Wolves in Fashion are a self-classified 'groove rock' band from Sydney, Australia. They started out as a four-piece to record lead singer Tim Quaife's EP, but since 2014 have evolved into a powerhouse quintet. Their influences include Muse, Foals, The Rubens and Arctic Monkeys. Originally called 'Stanley's End', Wolves in Fashion use these influences to create a sound that is familiar, yet undoubtedly unique to anything currently circulating in the Australian - maybe even global - music scene.
Their live presence is undeniable, with every member of the band not only immaculately playing their instruments, but putting on a show as well. The band put this on stage energy down to a few members having dabbled in a variety of performing arts prior to Wolves in Fashion, namely bassist Chris Thompson's background in metal bands and vocalist Tim's experience with musical theatre.
Their supporting set at The Captain Cook Hotel Sydney on October 1st left everyone in awe, with a consensus among audience members that Wolves in Fashion are not suited to supporting other bands - their dynamic show and exceptional talent make them a headline act. Their rousing cover of The White Stripes' 'Seven Nation Army' in the middle of their set made everyone who wasn't already enthralledreally sit up and pay attention. Some bands need a set peppered with covers to mask their inability to write and perform quality originals - Wolves in Fashion are not one of those bands. Their originals were extremely well written and performed, as well as being super catchy - all necessities for songs to succeed in today's competitive music landscape.
Wolves in Fashion's new single 'Streets' - to be officially released on November 8th after being recorded earlier this year at Sydney's Jungle Studios - is just a tiny (and delectable) taste of what this up-and-coming band have to offer. Everything about Wolves in Fashion's sound screams "authority", with every instrument and band member combining so effectively to create a positively formidable sound. Bassist Chris' startling bassline, along with guitarists Pat Muller and Loko McDonald's haunting guitars set the atmosphere for this gritty and compelling track. Tim Quaife's vocals are a staple to Wolves in Fashion's sound, and this is no different in 'Streets'. Drummer Paul Crichton's effective use of toms and cymbals give an almost tribal feel at times, and play a huge part in the stadium anthem vibe of 'Streets' at around the 3:20 minute mark. The entire track is full of pleasant surprises and genius use of light and dark, and the quality of the single foreshadows Wolves in Fashion's future all too well.
Rating: 9.5/10
- Wolves in Fashion are officially releasing 'Streets' at The Vanguard, Newtown on November 26, 2015. Buy tickets here
New Regulars are a blues rock band from the Central Coast, NSW. Their sound is unmistakable and translates all too well into a live setting. Their set features their existing singles Hollywood Deranged, Shut Up, and Stolen Honey; some older favourites like Move Over and Help Me Out; and hot-off-the-press tracks Hot Girls and Trouble On The Run.
The band are famous for their undeniable swagger, which is what sets them aside from bands who can only hope to be of similar calibre. For a three-piece band, their sound is enormous - and only a small part of that enormity is created by effects. Fuzz and distortion pedals are used by singer/guitarist Kurt Ellis and bassist Anthony Collins as an accent to their sound, not as the foundation of it. Drummer Cypress Bartlett utilises a crisp and clean sound, with his embellishments coming from a more traditional use of instrumentation - namely the effective use of a tambourine in Help Me Out.
Their set is bookended by brilliant tracks, but the beauty of a New Regulars show is that the entire setlist is peppered with songs that are engaging - they make you want to get up and dance (Shut Up), sing along (Help Me Out), or wave your lighter in the air (Cannonball). The enthusiasm evident in their performances inspires an equally enthusiastic response from their audience, no matter how big or small. They also cover The Black Keys' (from whom they clearly take a lot of inspiration) Lonely Boy and Jimi Hendrix's version of All Along The Watchtower.
New Regulars are unique in the sense that they maintain their originality, whilst being so appealing to the mainstream market. They have achieved relative success on the Sydney/Central Coast/Newcastle music scene, but they have some songs up their sleeve that are bound to make them hit the big time. Hot Girls is a dirty dancefloor track that even the most reserved listener can't resist moving to, and Cannonball is their Kings of Leon-esque stadium anthem that could easily have thousands of people singing along.
The bottom line is: if New Regulars are playing a show in your neck of the woods, don't miss out. Take advantage of the opportunity before they are selling out stadiums all around the world.
Stranger Than Paradise are a young originals band from the Central Coast, NSW that classify themselves as rock/pop. Their classification is very applicable as their sound, look, and performance are a pleasant balance between the two genres.
The band's youthful, carefree attitude exudes an almost punk vibe; this combines magnificently with their well-written, pop-sensible originals about the typical topics of love and loneliness. The result is catchy songs with equal amounts of sugar and spice, encouraging comparisons to bands who have capitalised on similar formulas, namely Australia's own - now hugely internationally successful - 5 Seconds of Summer.
Their eclectic mix of covers combined seamlessly with their originals and made their performance accessible to listeners of any age. Their punky cover of Katy Perry's I Kissed A Girl would have enthralled anyone of Generations X or Y, while their clean and classic cover of Dragon's April Sun In Cuba and edgy, inventive version of all-time classic Jimi Hendrix's Voodoo Child would have been standouts to any fan of classic rock.
Stranger Than Paradise are impressively cohesive - both instrumentally and aesthetically. An across the board beach-casual look combined with musical talent far exceeding their young years make them a dream for any record marketing company.
A lot can be said for not judging a book by its cover, and this could not be more true when talking about Stranger Than Paradise. Do not be blinded by their tender years; all members of the band's talents far exceed those of their peers, and their fine-tuned performances and cleverly written songs make them a formidable opponent for any bands of similar genres hoping to compete.
Smoko Khan are a newly formed rock originals band from the Central Coast, NSW. They clearly draw inspiration from a wide variety of sources, which are apparent in their performances and songwriting. An almost disco-style high-hat rhythm, akin to that in INXS' To Look At You, is featured in one song, whilst another track has a feel of Eagle Eye Cherry's Save Tonight.
Their musicianship is clear, with their originals featuring unique, bold walking bass lines and pleasantly dissonant shrill, distorted guitar. Lead vocalist/rhythm guitarist/songwriter Brendan Watson's voice is the spearhead of Smoko Khan's robust sound, with lead guitarist/backing vocalist/co-songwriter Taylor Molnar, bassist/backing vocalist/producer Daniel Kidston and drummer/backing vocalist Ryan Mathison's instrumentation adding to the depth and power of the band's sound.
Despite only being formed in early 2015, Smoko Khan can really hold their own.
Sean Frazer is an acoustic singer/songwriter from the Central Coast, NSW. He is renowned among all who have seen him play as a wonderful songwriter and wordsmith who performs with passion and conviction.
With just an acoustic guitar and a microphone, it is hard to imagine Sean Frazer more at home anywhere than he is in an Aussie pub setting. His heartfelt songs about - at times - touchy subjects, such as Engine, a powerful song about a returned serviceman, resonate with every member of his audience, whether young or old.
The Getaway Plan are a four
piece alternative rock band hailing from Melbourne, Australia. There have been
a number of line-up changes as well as a brief hiatus since their inception in
2004, but on their latest release Dark
Horses (released July 3 2015), they are as cohesive as ever. Signature
traits and techniques from previous albums combined with an at times fresh
approach do an excellent job of reclaiming and re-cementing their spot on the Australian
rock scene.
The Getaway Plan have an
amazing way of making their music appealing and accessible to fans of a wide
range of genres, including rock, metal, punk and pop. The clarity and purity of
Matthew Wright’s vocals and piano melodies are a stark but wonderful contrast
to the instrumentation that some would say is grungey or relatively heavy. Dark Horses is full of clever and
effective contrasts; clean, undistorted acoustic guitars in Baby Bird/Effigy contrast the grungey,
down-tuned guitars in tracks such as Battleships;
and melancholy lyrics juxtapose the uplifting and hopeful atmosphere of Dark Horses. The piano aids in the
starkest contrasts, as it simultaneously feels out of place with the rest of
the instrumentation, yet fits right in to add an eerie or haunting atmosphere.
A number of external
influences on The Getaway Plan’s sound on Dark
Horses are evident. The opening tracks of the album, Landscapes and F(R)IEND
feature some fuzzy, rousing riffs and basslines that are similar to those in
Kasabian’s 2004 track Clubfoot. My
personal favourite track from this album, Castles
In The Air, shows hints of Royal Blood with more fuzzy riffs and a
swaggering beat lead by guitars and backed up by the rhythm section. As a huge
Royal Blood fan, this atmosphere is a large part of why this song tops my list
of the best tracks on the album. An atmosphere change in the following few
tracks uncovers warbling falsettos and clean arpeggios in the first half of
double track Dreamer/Parallels,
reminiscent of Jeff Buckley’s first and only LP Grace. The second half of this track features Melbourne hip hop
artist Freeds, and his almost spoken yet rhythmic vocal parts over a jazz drum
beat encourage comparisons to The Cat Empire’s vocalist Felix’s scatting style.
A couple of tracks are a nod to Muse’s style; The Means has a ≈15 second window of a distorted bassline, similar
to those that have been staples in Muse’s music for the last 21 years or more.
The soaring guitar sliding featured in Monuments
is a pleasant acknowledgement of Muse’s 2006 track Invincible.
All of these references
are a true testament to the musicianship of the members of The Getaway Plan, as
it showcases that they are able to take inspiration from a wide range of
artists and incorporate it seamlessly into their own style and compositions. I
believe the broad range of influences evident in this album are a certain part
of why The Getaway Plan has such an expansive and versatile appeal and fan base
– listeners are able to enjoy familiarity not only from The Getaway Plan’s
trademark techniques, but also from references to some of the most popular
bands or artists of this generation.
As I mentioned earlier, Dark Horses is plentiful in clever
contrasts. Yet the cleverest contrast of all is when you look at the album on a
macro level – take a step back and you will see that the atmosphere of the
first few tracks juxtaposes the following eight in a genius way. The album
works as a diptych, where each piece makes sense on its own, but gains meaning
when placed alongside the other. This is owed very much to the placement of
tracks on the album, which I’m sure was not a coincidence. Opening track Landscapes gives listeners a sense of
familiarity due to the trademark The Getaway Plan instrumentation and
atmosphere, before the listener is taken on the emotional journey of the
following ten tracks. The last three tracks Baby
Bird/Effigy, Monuments and Exodus
are placed in the best possible position to bring the album to a close.
Unmissable tracks are Castles In The Air, Dark Horses and Dreamer/Parallels, but to truly
appreciate them, you have to hear the album as a whole.
Whatever sort of music
you’re into, I would recommend Dark
Horses, because there’s a little something for everyone.
Rating: 8/10
The Getaway Plan embark on
an Australia-wide tour on September 3rd until the 28th of
November. Find out more about their tour here.
MUSE are a three-piece English prog/alternative rock band that
have been blasting speakers since their first album Showbiz in
1999. Drones is their sixth LP and, like its predecessors, is
heavy on political themes. What separates Drones from the
albums that went before it is the fact that it is not just a few songs with
political motifs; the whole album has a revolutionary concept, and lyrics,
instrumentation and subtext combine ingeniously to provide an artwork with a
clear message and motive. Vitriolic, anarchy-inciting lyrics combine with
snarling, fuzzy guitars and crashing cymbals to ensure Drones will
be the soundtrack of the Revolution.
As all artists should, Muse have evolved with their constantly growing
fan base, and this is apparent in Drones. Some songs appeal to the
avid fans of Muse’s earlier works, such as Psycho and Reapers. These
compare with other tracks, such as Mercy and Revolt,
that may alienate staunch fans of pre-The Resistance Muse yet satisfy
those who were fond of the approach the band took with The 2nd Law. Some
critics would say The Resistance and The 2nd Law were
evidence of Muse being ‘popified’, and there may be traces of this on Drones,
but overall, the stadium anthems and unmistakeable riffs are more indicative of
a return to the music most Muse fans know and love.
Opening track Dead Inside gives listeners a
delectable taste of what’s to follow. Drummer Dom Howard does his job as well
as ever, providing a solid backbeat for the rhythm section which is filled out
by bassist Chris Wolstenholme’s melodic, pulsing basslines. The instrumentation
cleverly combines old and new with both electronic synthesisers and classic
electric guitar. The heartfelt key change that makes you want to wave your
lighter in the air showcases Matthew Bellamy’s – at times Mercury-esque – vocals,
which always feature in both Muse’s recordings and live shows.
Spoken track [Drill Sergeant] really lays the
anti-establishmentarian foundations that are consistently built upon as the
album progresses. Few tracks really convey the intended message quite as
effectively as the aggressive first single, Psycho. Anyone who
has seen Muse live knows of their fondness for jam sessions between songs, and
they have successfully turned one of their most famous filler riffs into a
song: Psycho, the lynchpin and standout track on Drones.
Early Muse fans – myself included – rejoiced at the return of the unmistakeable
dirty riffs, technically tight yet out-of-control drums, fuzzy bass and
piercing falsetto. The headbanging riffs, heavily distorted chords and
Bellamy’s trademark “tapping” techniques are also prominent in fifth track Reapers and eighth track Defector.
The amazing thing about Drones
is despite the fact that there are a couple of tracks that might, on their
own, be duds, the album as a whole is one of the most comprehensive and
intelligently put together concept albums I have come across in a long time. As
I previously mentioned, no single aspect of the songs or album stands out to
deliver a message: all facets combine to make Drones a work of art.
The lyrics are an exquisite example of the rollercoaster of a
political outcast’s emotions – Psycho
conveys hate; Defector is defiant; Mercy is pleading; and Aftermath goes from vulnerable to inspiringly
triumphant.
Unconventional techniques such as spoken tracks ([Drill Sergeant] and [JFK]) and subtle subtext are unusual
yet undeniably powerful ways to awaken listeners to the fact they are being
lied to and taken advantage of, and to encourage them to rise up against those
in power.
The atmosphere of the album is aggressive yet empowering and
enlightening. It lights the fire of your inner revolutionary and makes you want
to reach for your balaclava and Molotov cocktails. Despite its aggressiveness,
it is still easy on the ears and pleasurable to listen to. As always, Muse’s
collective musical genius means musically, songs are intricate and complex, but
they are never far out of the layman’s ability to understand and appreciate.
If you are an early Muse
purist, then maybe avoid a couple of tracks. But if you love a good political
message and a bit of air guitar, then Drones
might just be for you.
