their debut EP at the Troubadour (tonight), I had the chance to speak to Ruth and Steve from local duo, Bonfire Nights.
Hi Ruth and Steve, congratulations on the upcoming release of your debut offering. Now I know you guys have been collaborating for quite some time. What does it feel like to finally have something out there which people can grasp in their own hands?
We’re really happy to finally have a recording to share with everyone. It’s been our little secret for a while now and we’re quite proud, as it seems to be drawing a positive response from people.
Stylistically, your sound is different from your two previous musical endeavours - Steve, you with Black Mustang and Ruth, you with Hot Liquid Sex. Does this project feel more natural to you guys, more so than your previous endeavours?
It has been a natural progression for us – we started writing songs together in our bedroom for a bit of fun. It got to a point when we realised that we wanted other people to hear our music, so we started demoing tracks with the goal of recording an EP together.
It’s a project that’s very close to our hearts, because we are writing the sort of music that we’ve always wanted to write.
Ruth, I see you have now traded in the bass playing duties with to play drums. And before that, you were playing guitar. Whats the deal? Are you trying to master every single instrument on the planet?
You know what they say: “jack of all trades, master of none!” I started playing drums for Bonfire Nights out of necessity, because I couldn’t get the goddamned drum machine to work! That was an expensive mistake – all I can say is, thank god for eBay.
For the moment I might stick with the drums, but I would like to get better at the glockenspiel.
You certainly get a lot of sounds from a two piece. I note you recorded the EP on a four track. While this technique almost seems synonymous with the terminally abused label 'lo-fi', it sounds anything but that. Can you explain the whole recording process and what your thoughts are regarding the process?
We recorded the EP with Matt Redlich in his home studio in East Brisbane. The process was different to anything else we had done in the past – we recorded the tracks live, sometimes using our first take. We were looking to capture the vibe of the songs, rather than sounding technically perfect.
Although it was recorded onto a four-track, Matt knew what he was doing and the analogue tape really captured a warm and full sound. There was little post-production as well, because tape sounds so good without the need for extra tinkering.
It’s definitely not a lo-fi sound, but at the same time it’s not overly produced. When you think about it, the Beatles recorded onto a four-track and they wouldn’t be described as lo-fi. Ah, not that we’re trying to be the Beatles or anything…we just ‘borrowed’ a few of their ideas when we recorded the EP.
While obvious comparisons will be made to bands like the Kills and the Ravonettes, your sound seems more complex in terms of instrumentation. For instant the use of what I believe is harmonica in 'Leave Yourself Open' may not seem like an obvious choice for a song that has such a grandiose and crunching guitar riff during the chorus section. How flexible you guys in terms of sound? And how do these track back to your alleged influences?
Our sound is really born out of experimentation, so we’re prepared to have a go at everything and anything. When we jam, we swap our instruments a lot, and play with anything we can get our hands on. I guess I don’t really how this approach relates back to any of our influences as we don’t tend to make a conscious effort to sound like any particular band.
While the EP is strong in all regards, my favourite song on the EP has to be 'We Don't Care' - it certainly seems to be the most standout song in terms of radio playability. What do you think of that assessment?
It’s definitely an upbeat fun track – that’s the song we wrote to annoy our neighbours with.
Strangely while listening to it, I'm reminded of Supergrass for some reason. Am I way off the mark?
Yeah, we can hear definitely hear that, it sort of has the same kind of feel as ‘Alright’.
Thematically, the EP seems to speak of a carefree approach of making music. I would venture a guess that it wouldn't matter if you sold 10 records or 10,000,000, its more for the love of writing a good song or playing live. Is that correct?
Exactly, we get a real kick out of creating something from nothing. Watching a song grow and take on a life of its own is something pretty special. If no one buys the EP it’s no big deal, because it’s still fun just doing what we do.
You've chosen the classic 'Teenage Kicks' by the Undertones, and given it an interesting interpretation. Can you tell us about the process of getting permission to put it on the EP, how it came about that you wanted to use this particular song in this fashion?
I always felt the song had a real innocent side to it and we wanted to bring this element out. We like it when artists give their own interpretation of a cover, as it’s a lot more interesting than trying to replicate the original.
We had to get permission to record the cover from the publishers of the original song. This delayed the release of the EP a fair bit, but APRA was really great in helping us get the green light.
You do know that in Ireland, any person under the age of 40 knows this song back to front. Probably most people in the UK as well. What about sending this version to radio stations over there?
We may be treading on thin ice, recording a cover of a classic song like ‘Teenage Kicks’. Some people will love it, some people will hate it. We probably will send it to a few radio stations in the UK, especially as we’d like to tour there one day.
I note that this Friday's show is an EP launch AND a birthday party. What can people expect at the launch party?
The theme of girl boy groups continues this week, this time featuring the esoterically named Our Husband, a interstate collaboration between Freya (from Adelaide) and Nathaniel (from Melbourne).
Their track 'Villages' from their forthcoming debut record speaks with voices akin to Cocteau Twins and the more contemporary baltimore duo, Beach House. Featuring a striking piano , Villages immediately grabs the listener's attention with a striking interplay between guitar and piano, adding the obligatory 'dream' elements, a steady rhythmic bass line that combine to create an ethereal atmosphere.
Nathaniel, from the band, kindly gave me permission to share the love. Link below.
I know, I know. This isn't a Brisbane related post, but I felt compelled to announce the Guided By Voices reunion tour. Considering this blog is named after a lyric in 'Tractor Rape Chain' from Bee Thousand, it is relevant enough. Skeptics often liken attending reunion tours to sleeping with your ex-girlfriend, but I cannot deny that I would be excited by the prospect of the band coming to Australia, though it would seem highly unlikely at this stage.
Bee Thousand and Alien Lanes are two records which summarise everything I love about pop songs. If you haven't listened to them, I suggest doing so or alternatively punching yourself in the face.
Here are a few youtube clips of some classics. 'I am a Scientist' from Bee Thousand, 'Game of Pricks' (probably my favourite song of all time) and 'My Valuable Hunting Knife' (this version is slower than the album version for some reason and recorded in a slicker fashion, but not as good). Keep in mind that none of these clips do justice to the album versions.
Once upon a time some English guy attempted to blow up Westminister. The years, decades and centuries following this nefarious scheme, people throughout the world have celebrated this event ostensibly to commemorate the failure of the Gunpowder Plot, despite it being more likely that they generally seem to enjoy ‘blowing shit up’. While bonfire night was banned here in Australia in the 70s, locals Ruth Nitkiewicz and Steve Forster have appropriated the name for their latest musical endeavour, presumably with the objective of setting off some fireworks of their own.
Questionable metaphors aside, Bonfire Nights self titled EP is the product of an ongoing collaboration between the couple. It would be incorrect for the reader to assume this is an opportunistic attempt to tap into the ‘girl / boy’ duo trend. The genealogy of Bonfire Nights is rich enough to dispel notions that this is simply another iteration of the seemingly fashionable ‘girl/boy make indie music’ dynamic, a common trope in today’s indie pop landscape (Sleigh Bells, I’m looking at you).
So what does the EP tell us about the duo's creative journey? Well, it is obvious that Bonfire Nights have produced an accessible yet personal record. A cursory glance at the track listing hints at seemingly existential questions. ‘Own Worst Enemy’, drawing parallels to the sounds of BRMC and The Kills, is cautionary rock anecdote that indulges in the odd flange-tinged guitar solo (the flange is back in business baby!). Further investigation of the EP reveals themes of personal reflection, such as in the ballad ‘Leave Yourself Open’ (‘there ain't no sense in choice you make/ leave yourself open / when the feelings real but the words are fake / say I'm not broken’).
Despite only having two musicians on the roster (Ok, sometimes three), Bonfire Nights show a startling array of diversity over five tracks. Standout 'We Don't Care', embracing a more pop aesthetic, is designed to make ones feet shuffle. 'Don't Have to Be Here' builds from a simple guitar and vocal line into a song of operatic dimensions. The emphasis seems to be on creating a tapestry of contrasting melodies and the song is assisted by some great, yet indistinguishable, backing vocals from Ruth.
The closing song, an interesting take on the Undertones signature tune 'Teenage Kicks', continues the ideal of introspection that seems to draw the EP together. Ruth and Steve wind back the intensity of the original song, their voices whispering the famous lyrics over a simple fingerpicked guitar lick. My guess is that fans of the original song might be divided on Bonfire Nights version, but it is interesting enough to warrant some attention.
While obvious comparisons will be made to other girl/boy groups such as the White Stripes, the Ravonettes and the aforementioned (The) Kills, Bonfire Nights are not simply reproductions of these famous duos. Instead, as this EP shows, Bonfire Nights is defined by experimentation with the indie rock genre, that not only the fulfils personal goals, but is palatable to the general public.
Local pop singer-songwriter Dan Parsons has a free track available via iTunes. It is called 'Firestarter' and it is a 'single of the week', meaning it will cost you a grand total of $0 to obtain. Obviously, you have to be using an application that represents the pinnacle of software design and development, the over-bloated iTunes (ok ok, it's acceptable on Mac, but terrible in Windows).
This is probably the first time I've ever heard a Dan Parsons track despite his name being bandied about the traps for quite some time now. It's listenable and will appeal who like indie singer-songwriters - like Ryan Adams, who coincidentally has a song with a similar name ('firecracker', as I was correctly corrected - I swear these uni assignment's are making me forgetful).
Someone mentioned on his myspace that he sounds a bit like Sebadoh, but based off this one song, I'm not sure where the comparison is exactly. Educate me, dear reader.
You can check out the official video for the song below.
While listening to the second record by Australia's own The Bank Holidays (who are great!), I was reminded of one of my favourite songs by The Sundays.
My Fiction have been about the Brisbane music scene for quite some time now. They're launching their debut record at the Zoo this Friday evening and I had the chance to ask them a couple of quick questions regarding the journey so far, the answers to which vocalist Eric kindly provided with suitable aplomb.
Firstly, congratulations on the impending release of FIRE ROMANCE FIRE. I'm guessing its been some journey to get here. Can you describe how the record came to be? How long did you spend in the studio?
Looking back at the whole process it has been a massive journey, we recorded this album in two parts over a period of the past 18months. We had previously released an EP & Double A Side Single and received some success both locally and nationally but the adventures around the coming together of this album where immense in comparison.
I think releasing an album is a pretty ballsy venture, as an indie band it is always safer, easier & cheaper to go for a second EP but I have always respected local bands that put their neck/art on the line and step up to the LP plate. You only ever get one debut album and you will have to live with it for the rest of your life so you want to be happy with it. We aimed high for this album and under the watchful eye of Magoo the magician we put together a debut album that all the band are really proud of… I reckon at 80 I will be able to happily listen back to it.
Can you explain to me the significance of the record title FIRE ROMANCE FIRE? Is it some kind of description of a relationship? Or some indication of pyromania?
The track listing of the album does follow this theme in a relationship sense – if you sit for the 38minutes and listen to the album in its entirety you will kinda get it I think. In regards to pyromania yes also – the album was named after our track Fire! Romance! Fire! which lyrically is about the burning down of the Red Hill Skate Arena… and a girl I met there years ago who set my life on a different course. Cue violins… =)
Every June is a catchy little number. The video also looks like there is a story behind it. Can you explain what this song is about? It seems to me like a 'coming of age' sort of song - am I even near the mark?
Every June was written following the death of an amazing person last year who was very important to me. The video features the QLD Welter Weight boxing champion Sam the “BOSS” Leone – he is a friend of ours and had a close connection to the song so it was pretty special for us to have him feature in the clip. An interesting twist for any boxing fans out there – Sam fought on the under card for Anthony Mundine’s most recent fight at the Brisbane Entertainment Centre (last week). Sam’s ‘run on’ song was ‘Every June’… we were in the crowd of thousands watching on… felt amazing!
I recall you guys playing at my friends house party about a year ago and it was super rad, well at least until the fuzz shut us down! What can people expect at the record launch? Any guitar hero-esque wailing solos? Freak outs? Guitar smashing?
Every good house party should have a) a punch up b) random drunk vomit in the kitchen sink and c) the fuzz turn up… I am glad to hear we could assist with at least one of these =)
The launch is seriously going to be a spectacle – for us it will be quite the emotionally charged night, when the Zoo is packed and it hits 11pm all hell will break loose (we call Danny’s fro “hell”). The line-up is super tasty with the rather beautiful Judy Dolls doing their burlesque thang, Numbers Radio tearing up the stage and one of our favourite new Brisbane bands the Belligerents sharing their good looks & hooks with all and sundry… super line up. For our set expect some special guest appearances, album played live in it’s entirety, not to mention synth smashing and wailing glockenspiel solo’s… oh just you wait!
Obviously the start of a new phase of life for the band, what is on the agenda for My Fiction for the rest of 2010 and beyond?
Friday is the beginning of our East Coast Album tour that will take us down to Sydney & Melbourne including Bryon, Sunny Coast etc. I imagine there will be plenty of interstate travel coming up in the next 6months… I know some of the big music festivals are on the agenda also along with some big supports slots. We are currently nominated for a couple of Q Song awards so that could potentially be an interesting twist. We are also one of those bands that never stop writing so that will be happening between drinks.
Basically though our hope is to get FIRE ROMANCE FIRE out to as many ears as possible around this country and beyond – the current national airplay is helping that a lot. Personally I have had a long time love affair with Asia (Japan & China) so that would be rad if I could convince the powers that be that we should jump the next flight to Shanghai.
Thanks guys!
My Fiction play at the Zoo this Friday night. Tickets are $10+BF or $20+BF with a copy of FIRE ROMANCE FIRE included (I believe you can get tickets through the band's myspace site). Sounds like a bit of a deal to me!
I'm doing a bit of research into further operational restrictions within the Valley entertainment area and the rhetorical link with 'Brisbane Music Culture'. Of course, I have my own views on this, but I wonder what other think of it. If you have any time to fill out this quick survey form, it would be much appreciated.
Edward Guglielmino is a local Brisbane musician who has been doing the rounds in this fair city for the last several years. While his hilarious wikipedia entry might lead you to believe that he is a avant garde sonic experimentalist, his music is more in synch with dominant indie pop tropes that we all know and love.
Well you can have a listen to his 'old stuff' for free if you want. Well, at least for today. He is offering his 2007 Tacky EP to the masses in exchange for your name on his email list and your first born offspring of your first domestic animal.
Oh yes, a new single from Sydney band Songs self titled debut record. This is one of my favourites of their 2009 record, which was also my favourite Australian record of last year (trust me, its awesome). The video is beautifully shot as well.
Also, Melbourne group Otouto released a video for their song "Sushi" fairly recently. Their album Pip is another favourite Australian release for 2010.
Hey all. I went a bit nuts on the ol blog yesterday. Hope you enjoyed that.
In news, I've set a facebook 'fan' page. Feel free to inflate my ego by becoming a 'fan'. Alternatively, become a 'fan' and then fill up the wall with tirades of abuse. Either way, I'll be appreciative. You'll see the link through to the fan page on the right hand column (or simply click here).
I've also added a myspace site: http://myspace.com/ploasd. If you're a band or artist with myspace, I encourage you to add me on here so I can hear your sweet sweet musics.
Of course, PLOASD has been using twitter for sometime, but if you didn't know, the address is http://twitter.com/ploasd.
Somewhat ironically, in a week where our new supreme leader cracks the whip on asylum seekers, Brisbane indie-pop group The Boat People release what is probably their most accessible album to date, Dear Darkly. This is the group’s third record and comes on the back of two critically acclaimed records, Chandeliers (2008) and yesyesyesyesyes (2005).
Generally, this record doesn’t disappoint. Dear Darkly advances musically upon the base constructed by its predecessors but doesn’t stray to far from a winning formula; that of Australiana pop music. In fact, there seems to be a streak of Australian melodic tropes, common to popular 70s and 80s Australian groups such as the Triffids, INXS, Australian Crawl and the Church, that permeates the Boaties music on Dear Darkly. Have a listen to ‘Dance to My Pain’ to get where I’m coming from on this point.
Opener ‘Under the Ocean’ explicates themes that seem to resonate strongly in Australian music. We love the beach, we love the ocean and, thus, we will identify, at least on the surface, with the aesthetics of this song. Well, that’s a pretty good formula because it works to great effect (though, I have to admit, the chorus melody keeps reminding me of Icehouse’s ‘Great Southern Land’ every time I hear it).
The lyrics of ‘Soporific’, presumably written by someone with medical training, may have you reaching for your dictionary (it’s a drug that induces sleep by the way), but that shouldn’t put you off what is a strongly structured tune with a rather surprising bridging section that sounds similar to the dungeon level in Super Mario Brothers. The fact that I was humming the tune to the song on my nightly jog can only mean that it’s memorable enough to warrant endorsement as one of the best songs on Dear Darkly. ‘Echo Stick Guitars’ conjures technocratic images of futuristic rock bands armed to the teeth with digital samplers and some beat-machine rifles. I’m not sure what ‘Echo Stick Guitars’ are but I think I want one.
If those songs were not enough, the record is peppered with even more highlights. ‘Damn Defensive’ features of a cascade of sounds that combine well to produce what is probably the standout track of the record. There are simply so many interesting textures being painted simultaneously that it is difficult not to feel moved. ‘Hidden Buses’ is nothing more than lower fidelity recording featuring acoustic guitar and vocals, but is effective in conveying a matter-of-fact mood that is tremendously appealing ‘Cat’s Collar’ is a joyous singalong which preaches the immorality of sleeping with close acquaintances. ‘Pornography’ features a great little guitar riff that leads into a descriptive pop gem that recalls the best of McLennan and Forster.
However, perhaps some of the tracks work better than others. ‘Live in the Dark’ repeatedly asks some sort of rhetorical question about living in the dark (strangely enough!), but, simply put, is not as engaging as the aforementioned tunes. My problem with this song may not exactly be the song itself, but possibly its placing on the tracklisting. Perhaps it would have worked better at the very beginning. Furthermore, ‘You Are Adored’, the excessively long track that closes the record, could have been more concise. I’m not sure how the several minutes of ‘ohs’ and ‘ahs’ tagged on to the end make it a substantially better song. Perhaps this facet might become more obvious in a live setting, but in the context of the record, it seems a trifle overwrought.
Overall, despite some fairly minor reservations, Dear Darkly is a solid record and perhaps the best the Boat People have put out so far in their career. The good songs are far more frequent that ones that are not, and are lot more interesting and accomplished than many other songs doing the rounds on Australian radio, to the extent that I would not be surprised that Dear Darkly gets nominated for a J Award. These facts alone justify my decision to purchase the record. Also, I’d wager that a live performance of this record would be a special occasion indeed.
See them perform at the Troubadour on July 24th with support from Skinny Jean. I saw the band play some of these songs during a support of a very ordinary Red Riders at the Globe last year. They were quite good (as you can read here). I presume they’ll be even better this time.
A few Interesting tidbits floating around the ol'facebook today. This 1988 documentary on Brisbane bands is extremely interesting. At least to me, being a child of the 1980s. Features Ed Kuepper, Robert Forster and some other luminaries from 1980s Brisbane music scene.
Hi all. Thanks for stopping by. I read there are some issues with commenting on blogger blogs. This one has been affected. Hopefully it will be fixed soon.
I get the feeling that people either love or hate the post-rock genre. I also get the feeling that many people simply don’t know enough about it, considering that it's not exactly the most radio friendly music going round. Have you ever actually heard of Mogwai song being played on the radio? I guess it is fortunate that I happen to really enjoy listening to bands such as the aforementioned Mogwai and other masters of the genre like Explosions in the Sky. For that reason, I get excited when I see and hear Australian bands who embrace such influences.
The debut long player from Adelaide quartet Steering by Stars, Cables is notable on such a basis. Comparitively few contemporary Australian bands embrace the post-rock genre. Decoder Ring is an obvious exception. At a stretch, you might include PVT (or Pivot as they were once known) or My Disco. Mr Maps is a great local Brisbane example.
On first listen, Cables seems reminiscent of paths walked by Decoder Ring. Early track ‘Spirits’ sounds like it would be found on Decoder Ring's They Blind the Stars and the Wild Team. Standout track ‘Closer’ comes fairly early in the mix and shares a similar genealogy. However, 'Closer' is as good as anything produced by the band’s contemporaries, featuring a slow burning instrumental weaving and yearning vocal melody that builds to the triumphant conclusion that seems so common within the genre. It is visceral stuff.
While often elative, there is always a danger that such formulas might become overwrought. Thankfully, Steering by Stars seem keenly aware of this potential pitfall and vary the record accordingly. ‘Blush Response’ uses layers of keyboard sounds and effects to create a reflective mood while ‘Gloom’ is nothing more than a instrumental piano ballad. As such, both tracks are well placed to take the listener back down to ground level after the peak of the aforementioned 'Closer'.
Like many of the individual songs, the record builds towards crescendo. “I Hope I Shall Arrive Soon” (whose vocal lines perhaps strangely reminds me of Scottish indie group Arab Strap) begins what I believe the strongest part of the record. Drawn out over four songs, the ending stanzas speak with both brooding and unkempt enthusiasm. ‘These Knives’ begins with a frantic and overlapping delay effects before settling into a rock groove. I'd wager that it is this song that could really work well within the live setting. ‘Ether’, perhaps the most radio friendly song on the record, embraces a more indie pop mentality while closing track ‘Residue’ is a great track in isolation, but even more stunning as the concluding part of a four-part movement. These songs all seem to connect so effortlessly together that they almost seem like one large composition.
Indeed, the entire record plays out like a sine wave. It goes through sonic peaks and valleys, allowing the listener to be engaged by the differing layers of sounds, timbres, and textures. This metaphor is not a reflection on the quality of the record. That graph will be most certainly linear, if not exponential, for some listeners.
I feel that one shouldn’t constrain a band by its alleged influences. If you’re a fan of the post-rock genre, Decoder Ring, Mogwai, you’re going to get something out of this record. If you’re a fan of acts like Deerhunter or Sigur Ros, you’re going to get something out of this. Even fans of more esoteric groups like the Mars Volta might even appreciate some of the tones that shine through. I’m not going to end by saying this band are the Australia’s ‘next big thing’ (doesn’t every record review end this way?), but Steering By Stars Cables is an enjoyable record and worthy of your pocket money.
The record is available both electronically and on vinyl (no cd?) on July 8th. Keep your eyes out on their website, where you can grab a mp3 copy of 'Closer' on the media page. Fellow blogger Bianca also did a great interview with the band recently which you might find interesting, just click here to access.
