The Getaway Plan - Dark Horses (2015): Album Review

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 3^rd until the 28^th of November. Find out more about their tour here.

* Find The Getaway Plan on Facebook here

* Listen to Dark Horses on Spotify here

* Buy Dark Horses on iTunes here

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If you or someone you know has live or recorded music you'd like me to check out, please email me at musicmindedaus@hotmail.com

MUSE - Drones (2015): Album Review

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 2^nd Law. Some critics would say The Resistance and The 2^nd 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.

Rating: 8/10

Get Drones on iTunes here

If you or someone you know has live or recorded music you'd like me to check out, please email me at musicmindedaus@hotmail.com