the following review can also be read at www.theorangepress.net

ainslie wills: a masterful songstress, a haunting beauty, a rare slice of musical brilliance. last thursday night at fbi social, we were treated to a performance by this melbourne musician and her band as they launched their debut album you go your way, i’ll go mine (2013). it was killer.

the first support act was local solo performer, pj wolf. a great compliment to the headliners, pj wolf sat calmly on stage as he filled the room with reverbing indie soul pop. the lyrics drew us in, and his electric guitar riffs were never too much. he picked the good notes.

pj wolf’s voice sat over chilling chords and melodies and was endearingly uncontrolled and raw. i liked it a lot. his bluesy track, which spoke of “strange fruit swinging in the southern breeze”, was direct and somber, showing his intelligence as a songwriter and his ability to lyrically paint a scene and question it all at once.

it was unfortunate to hear that pj wolf’s next ep is a while away, but if it’s anything like his new song ‘the leaving kind’ or his set tonight, it will be one to watch out for.

next to put feet and song to stage was elana stone and zebra zap. beginning a cappella with a tambourine, elana stone immediately focused the crowd with an eerie tale. suddenly, on a call of “ho”, beats were dropped and drum pads brought in eclectic samples and the song was surprisingly given new depth and vigor.

having seen this talented lass perform a fair amount this last year (supporting husky, is one quarter of all our exes live in texas and performed at the sofar sounds xmas show in melbourne), on this night i was utterly blown away. not just by her incredible voice and songs (as that knocks me over with awe every time) but by her new infusion of electro beats, super synths and vocal loops. cue zebra zap, her new band.

their set took us through pipe organ synth sounds and fast tori amos vocals on ‘gravity’, past sustained chords and melodies on elana’s trademark accordion, smart and sincere lyrics on ‘not mine anymore’, comments such as “i hope the air-conditioning is being kind to my boobs”, amanual fade-out andlow, fat electronics that complimented a huge vocal range. we then arrived at the launch of their new single ‘sleep doesn’t come easy’, song which was one result of a ’20 songs in 20 days’ project. with 80s tinges, sampled drums and a grand build, it’s a great single.

elana stone has an extraordinary knack of changing her tune to remain fresh, even after years performing. her desire to try out anything and everything shines and she strives off a creative challenge, all the while staying true to herself with her individual flavour powering through.

soon after, ainslie wills and her band laid the stage and out rang ainslie’s gorgeous voice. with haunting and echoing “ohhs” it blended and breathed into an arpeggiated guitar line and into the sorrowful album opener, ‘mary’. that line “i heard what happened to your man, how it wasn’t part of the plan” had even more emotion live and after stripping back to just the kick drum and ainslie, the second chorus built with gorgeous, goose-bump making harmonies.

continuing straight into ‘lemon japan’ with a modest keyboard opening and soothing melodious vocal line the track built toward the chorus with perfectly placed backing vocals, lifting electric guitar and a comfortable drum beat. it was the sudden pull back that reeled us all in, dynamic and varying to keep us on their indie folk rock hook, a feat the band managed to do so well throughout the set.

after some cute banter and introductions, the familiar and funky bass line of ‘wide load’ really kicked the crowd and the band into gear. the vocal layering at the end of the track, “you know what i’m talking about”, was wicked, giving it an intricacy that was still so accessible. with another strong opening with rhythmic and lyrically unique vocals, ‘stop pulling the string’ continued with tribal “ohs”, military snareand ended with wonderful delaying high guitar. just so cool.

the songwriting of ainslie wills andguitarist lawrence folvig (who co-wrote the record) both bewilders and inspires. with roots in jazz studies, the complex harmony and changes are somehow sudden yet smooth, and take you to musical and expressive places you never thought to go. the ringing electric guitars and thoughtful bass lines allow the band to be understated, but polyphonic and large all at the one time. and ainslie’s voice over the top is the rich icing on an already delicious layer cake.

after the high energy ‘i’m your woman’ with folk heavy drum beats, ainslie began the next track ‘liquid paper’ with just her own electric playing muted chords. her vocals “what is it you see in him that keeps you hanging on? you know yourself, you know that it feels wrong”, sang out an insightful truth. a raw and encompassing performance.

to finish off their set the polyrhythms of ‘ocean’ flowed and bellowed and by this stage there was no more convincing needed to believe their incredible talent. the last song of the night was the single that inspired the completion of the album, ‘fighting kind’. one of my favourite songs of last year, the track began with that catchy bass line and cool hand claps. while we all clapped along the melody came in, seeming so different yet fitting perfectly over the bass. with just the right amount of backing vocals the band showed us, once again, that their layering and songwriting are out of this world awesome.

big things await for ainslie wills and co…without a doubt.

after a few down days, i was in need of a lift. a snap out of my bad moods. a shake up. it was therefore a no-brainer when deciding whether or not to leave my apartment and get out to see some live music. and with reggae soul on the cards, i was certain i’d be lifted high.

i wasn’t wrong.

blue beat in double bay warmly welcomed me in and gave me a table to sit at and a glass of wine to keep me company. i began to settle. i began to soothe.

to kick off the night aaron martin took to the stage. with a laid-back blues feel he sang honest songs accompanied by looped guitar chords and overlaid licks. with an endearing and sweet manner, aaron was quite a joy to watch, and a great opening act. his acoustic more folky songs were particularly appealing, especially the heartfelt tune ‘without you i’m nothing’. his voice carried. aaron martin is steadily on his way. and if he continues to take his own advice: “if you think you can’t write songs or sing just keep going, ‘cause you can’t get any worse”, his songs will only become more accomplished and will connect with us even more.

the second support of the evening was alex gibson. i’ve been following alex online for quite some time now, but surprisingly, this was the first time i was to see him live. a busker at heart, alex performs around the city and has recently auditioned on this year’s season of the voice (a fact he didn’t mention during his performance, which i found really quite humbling). alex was joined onstage by his band and with a tight mix they performed songs off his debut album this is life.

with an easy-going rocky feel, alex’s songs appeared quite familiar but each held intricacies that sporadically came through strong. his own guitar playing was top class and the keys player placed jazz fingers on both a nord and a very cool sounding rhodes and often doubled the grounding bass. the percussionist played a djembe with steel brushes, giving the entire band a bright lift. and his hilarious tiny triangle did not go amiss. 

alex’s voice was melodic and well controlled, often with a warble not dissimilar to lior’s. i like that warble. his songs sat somewhere between commercial and alternative pop. and although often a little predictable, the sentiments were gorgeous, especially “you can do anything in life you want to do”. it was good to hear that on this night. 

next, as the fijian headliner of the night was setting up, two girls dressed in alice in wonderland and snow white outfits walked around the now crowded venue offering us all a free cd of knox’s new single ‘candy’ and also some actually candy. it made the rule of not taking candy from strangers quite difficult…knox then began and drew the room in. with raspy, breathy and smooth vocals, he was captivating. and the foot stomper grounded his opening, soulful sentimental tunes.

for his cover of bob marley’s ‘redemption song’ knox invited saxophonist hellmut wolf to the stage which added a lift and a more upbeat feel to the vocals and acoustic guitar. a surprisingly great combination. taking the mood down to a darker place and commanding ears to listen to lyrics, knox sang his next tune with a passion “stand up now the soldiers are due, it’s darkness coming, there is thunder and lightning in the sky”. again, it built and lifted with added sax.

knox then called on his ‘brotherhood’ (his band) to join him on stage and the tune changed completely. drums, bass and roland backed knox and his electric guitar and out belted full and steady rock. the change was a little unexpected but he played with conviction and technique. knox is quite the guitar gun.

i was pleased to hear the reggae influences shine through on ‘old old tree’ and his fast blues licks were fabulous. knox then played us his very first single, ‘jah love jah crucify’, divulging that it was this song that allowed him to rent a place and get out of his life on the streets, he also revealed that it was ironically a song about smoking dope. his honesty was endearing and the song was full of rootsy reggae life.

and then the night came to its main purpose: the launch of knox’s single, ‘candy’. inviting the well-known bassist victor rounds to take to the stage beside him, knox told the crowd that the talented musician had also played on the record. it was a treat to see him perform. and the song itself had an even brighter feel live, with a cute smile behind it throughout.

after a full and heavy cover of jimi hendrix’s rendition of bob dylan’s ‘all along the watchtower‘ which showcased an insane solo from victor rounds, the brotherhood bassist returned and the band played ‘come around’, a favourite of theirs to perform live. making my toe tap to the reggae off beat, the song was also one of my favourites of the night having great breaks where knox’s vocal calls of  “come around” dynamically rang through.

to end the night, knox returned to the stage with hellmut wolf who this time accompanied him on flute. they delighted the audience with one last song. having only written the tune the day before, knox said that he was conducting a “scientific experiment” with us with its premier. it was another step between genres, a skill he managed wonderfully throughout his set. ‘i’ll be missing you’ was a sweet acoustic lullaby that was a darn good first playing and a lovely end to the night.

until next time mr knox…

the following review can also be read at theorangepress.net

last week, the orange press was lucky enough to gain an insightful look and listen q&a into the inner workings and cool sounds of brisbane electronic future-pop 4-piece mko. 

but even after this read, we decided we hadn’t yet covered this talented band quite nearly enough as it deserved. and so, with the band in the midst of a launch tour for their new ep lily lotus orchid sunflower here’s our take on all that it has in store.

the ep’s opener ‘settle’ has immediate new-age edge as sparse offbeat vocals are laid across a low, tribal-infused male chorus. sounding deceptively unhinged, the tune then moulds against sharp, crunched beats, organ and high synth and balances into musical solidness. with smart and tight layering of the high and low ends, and the on beats and off, your ears will be kept mighty keen throughout this track.

‘settle’ is definitely a track worthy of mko’s likeness to the dirty projectors with its lingering and unpredictable vocals lines and subtle hints from another world. what a punchy beginning.

‘another day alone’s thick synths and cool changeable beats are what make this track come alive and the bands rnb influences shines through. with wicked production you’re transported past fleeting breaks and seamless rhythmic shifts.

what caught me most about this track was hannah macklin’s vocals. this girl has many a timbre that she puts well into use, mixing pure and soulful melodies with higher, harmony full and fast calls of “hey”. what’s best is that they all intertwine, leaving you somewhat reminiscent of james blake’s electro layering and in awe of her talent.

the james blake similarities continue to full pelt on the next track ‘snarly’. with a sexy laidback beat, quirky samples and vocal effects it’s full and blooming. it pulls you right in as the song builds a sustained synth and choral wall. the drums fill sporadically while the samples continue, banding the song together. and perched over it all is the melody; wistful and soaring smooth.


lily lotus orchid sunflower ends with the weirdly wonderful ‘bubble’, a fast-paced electronic mash of quick, snappy beats and bright moving synths. it sounds like neon pink. the abrupt change nearing the end brings the energetic track down to a slowed soulful outro, complimenting the colourful and erratic tune with a calm end.

but don’t be stopped there. be sure to head to mko’s bandcamp to get your digital hands on a copy of the ep for yourself.

and don’t miss them live as they launch lily lotus orchid sunflower across the east coast this month:

30th march at the box, brisbane (with superfeather)

5th april at the standard, sydney (with pink dove iii)

9th april at the newsagency, sydney (with elana stone)

13th april at the evelyn, melbourne (with pink dove iii)

27th april at the zoo, brisbane (with pink dove iii)

the following review can also be read at theorangepress.net

when i first heard about the formation of this new band, excitement ran through me, right down to my soon to be tapping toes. an all-girl all-star country music act? bring it.

i had the absolute delight of witnessing the very first gig for all our exes live in texas, and what a fun-filled and downright fabulous show they gave. the vanguard in newtown packed out last friday night, playing host to ‘country roads’: a night of great frivolity and, of course, good old country music.    

set to entertain the sold out venue was the river and the road, the green mohair suits, bellyache ben and the steamgrass boys and all our exes live in texas. yes please.

all our exes live in texas is made up of the incredible talents of elana stone, georgia mooney, katie wighton and hannah crofts. all four girls perform regularly around town; elana most recently supporting husky, georgia set to support passenger on this march/april tour and playing duo sets with hannah (whilst she also performs with the love birds and runs sofar sounds down in melbourne), and katie about to release her new ep.

it was therefore no surprise that each lovely lady took to the stage like a cowboy/girl would to their horse. appropriately dressed for a barn dance, they began with a rich, harmonious a capella song. the four ladies sang with guts “oh hard times come again no more”. it was gorgeous and heartfelt straight away.

elana stone then beckoned the crowd nearer “if you come closer, you can smell us”. picking up their instruments (accordion, mandolin, ukulele and guitar) their next number was considerably lighter. each singer had a solo verse of their own beginning with “the summer i went swimming…” and sang out, with rhythmic and rhyming fun. their musical individually and personalities shone through strong.

continuing with their hilarity, and in a true shuffling country style, was i love you honey lead by katie. with an adorable ukulele solo by hannah, accordion solo by elana and the line “i love you honey. i love your money. but most of all i love your automobile”, the song was a winner.

their next track, all our exes live in texas, showed just how capable this group was, especially considering it was their first gig. again they distributed solos and verses amongst each instrument and singer and with clever and stylistic songwriting they had the full venue laughing and cheering. and all four of them smiling. “all our exes live in texas, all our lovers live in maine. we tried so hard to keep them but they drove us all insane…” to see them have such fun showed that the four not only have great musical talent in common, but they are clearly very good friends.

weeping willow was a slower, melancholic song that blanketed us with harmony once more, “oh bury me under the weeping willow under the weeping willow tree so he may know where i’m sleeping and perhaps he will weep for me”. they finished with a laugh out loud cover of a muppets tune about a complex family tree (you need to hear it to really get it…), and that was their first show over.

and so, after a great opening act, it was then even more unfortunate that i was double-booked and couldn’t stay for the remainder of ‘country roads’ (and from what i hear i missed an absolute ripper of a night). but i was completely happy, and fortunate, to have at least caught all our exes live in texas, and cannot wait for their second show. go cowgirls, go.

*the following review can also be read at sofarsounds.posterous.com

teaching a million kids piano as your main job doesn’t really lend itself to many work friends. but when i began to help out with sydney sofar sounds last year, i finally felt like i’d found some to call my own. it was lovely!

it also felt pretty great to be finally heading to a ‘work christmas party’,  and it was to have a live band! oh wait, what?! not one, but eleven?? even more amazingly brilliant. and so, with two of the other sydney organisers, camila and pete (we missed you gabby!) and a few friends and melbourne locals, we arrived at schoolhouse studios.

a green turf basketball court was covered by couches, icy-pole counter, a food van, hoola-hooper performers and even a bar. it all felt like a mini festival! but cool as that was, it therefore meant that unlike other sofar sounds events, this was not bring your own. so we left out purchases in the car of our designated driver (but made sure we came back to check on it a number of times throughout the evening…) 

with a friendly greet at the door, our wrists were wrapped in delightful homemade sofar sounds bands and then we were in. following the resonating sounds of the band coming from inside the hall, we entered to see the crowd was quiet, attentive, and looking so very comfortable on soft couches and rugs under three massive christmas trees. it oozed with cool and chill. sadly missing the first two acts, we waited for the talented leroy lee to begin.

as he quietly set up, the crowd chatted amongst themselves and re-arranged their sleeping legs. but once leroy lee began, his sweetness captivated us all. he was kind looking. and sounding. and also a little lior-ing and josh pyke-ing. his opener ‘drawing smoke’ was a beautiful mix of stomp box, smooth vocals and that catchy guitar riff which he looped at the end. to be honest, i have come to think that we’ve all looped enough, but hearing just that one riff continue with a magical slide guitar ringing over the top, i was back in for the loop…for now.

looking around the room during ‘red eye plane’, everyone was so attentive…so sofar. leroy lee kept us all right there: charmed, calm, contemplative. perfect for a sunday afternoon gig. his folk songs were lyrically beautiful with lines like “oh drummer in my soul who plays so hard and slow,” and when he spoke of how disastrous it would be to accidentally blast out a harmonica solo on one in the wrong key, i let out a loud laugh that echoed alone. but it would be unfortunately funny… 

up next was ainslie wills. she had me from her first note. that strong voice is amazing: coming out from her soul with such ease yet is full of guts and vigour. the song was a jazz ballad, bluesy with flawless melisma melodies and fuelled with her electric guitar. seamlessly, lawrence folvig came from side of stage with his own electric and took over the outro, while ainslee retuned.

the line “i heard what happened to your man. how it wasn’t part of the plan,” bellowed out with obvious gut wrenching subtext and the song build and faded with syncopating, blending harmonies from nat lewis. their track ‘wide load’ had a bass-like guitar line and rhythmic, lifting and close harmonies – “you know what i’m talking about” – and it all came at us, laced with cool.

ainslee wills is a rare talent. her songs hinge between rock, folk and jazz. melodic choices surprise you, but draw you in and immediately sound right. i didn’t want her set to end.

i then regrettably missed tre samuels (i blame the coolness of the outside set up for this one). but a second-hand review was that this young singer is one to track. and by young, i mean 14. ‘wow’ was my reaction too.

what i did find strange, and again different to other sofar gigs, was that there was no m.c. for the event. it all felt a little unconnected, almost impersonal, because of that absence. introductions would have given the performers a gracious welcome and kept the crowd in tune with the day’s proceedings. i might not have missed an act that way.

but working with what was in place, elana stone did a mighty fine job of introducing herself. she also did mighty fine at her entire set. she blew us all away with her loveable, eccentric energy.

she began by walking out, almost into the crowd, hitting a tambourine against a leg of her small frame, and letting out this huge, strong voiced a cappella song. haunting and complete with startling calls of “ho!” elana stone grabbed our gaze and ears alright.

her next few songs were accompanied by her great piano skills and by jack britton, providing backing beats and off beats. ‘just had a beautiful conversation’ showed us her amazing vocal range and control and after, she showed us the bright pink and yellow leotard she had under her top, exclaiming “it would be sexier if i didn’t have a stain on my left tit…” hilarious.

complete with black fishnet nights, she went on to a new song she’d never performed live. although revealing she was a little nervous (picking up her accordion when it wasn’t needed) she sang the fun tune confidentialy. elana stone did take up her accordion for her last number and wrapped us in her individually flavoured quirk. this is one natural born performer.

next was courtney barnett, whose casual rocky individuality had my friend turn to me questioning, “did she just say what i thought she said?” and after canadian folksters the river and the road shared their alt-country flavoursome twang, it was time for a visit to the food van. and to check the car. we arrived back in the hall to see francolin, festive jumpers and all, complete their set.

as the room darkened and sounds were checked, a striking brous took to the stage, wearing a brimmed black hat and carrying sass. ‘little ticket’ started in a lower range, changing to reach the top notes of the soaring chorus with ease and with clear, gorgeous tone. with electronic backing beats and bass behind her, sophia brous danced and exposed her vocal control.

her performance was quite theatrical which was both a little distancing for this intimate crowd, but also so intriguing. with influences from 60s pop to middle-eastern folk, her songs are mysterious and unique.

‘streamers’ is marvellous, with structural changes and dancing beats that turn your ear. it would have been even better to have the backing track played out live for entertainments sake, and for the song to have even more life. yet the modal harmonies of brous’ last song powered her already strong voice and lingered all around the hall.

and suddenly, sadly, it was that time. the night was ending. with thank yous from the lovely hannah and leyla (of the melbourne sofar team) and cheers of gratitude from the crowd for such a fun event, we were left with one last band. the harpoons raised everyone to their dancing feet and we partied strong until their final notes blared.

why oh why did i book such an early flight home in the morning?

thanks sofar sounds melbourne! ’till next year…

by therese watson

www.seekstumblelistenlive.tumblr.com

pictures by aaron lee from remedios the beauty, an architect photographed my undies and seekstumblelistenlive instagram

*the following review can also be read at theorangepress.net

a few wednesday’s ago in a cool little venue above a dingy pub on oxford street, three killer acts were set to entertain the night away. and being the twelfth of the twelfth twenty-twelve, i was superstitiously sure we were in for an amazing night. and i was right. it was a delight, alright. ok, ok…away we shall quickly move from my disgraceful poetics and onward to the happenings of the show.

i last saw bec sandrigde perform as support for husky back in may, and even since then, her sound has developed and become more refined, more individual. her opening song captivated the slowly growing crowd. she drew us in with her raspy yet sweet vocals and lines like “time will tear us apart and i’m already scared enough”. she distracted us from the bar and conversation with her cute and funny banter, that blonde mane and intrigued us with the way her toes lifted her up as she sang her folk-infused melodies and picked at her guitar.

bec sandgride is a strong songwriter. with great dynamics and foot stamping, her tune red jumper led cleverly into a section of stand by me, and the full, strumming sound of her 12-string filled the room for her last song. watch out for bec sandridge. she’s onto very good things. yet be weary: her name is not “baked sandwich”, contrary to my friend’s conviction.

next up was dirt farmer. i admit: i was terribly excited to see this melbourne band live. it all started when my flatmate’s car radio broke and the only cd played was a mixed creation courtesy of yen magazine. we’d repeat dirt farmer’s real young every, every time.

and woo! it was their opener. to be finally catching a sydney appearance, the five farmers made my mouth smile and my body dance precariously on my stool. with strong but casual melodies, four of the boys stood out the front in a line, while the drummer was perched in amongst the stage smoke. it was a cool looking setup. and i really appreciated that they all wore similar styled but various coloured jeans.

their set was great. full of their 60s, alt-country poppy flavour, and full of those brilliant twanging vocals, echoing bvs and sweet harmonica solos. what i like most about their songs is the way they move so well from memorable vocals to catchy electric guitar lines that hook and sink themselves into your brain. it would have been even better with a little more dynamic and building layering which they do so well in their track johnny marble. killer. make sure your ears prowl the field for their next ep.

as the headliners set the stage with guitars and that lovely nord, i remembered when i first heard of the trouble with templeton. their song someday soon hit me hard from the radio one night. raw and heartfelt, i knew this was once special band. they too supported husky at oaf in may (husky surely know how to pick their supports!), and ttwt also played in november as part of the aria week showcase.

to begin, tom calder took up his guitar and wowed us with i wrote a novel. you also wrote a brilliant song, tom. such poetic, rhythmic lines and abrupt, dynamic changes, and your performance was incredible to watch – so real, vulnerable and full of energy and of your strong, belting vocals.

after another song from tom, the rest of the band joined him on stage. for their first headlining show in sydney, and with their newer, rockier songs calling for a fuller sound, they took off with a striking start. mixing in a fair number of new tracks in with older tunes from their release ‘bleeders’ (2011), ttwt continuously kept up our interest. each song sounded fresh, yet distinctly them, a real testament to tom’s skillful songwriting.

the exposing i wasn’t there sounded tight, but what blew me away was the title track to the record bleeders. tom began solo once more, quiet and intense, ringing out “and i don’t know your face anymore cause you are so far gone”. and with gorgeously sweet high vocals to back him, betty was captivating in her own right. the song lifted when the band entered but then drew back and quietened, with chilling cymbal rolls, and then suddenly slammed us with vocals, full drums and heavy guitar. hectic. i felt it on the inside.

with a few songs to go, tom charmingly said “thanks for lending us your ears and not walking out”. after another new track we were treated to the live rendition of one of my favourite tracks of the entire year: six months in a cast’. those driving rhythms and strumming chords, contrasting to the soaring vocal melodies and the catchy and thoughtful nord hooks, this song had life. much to my dismay, unfortunate feedback on the tempo change distracted us all, but the drawn out outro grandly pulled us back in.

finishing big with another couple of unheard tracks, the trouble with templeton are definitely a band on the rise. with members all so musically connected, and songs that catch your ear and question your heart, you’ll soon know their name like you know your own.

*the following review can also be read at musicfeeds.com.au

what a glorious road mumford and sons have been traveling down these last few years…and they’re nowhere near slowing down. after their sold out sydney entertainment centre show, i’m so close to packing my bags and heading bush to dungog, just to experience that magic once more.

earlier in the night, i almost choked on my dinner as i realised the first support, willy mason, had already begun. i raced down to the venue, hoping to catch the end, but was devastated to have missed it all. next time mr mason.

i took my stance amongst the growing crowd just as the heard of people that make up edward sharpe and the magnetic zeros piled onto the stage. warm cheers echoed. with a low hum and little laugh from lead singer alex ebert, they began. their opening track, man on fire, was amazing: powerful, with a deep drone from the zeros and then the lead vocal line ringing out clear. watching alex was mesmerizing: he moved with a cool swagger and danced from his shoulders down. and then, suddenly, he was out of sight. he’d jumped down into the crowd to dance, apparently only needing half a songs warm up before he leapt.

all up, there stood twelve people on stage, and more than double that for the number of instruments. and six hats. yet their large number was not at any point too much. with considered arrangements and effective chorus, solos and dynamics, this seemingly dreamy, hippie band is also incredible thoughtful. 

that’s what’s up was a beautifully fun interplay between alex and singer jade castrinos and saw them chase each other around the stage with such friendly affection. for the moving child, the vocals were lead by christian letts and, to the crowds delight, featured marcus mumford on mandolin. let’s get high flew alex off the stage toward the crowd once more, and for their extremely lovable hit home, the mumford horn section graced the stage, lifting the song to a massive dynamic. edward sharpe and the magnetic zeros were outstanding. 

during the break, i began to feel such excitement. the stage was dressed with huge, circular lights, and fairy lights draped above the standing crowd. the light show was set to be pretty magical. so, to welcome the four englishmen, those globes glowed blue, illuminating them just enough. already, i was captivated. singing out lovers’ eyes with sincerity, the lights suddenly shone golden as the horns entered and the song built. oh this show was going to be special, all right! with driving energy they lead straight into the hoedown roll away your stone, marcus’s raw vocals soaring, and everyone on stage and off was jumping.

the new track holland road was stunning, with incredible dynamic shifts and strong horn entry. that song felt so believable, a recent truth: “and i knew your pain and the effect of my shame, but you cut me down.” it was performed with this united vigor that seemed unworn, fresh. the same went for i will wait. although songs from ‘sigh no more’ were unflawed, mumford and sons’ new songs had an enchanting life that they all obviously felt. and while the whole place resonated “i will wait, i will wait for you”, and as that banjo line drove, i got lost in awe.

little lion man was still as strong as ever and had all the fairy lights blazing us with bright warmth. after a quick move to the drum kit, marcus belted out to lover of the light, gaining such a huge sound with the full backing band. the way marcus phrases his melodies live is enthralling, and his natural tone is controlled but at once relaxed. in particular ghosts that we knew was chilling and honest. to say that these performers had great musicality and connection would be an understatement. but what is perhaps more incredible is that, after everything, they’ve remained so humble.

returning the favour, christian letts came back to the stage to perform awake my soul with plenty of gorgeous harmony. to lead into the last song, dust bowl dance, ben lovett gracefully showed his admirable talents on the upright piano. with marcus again on drums and intense electric guitar, the number became a wall of sound, to then dramatically fall back to that soft, eerie vocal line to finish.

knowing we were in for an encore, we waiting as the boys regrouped. when they started the heartfelt where are you now i was again lost. i love that track. the crowd was not at all weary as they jumped to the cave – we were all lost in the world of mumford and sons by then.    

with an end like no other, edward sharpe and the magnetic zeros and willy mason returned to the stage and at once, the whole stage shook as the mass of people upon it all stomped in time. singing fleetwood mac’s the chain, the group finished with the repeated line “keep us together” strongly ringing out in unison. 

so to finish, all i can possible say is:

what. a. show.

setlist

: lovers’ eyes : roll away your stone : winter winds : holland road : i will wait : white blank page : below my feet : timshel : little lion man : lover of the light : thistle & weeds : ghosts that we knew : the boxer : awake my soul : whispers in the dark : dust bowl dance :

encore

: where are you now : the cave : the chain :

*the following review can also be read at theorangepress.net

after entering through a side door, climbing concrete stairs and then parting draping plastic vine leaves, we eventually found ourselves in the back section of the metro: its understated second stage – the lair. previous home to the similarly named mtv live music show, and at one time the transit lounge, the lair is a venue i’m glad to have found.

we arrived to see melbourne band busy kingdom already on stage. for their very first sydney show, they had drawn a pretty hefty crowd, and had them all fixated on their charming presence and wowed them with their 50s/60s infused rock sounds. from that first song, monday morning, they somehow had us feeling like we were old friends; a band we’ve known and loved for years. and as they sang out the punchy line “pick me up and pull me down mess me up and fuck me ’round” they immediately had us all dancing about.

their track all your love from their first release ‘turn off your tv‘ (2011) had this great electric guitar counter melody that rang out over the chorus, and the climbing bass line in the newer let me go was relaxed and cool. both had an easy 90s rock feel, whereas the soulful rebecca took us straight back to an old school rock ‘n’ roll blues in three. i loved busy kingdom’s flirtations with various eras – at once familiar and timeless, but still so fresh.

comprising of brothers michael and brendan on vocals and guitars, and curtis on bass while luke drives the beats, busy kingdom’s music is thoughtfully arranged. the lead vocals from michael are clean and his tone is smooth, and the effective backing vocals from brendan blend so well, never overdone. and those numerous guitar swaps for different tracks give each song its characteristic flavour. 

darling devil was awesome with it’s sparse opening chords ringing from the electric guitar and simple vocal harmonies that then lead straight into a classic rock ‘n’ roll beat the crowd eagerly twisted and toe-tapped to. i wanted to dance all night. one punter, dressed in a michael jackson ‘thriller’ jacket, def leppard t-shirt, and with a sweat-band hugging his head, vigorously danced around, air-guitar-ing and even air-mic-ing for everyone’s entertainment. wicked. finishing their set with the new single darcy, busy kingdom surely know how to show you a good time.

with awfully catchy melodic hooks and clear musicianship, busy kingdom is a band that has that rare spark: amazing live energy and feel-good songs that bury themselves in your head, complemented by this alluring laid-back modesty. placed so comfortably on stage, they’re genuine and infectiously fun. watch out for this band.

the headliners of the night were local band the trobes. launching their second ep, ‘out & in focus‘(2012), these guys most definitely had some fun at this gig. as they came onto the stage, it seemed like the five members were dressed for different bands. a stunning black dress, the drummer in a patterned 70s style buttoned number, the bassist in a casual tee while one guitarist had an amazing candy stripped blazer wearing him. looking back, it represented what we were in for musically quite well. a real mix bag.

unfortunately, their sound was way out of whack. strangely though, as the sound for busy kingdom was leveled really well. as the trobes began, their vocals were way too loud, though apparently not loud enough through their wedges, which made for some wavering pitches and unclear lyrics. it was tricky to catch the song titles. not letting it get to them, the band settled in and began to enjoy themselves in front of a packed out crowd of lots of family and friends. dappling in many different genres, we were taken through heavier, grungy, even punk influenced numbers, stripped back folk songs with four-part harmony, and then upbeat tunes that were just pop-happy. their song ha_gma_ was a clear stand out, and known the best amongst the crowd, but it was difficult to work out where this band fit.

what was really interesting about the trobes was that they didn’t really have a clear lead vocalist. with each new song came a different singer, and a different style along with it. with potential for that to be to be really edgy, i felt like the changes were a little too often and not as smooth or proficient enough as it should be, musically. and with everyone swapping instruments, with a sax solo and, at one stage, a cello and violin thrown in there, i found it tough to warm to the trobes.

finishing with a three song encore, including their latest single, all or nothing, the trobes surely had a ball on stage. with so many obvious influences, it will be interesting to see where this eclectic group ends up, and if they do settle on a sound they can call their own.

*the following review can also be read at theorangepress.net

a brilliant melbourne band called playwrite introduced me to hayden calnin’s music a few months back. boy, was i ever grateful. from my first listen, his rough, real voice, harmony and unflawed home production pulled me in. i waited in a field of anticipation for the release of his ep ‘city‘ (2012) and for an announcement of a sydney show.

and so, on thursday night, i rounded up a handful of friends and we made our way to fbi social. i really do love that venue, and on this night, something was sounding even more special. the falls had begun, singing please as we found a place to stand ad absorb their gorgeous harmonies. this sydney duo are a musical pair i’ve seen a great many times – first supporting husky at fbi social last year, then at their favourite hollywood hotel, at their weekly show folk club, and most rescently at their ‘hollywood’ (2012) ep launch with stu larsen and by chance at the hifi in melbourne as they supported passenger. you could say i am a fan…you could also say they are doing mighty well at getting out there and climbing that aussie musical ladder.

i love their songs and know them well, but the lovely pair have this incredibly ability to keep me captivated, keep me keen, and keep pulling me back for more. they performed their single home, hollywood as well as one in a million - the relaxed phrasing on that song, contrasting to the driving, plucking guitar, increases it’s vulnerability and gives realness to those words. and their cover of tom waits’ i want you was beautifully blissful.

as hayden calnin was just about to begin, he instead invited tanya, to the stage. thinking she was to perform a song alongside hayden, she surprised us all when she proposed to her boyfriend, rusty. he met her on stage and spoke his answer “yes” into the microphone as the crowd cheered. how special! after the applause and “aww’s” died down, hayden then resumed his place and drew the intimate crowd in. he began simply with his electric guitar and voice, gently singing “it scares you”, then stepping back from the mic to let go, sing out with power. his voice has a raspiness to it, which i loved, and the extra reverb and delay created an atmospheric awe. incredibly, the crowd remained silent throughout his mesmerizing entire set, and even had hayden questioning: “you guys are really quiet…was it something i said?”

both hayden calnin and the falls have just returned from brisbane’s bigsound, and hayden was also a runner up in this years soya: qantas spirit of youth awards. pretty great achievements for so early on in his musical endeavours! for his second track, hayden brought out his looping skills, layering harmonies (i particularly loved the doubled octave), and the effect on his guitar was a welcomed variation. liken to the likes of matt corby, bon iver and oliver tank, hayden calnin does have a lot to live up to. he has the looping down pat, and an unarguably killer voice, but I did feel that his songs could have had more build, or surprised the live crowd with his own personal flavour a little bit more. with controlled falsetto, i would have loved to hear a few more daring vocal acrobats or more unique electronics.

as it was, i wanted to be sitting by myself with closed eyes, just listening, completely emerged in his sound, without the occasional chatter and clinking glass. live, i was of course interested, but wanted to be fixated and obsessed. hayden did explain that this show was supposed to be with his band, who had unfortunately broken down 2.5 hours out of sydney…

but then, his track shutters pricked my ears. with a drum stick, he whacked out some quirky samples which rhythmically contrasted those vocal loops, and intrigued us with it’s story: the broken metal shutters of the lounge room of his old share house, left the room in darkness for their entire lease…and played on the housemates relationships as friends…

his gorgeous track for my help, the first single from his debut ep ‘city’ (2012), was a clear stand out on the night. the vocal loops are, in this track, perfectly placed, still creating that structural variation between verse/chorus. and on this night, it was both exposing and transcending.

hayden calnin is definitely a talent to watch. with obviously impressive music production and his great voice, hayden may still be settling on a sound to call his own, but once found, he is sure to wrap us all in his gorgeous blanket of musicality.

check out pictures from the gig here.

*the following review can also be read at theorangepress.net

check out photos from the gig here.

after teasing us with warmth, thursday ended up being a pretty dreadful, cold spring day. but i managed to find the ultimate way to warm up: head down to the standard to dance, boogie and dance some more to the amazing soul/funk/hip-hop blended band sola rosa.with their infectious grooves, my friend and i were pulled towards the front of dance floor during their second song. where we remained until the end.

the night had begun with dj blackjack on the decks as we walked in. after my friend surprisingly realised that gum and cider were indeed an awful mix, we and headed up the stairs to take a seat. as we settled in, omegaman took over the decks and stage. with bongos and two very soulful voices over his funky tracks, they were pretty cool. reminding me of alice russell, and a hint of joss stone, the singer had a great presence.

i liked omegaman, but as the group continued through their set i felt like a bit of natural groove was lost as they sang along to the tracks. my attention was fading. there was one vocal breakdown in free falling where the vocalist could have slowed right down, drawn in the crowd and really owned it, but the beat rushed her, and it was lost. but they did keep us all happy and got a few people up dancing to their latin-infused cover/mash-ups of work it out, no diggity and let’s get loud.

not having known much of sola rosa’s music or their story before the gig, i was very keen to check them out. i had heard only praise, so didn’t think it could go too badly at all. in fact, i am now an avid campaigner of their work myself. the band reigns from new zealand and are on our shores (for the first time in two years) to promote their latest album ‘low and behold, high and beyond’ (2012). they have alsorecently performed as part of the bigsound showcase in brisbane, being one of only a handful of kiwi acts.

they have a sound that is something different. with a line-up including record decks, electric guitar, bass, midi-keys and that magical computer control for the drum beats, sola rosa manage to get the balance so right between what is live and what is queued.

after beginning with an instrumental number, the band then welcomed on cherie mathieson and they dove straight into their single spinning top. what energy. what musicality. and what a voice. with cheek, she called out “come a little closer, sydney, i won’t bite! unless you want me to…”

for quite a few songs, spikey tee came away from the decks and let loose his own funky-full voice. i loved watching them both as they danced and backed each other, but also stood out with equal valor. and the use of spikey tee’s radio mic was just awesome. great texture.

with each song settling in on its groove right away, we were easily taken through soul, funk and even reggae. the beats were produced by the bands founder, andrew spraggon, yet they managed to still have a great live feel. i forgot for most of the set that the drums weren’t live…it all worked so seamlessly. and i couldn’t stop from dancing. they had spontaneity: a great testament to their onstage musical connection.

after their rock-salsa number all you need, the band returned to the stage for their encore real life. two of my favourites.

i usually like to listen up on a band before watching their headline act, but on this occasion, it was nowhere near a worry. each song was electric and busting with contagious energy. and all the members of sola rosa were enticingly charismatic. especially that hair flick of the guitarist and when he and spikey tee jumped off the stage and danced amongst the doting crowd, lapping up their attention.

so to sum up: i shall be waiting for their return to see this band again. i shall be purchasing solarosa‘s new album low and be hold, high and beyond (2012). and so should you.

*the following interview can also be read at theorangepress.net

in a much less crowded space than 20 minutes prior, uk artist cosmo jarvis kindly sat down for a chat after his intimate show at the newsagency. We spoke about his new album ‘think bigger‘ (2012), his video clips as well as his upcoming feature film the naughty room‘ and it’s influence.

awesome tonight!

thank you very much.

how did you think it went?

average.

the crowd was really forgiving I thought, with your tuning issues. it’s the venue to kind of have that problem…

i suppose.

did you like this venue?

yeah! it’s fuckin’ really cool hey. there’s going to be good shit happening here…

i missed your last show in sydney at goodgod small club…i only found out about it at like 11 o’clock the night of…

bummer, well there’ll be more in december, with the band.

do you prefer playing with your band?

yeah, a lot. a lot of the tunes on the album i can play acoustically, and it works fine ‘cause they derived from that originally. but others, you know, require moshpits - and you can’t really do that here. like sunshine, which I played tonight.

that’s one of my favourites from the album!

yeah, same here. i like playing it live.

what i get from it is that it’s about those days where you don’t want to be happy and that’s ok?

yeah, pretty much.

i love that.

and it’s when you meet people who can be happy for no reason. but i think it might be because – i’m not trying to be negative about them – but because they have less dimensions emotionally, and things are just ‘ok’ for them. but if things are shit, than you can do more shit with it, than if things were just good all the time.

well it would be a bit boring as well.

it would be very boring.

and love this of course is really cool. the video is hilarious! you directed it as well?

yeah, it was all just the guys i live with. we got together and choreographed, practiced it a few times and got it done.

it has that great one shot. which take was ‘the’ take? 

it was the 22^nd…but gay pirates was probably harder to do, ‘cause there were more people and stuff…but love this was harder because the camera was moving.

skateboard track?

it was actually a ford car. i tapped my tripod to the top and rosie, a girl i live with, who weighs like, not a lot, went on my mates roof so it didn’t dent. she manned the tripod.

so all the tracks on this album you recorded yourself? like on your previous two?

yeah…well, actually that’s bollocks. no, it’s not bollocks, i did. i recorded it all and produced it in my bedroom. the only elements that weren’t were the drums on a few - i don’t have enough microphones! and on train downtown and tell me who to be the strings were recorded somewhere else…but that’s it. everything else is just me.

do you think that you’d like to go and work in a studio?

on the next album I’m going to…cause i’ve got a lot more heavier shit i want to put on it…I’ve written a few hardcore songs and i really want to do them with my band. and i’ve done three albums now on my own…

so you think you’d be happy to hand the reigns over to someone?

i’d need an engineer in the studio, but i’d still mix and produce myself, ‘cause it’s the only way i know really…and loads of bands just get with a producer just cause of the incredible vouching power having a producer could have…but i wouldn’t want to do that. at all.

i love your ‘do everything on your own’ approach - it’s inspiring!

well, it’s just, i’ve got no friends, so you know…

well no, that’s contrary to what i hear about your film ‘the naughty room‘ and who you had to ask favours from?

yeah, my mates. but yeah, working with non-actors and just guys that just want to be involved with the film seem to take risks on it professionals and theatre students wouldn’t take. which is great, ‘cause it means i save loads of money and we all have a great time doing it. 

and you did it all with a tiny, tiny budget?

it was 8 grand to make the movie.

i’ve seen the few trailers online - it looks really interesting! do you know when it will be released here?

we’re going to try and go to abc to see if they’ll show it, but it will definitely be on dvds that will be out in australia. and the bbc are showing it in late august so that might help other territories take it seriously.

do you feel you can direct and everything as best you can as well as act in it? do you find that you’re quite critical still of yourself in the process?

yeah well for ‘the naughty room’, i wasn’t just acting and directing, i was doing the sound recording and boom operating and making sure everything was ok. and because there weren’t many of us, i said to the camera operator and to my little brother fletcher (who was production designer and 19 at the time) to tell me what they’d like to see out of me. we’d do one my way and then a couple the ways that they thought. so when i cut it i’d just get the best of everything. well i hope i did.

well, from the little snippets i’ve seen it looks like you have…it’s really exciting.

thanks!

so what can we expect from the film? are we going to be as challenged as we are sometimes from your music?

there’s never been a film like it, which is good, and there are definitely worse films which have been made for more money. you’ll never see anything like it…it’s a black comedy, it’s funny, it’s touching on some quite dark shit quite a lot of the way through. a lot of movies nowadays are doing dark shit and it’s very over dramatic and very contrived. with this, we tried to think about how we might react if something like a kid being locked in a bathroom by his mother for sixteen years was to happen. you wouldn’t suddenly be kicking to hero mode: “oh my god, i’m going to call the police”. there are other emotional, moral conflicts that you might go through first. and the music has a lot to do with telling the story as well. i wrote the soundtrack as well.

what inspired you for the film?

the whole purpose of it really was to kind of expand on the question of where you can draw your examples from growing up as to how to live your life…and how your friends sometimes can give you more accurate and better information than your parents can. ‘cause your parents are tainted by who they think they are status-wise to you. they know they have to power to mould, but in actual fact they are as flawed as they reprimand you for being. and when i was a kid growing up i learnt to choose pretty early on who i’d would take shit off and who i would be influenced by, if i felt like they deserved or qualified to teach me a life lesson.

but it will be funny?

yeah! but it’s funny!

‘think bigger’ (2012) is available now through itunes, and keep your eyes peeled later this year for cosmo jarvis‘ first feature film ‘the naughty room’.

*the following review can also be read at musicfeeds.com.au 

photograph by ed watson for musicfeeds. check more out here.

it had been one of those gorgeous sydney days where the clouds were few and the sun wintery warm. and when i heard of the dreaded hail that was pelting down on byron bay, for once i wasn’t quite so jealous.

i was completely excited that, for all the splendour sideshows around, I was heading to father john misty.

j. tillman, former drummer for seattle folk outfit fleet foxes, has released seven solo albums, but ‘fear fun’ is his first under the moniker father john misty, and has been on high rotation in my apartment since its release in may. and boy, is it causing a stir. after realising his depression and struggle with his compositional style (and armed with a stack of herbal help) tillman left his former self to inevitably find his true voice and that ‘something’ worth singing about.

the stage at oxford art factory was adorned with many an instrument and first to take to them was sydney band melodie nelson. fronted by lia tsamoglou, they comfortably dove straight into their opener, waiting.

full of dreamy, 60’s psychedelic sentiments, lia’s voice echoed as the keys and electric guitars kept up the momentum. but what was most striking was their use of cello, giving the sound a texture and depth I wasn’t expecting.

they floated through the rest of their set but what was most memorable was their last song, meditations on the sun. that tarantino-like whistle lingered long after they’d left the stage.

by the time brisbane six-piece mosman alder were setting up, the venue had all of a sudden filled out. weaving to the bar became a skill.

when they did begin it was the baritone voice of valdis valortze hit me straight away. with nick cave and the national tendencies, i was hooked. mixed in with that soaring violin, their live performance had a full sound and a synchronicity, even without their usual pianist.

raisin heart was one of their best, with driving military drums, choral build up and sudden sparse vocals. it was the considerate layering in all their songs that was so enchanting.

mosman alder will also be hitting up splendour for the second year running. they must be doing something right!

after placing bets on which track was to open, out rang funtimes in babylon. it was brilliant. and we’d just begun.

performing at splendour this sunday, his sideshow was completely engaging, partly to do with his cheeky stage banter between songs: thanking xanax for bringing him here before only son of the ladiesman, and claiming, “i’d appreciate it if you didn’t interrupt my hilarious jokes with cheers”.

but what kept the crowd’s eyes drawn to him (particularly the ladies…myself included, i won’t lie) was his captivating presence. and, yes, those swaggering dance moves. during this is sally hatchet he was a mixture of a drunk karaoke king owning a rendition of bohemian rhapsody and that lone guy dancing ‘till his heart’s content up the front…at once absurd, yet still strangely attractive. 

aside from his theatrical maneuvering about the stage, the sound of his band was incredible. full of the effortless guitar twang and layered hooks, it remained very true to the guts of the record. songs like nancy from now on and i’m writing a novel delighted the crowd to no end, and father john’s voice was rough but superb. that’s what i love about his music - those disparities that seamlessly work together: frank, dark and mysterious, but such fun.

after forgetting lyrics in now i’m learning to love the war and cheekily stating, “this pays for the flights”, the mood was evened out nicely with the earnest every man needs a companion. he had us all drawn in and we were happily riding with him.

to finish came those constant cymbals, crunching electric guitar and the unruly melisma vocal opening of hollywood forever cemetery signs. sung with a beer in hand (and stealing a quick drag of a cigarette before treading it to the stage), that mischievous, cool character of misty was there summed up. but it was the ending that grabbed me most: a heavy and intense rock out that felt like we were dragged even deeper into that mindset. my friend turned to me exclaiming, “it feels like someone just took advantage of me!”

as an encore, the band returned with teepees 1-12, but not before asking for a smooch from someone from the crowd…of course he did.

please return to our shores again soon, father john. you’ve preached to the masses and we wait in hope for your next sermon.

*the following review can also be read at musicfeeds.com.au

on the eve before winter, not even drizzling rain or impending cold could affect the spring i had in my step. after only catching their last three songs when they supported death cab in february, and with the recent hype of their new single, i was definitely keen see dappled cities live once more. i ventured down to oxford art factory where a small crowd and the smell of popcorn greeted me (yes, yes…popcorn). with my unfortunate track record for arriving late to gigs, particularly mid-week, i surprisingly got there with ample time to spare.

the first band on stage was panama, four local lads whose upbeat sounds turned out to be quite a treat. with the exciting layering of catchy vocals, those popular nostalgic 80s riffs, and full, lifting percussion, panama have instrumental multi-tasking down to a tee.

although the first half seemed a little flat and the vocal levels were too low, the driving rhythms and memorable keys kept the sound tight. by the end, everything settled with loads more energy, particularly their single magic. the bright, pop tune had exciting bongos and soaring vocals, and was somehow reminiscent of summertime.

the second support were glass towers, an indie-rock band who already have substantial touring history under their belt. hailing from byron bay, i couldn’t help but notice the now sydneysiders were a young bunch. but as the drummer began, his age was suddenly no longer a curiosity. his neat time changes and the technicality of his fills were first-rate.

at first i didn’t much care for the singer’s voice, yet as he went on, i warmed to his casual, speak-singing style. it seemed to fit their image perfectly. the lead guitarist seemed completely disenchanted each time he sang bvs, though his catchy riffs more than made up for it. their newest single jumanji a welcomed highlight and brought a fun, tropical pop feel. 

by now the venue had packed out, but the crowd was well behaved; i’ve come to like a courteous thursday night gig. as the curtains parted for dappled cities, a silver backdrop complete with hollywood lights was revealed. and what a show we got! the bright lights were engulfing, complete with hectic strobes. i maybe had to squint a little bit, but they gave their music such energy from word go.

the band was balanced, tight and well polished. that’s what playing together for ten years will do for you. clearly happy to be back performing, they played from across their four albums including crowd favourites the price and holy chord.

what i really loved about dappled cities is how both vocalists manage to share the role so evenly, seamlessly mixing with clear, resonant tones, layered octave harmonies and a reverb mic to set it off.

the night is young at heart was one of the best moments of their show. with those identifiable time changes and crazy lights, it was completely exciting, and didn’t sound its age one bit. and when a girl climbed up onto the stage and danced her own heart out and flicked her long brown locks, they loved it, keeping the energy high and the outro long.

but i have to say, run with the wind is quickly turning into my favourite song. it was pretty epic. those gliding scalic synth lines and soaring melodic falsetto chorus give the song it’s constant momentum and kept us enthralled. 

dappled cities have impressively managed to continue to sound fresh and current with this track, but have retained their own identifiable sound. not and easy feat. it will be interesting to see what direction their new album takes us.

they will be returning to our stages this october.