The xx at The Metro Theatre, Sydney

The XX returned to Australia last week and treated those lucky enough to snap up a ticket to a performance at the Metro theatre in Sydney. Support act, Flume started the show and, despite having quite a bit of airplay and gaining popularity with awesome mixes of Hilltop Hoods and Ta-Ku, did not seem to draw in a crowd, as people seemed unable to tear themselves away from the lure of vodka Red Bulls at the foyer bar.

The headlining trio, Romy Madley-Croft, Oliver Sim and Jamie Smith, took to stage (twenty minutes late) in a haze of smoke, and began the set with Angels, the first single from the soon-to-be-released album, Coexist. Usually I generally dislike bands showcasing new material at gigs, due to unfamiliarity, but Angels, despite only being released to the world a fortnight ago, still had the majority of the audience joining in and singing the chorus. The band took songs from their solid self-titled debut which excited fans, including Heart Skipped a Beat and Basic Space. These slower-paced numbers were pleasing singalong tunes, but the faster, more textural, pulsating tracks induced more of a reaction. Midway through the set the band played new material from the forthcoming album, this instrumental number had a club dance-floor vibe and seemed as though it were influenced by the steel-drum driven Far Nearer taken from Jamie’s solo album. It was an attack on the senses, blasting beats and smoke machines, with lazer beams scattering over the crowd as a projected psychedelic visual danced across the screen and spilled onto the band as they worked harmoniously to make the sounds. Another standout track was Infinity, a duet that reeked of passion and sex, with the transition of each singer, the pace fastened, the lights projected over the stage as Romy sang, “I can’t give it up to someone else’s touch” finishing with a climatic ending of blaring noise and light flooding the stage.

For an electronic driven outfit, the sensuality and the organic nature of the vocals of both Romy and Oliver is bound effortlessly with the precise drum machine beats and computer samples. Both strong vocalists project lyrics with delicacy and softness and often have a haunting effect that is woven through the tracks. But, they in no way overshadow the percussion and sounds created live on stage by Jamie, who makes clean, precise accompaniment with various computerised instruments.

I eagerly await the new album Coexist after hearing snippets at their gig. It is set to be released on 11 September.

Review by Carol Bowditch

White Arrows interview

Carol Bowditch chatted to lead singer and founder of White Arrows, Mickey Church, ahead of their new album release and upcoming Australian tour with Jinja Safari and Opossom (who she also recently interviewed):

Mickey Church is travelling through El Paso, Texas when we speak. He talks of excitement about his travel to Australia for the first time with his band, and speaks as if it were some distant, strange land, far, far away. “We have no plans,” he says. “We have no itinerary and we have no idea what to expect.”

White Arrows met Kody of Opossom when they toured with Unknown Mortal Orchestra. The band became acquainted with fellow tour-mates, Jinja Safari, they met at a hotel in London. Mickey says they “saw some dudes that looked like musicians and went up to talk to them and they happened to be Jinja Safari, who were coincidently playing the same tour there and were coming over to Australia together. It was a really funny that that happened.”

Dry Land is Not a Myth is their debut release after only a two year lifespan as White Arrows. Mickey said its creation was, “an interesting process, [there's] nothing really to compare it to since it's our first record, but it’s exciting that it's finally out. I’m thrilled at how it’s turned out. We just had one 7” and one EP before, so it’s nice to have something substantial out.” He continued, “We start with music with no lyrics in mind, sometimes we don’t ever use it. There can be a theme before the song exists, usually the lyrics come after the song.”

The White Arrows' sound had been described as psycho-tropical and borrows from many genres. For instance, Coming or Going has a dance vibe too it, whereas Roll Forever is dark and heavy with a grungier feel compared to other songs on the album. Mickey agrees that the White Arrows' sound is difficult to categorise, and encourages listeners to “come up with genres of what they think we sound like. I think that psycho-tropical is a really funny, cool name for a type of music.”

Mickey’s individual story is interesting and is reflected through the impressionistic, sensory nature of his music. He was born blind and only gained his sight at the age of 11. He says that White Arrows aim to create a, “visceral, overload experience. Different genres and different soundscapes. While working in conjunction with visual elements.”

The release of the video for Get Gone reflects just that. It features scenes of the band playing, with heavy filters and trippy visuals layered over the top. Mickey says that he finds the process of creating videos as "fun and easy within this day and age to put together footage of live shows and see how well that goes together with a song." The bands only official video is for the track, Get Gone. "The visuals came after but fit together so perfectly with the song."

I put Mickey on the spot to creatively describe his live show in three words only. "Shoot! That’s a tough question,” he replied. “How about crystallised, euphoric..." then he adds with a laugh.. "fish? [band-member] Ian says hallucination but, maybe: dreams, dreamscape, dreamlike?"

He continues to describe the experience of a White Arrows live show. “We like it to be a total sensory overload, a lot of projections, a lot of strobes, haze and fog. Like a complete sensory takeover. We like people, for that hour, to have a complete uninterrupted experience and whatever happens, happens. Just to be in the moment."

I ask him for any last words from the band. His reply is short and sweet and sums up the White Arrows mentality: “Everybody love everybody and that’s pretty much it."

Interview by Carol Bowditch

Tour dates here.

Expatriate interview

Carol Bowditch caught up with from Expatriate after the band's lonnnng period of playing and writing in Europe. We haven’t really heard from the four-piece since their 2007 release, In the Midst of This, so Damian (the chap just to the right of lead-singer Ben's cheek in the above picture) explains what they had been up to.

Tell us what you've been doing for the last few years?
At the end of 2008 we flew over to Germany to release In the Midst of This. We had an English management company and they got us a Warner Brother record deal in Germany, so we went over there and, just as we were about to sign it, the first economic crisis happened. We ended up going with one of Europe’s biggest independent labels called PIAS. We spent a-year-and-a-half touring that album, doing all of the main festivals, like Rock in the Park, all these massive festivals, from Turkey to Greece, Helsinki… We also did about 50 shows with Placebo throughout Europe, so by the end of it we were well and truly sick of the songs. It’s not a good move to put out a record, and a-year-and-a-half after you have done it in Australia, do it over again in Germany. It was a bit like Groundhog Day.

So, we’ve just done our second record that has been sitting on the shelf for about a year, but that’s finally being released. I would like a third album [or] another EP released within October or November. Cause we have so much newer, fresher material.

You played with Placebo around Europe, who would you want to do a tour with in the future?
It depends really, whoever I’m listening to at the time. I really like bands like m83, lots of different stuff really, like The Weeknd and Drake. I have been listening to William Basinski, who does all of this experimental stuff. He’s a bit like Steve Reich, makes this like a sonic landscape, droney, multimedia thing, it’s really different.

How is Hyper/Hearts different from your last few releases like Lovers le Strange and In the Midst of This?
It’s much more over produced. We spent a lot of time in the studio. We tried to make a different record to In the Midst of This, which was very rock, in a way, with lots of guitars. We tried to add a lot more keyboards. It’s a lot more developed and refined in terms of production and stuff.

What is your favourite track on the album?
I would say Dangerous Stranger; it’s just really dark and fucked up, like an early Black Rebel Motorcycle Club sound. A good mix of guitars and synths, I like that. Also, Do You Remember is a good singalong.

Tell me about the two new videos that have recently been released on your blog. Do you enjoy making videos for your songs?
I love making videos, we do them ourselves. Dave our bass player does them and is quite good at it. It’s such a hard thing though, like making music, when it comes together and it works, it’s amazing. I love making video clips and I film, I love that medium. If you can marry those two together, that’s awesome. I don’t think you need a massive budget, it’s all about the idea I guess.

How are you finding playing in Australia after so long?
Brisbane was awesome. It was like an indie rock DJ night. Our record label is up there too. It was an eventful occasion.

I think in a way, people have moved on, like Triple J… After coming back after three years, like, Robbie Buck, who was our biggest advocate and supporter of us, is over at the 702 station, Ha Ha… Nothing wrong with that obviously, it just appears that we haven’t got the same support that we once got.

After talking to Damian, I went along to see the boys play at Sydney's Spectrum. I was reminded of all the festival gigs that I had seen them play years ago as a 16-year-old fangirl of the band. They played a mix of old faves like Play a Part and The Spaces Between, as well as a sample of new material, like aforementioned Do you Remember, along with few other newbies off Hyper/Hearts. They dedicated their song Crazy from In The Midst of This, to all the friends and family that had turned up on the night.


Interview by Carol Bowditch. Hyper / Hearts is out now. 

Ned Collette + Wirewalker at FBi Social, Sydney

Having recently chatted to Ned Collette about his new album, Carol Bowditch braved the cold to check out his live show in Sydney, which was to promote the new album, Ned Collette + Wirewalker - 2

Nursing a chilli coma, the relaxed vibe of the loosely packed crowd was a welcoming environment for my ill self. It was the sort of gig where you could lounge on couches or park yourself cross-legged on the floor while sipping on something warming.

The support act, the Russian born, Berlin expat, Mary Ocher, took to the stage wearing a sparkly bra and sporting a messy peroxide blonde do. I wasn’t sure what to expect from the solo songstress from her eccentric appearance and her strange exclamation in her thick accent that the lights were "SO cool, they make me feel like I’m in a horror film.”

The vocals in her short tracks were aggressive, with unidentifiable lyrics yelped between staccato screams and whimpers. Ocher’s solo set was brave, although it was a little hard to fully enjoy and appreciate with my intestines burning.

A crowd emerged after Ocher’s set, ready and waiting for Ned Collette + Wirewalker to take over. Ned, looking schmick in an all-white ensemble started the set with one of my favourite tracks off the new album, Il Futuro Fantastico. It was a strong start, with pulsating keyboard samples, monotonous pacing vocals and gangly Spanish guitar.  The dreamy The Decision was heavy with keyboard chords and organic percussion sounds, with Ned’s reminiscent lyrics layered over the top. The only instrumental on the album, For Roberto, another standout track, was executed well live. The Spanish-infused tune blends these awkward, broken melody progressions on the synth, with acoustic chords and dextrous fingerpicking. Midway through the song there was an interlude and where Ned took time to sip his wine as eerie synth sounds filled the room. The band finished off with Long You Lie, with the tropical intro, and multiple vocals singing in harmony through the chorus.

The varied sounds of the set proved that Ned and his Wirewalkers could seamlessly blend genres and borrow from different countries’ music. The Spanish-tinged set had something distinctly organic and Australian about it, and with the members having come from their base in Berlin to play, it was a truly international affair.

Review and live picture by Carol Bowditch 

Brian Jonestown Massacre and The Raveonettes at Oxford Art Factory, Sydney

Carol Bowditch was at the sold-out Raveonettes and Brian Jonestown Massacre show in Sydney: 

Having already sold out the Metro, this massive double headliner played a follow-up show to fans at OAF. The Raveonettes got the ball rolling. After starting with slower, acoustic ballads that helped ease themselves and the crowd into the set, as things progressed the songs became more daring and frenzied. Within the heavier tracks, however, the harmonic shared vocals were often lost and indistinguishable, hidden under dense layers of guitar fuzz that washed over the crowd. 

The duo remained effortlessly cool as they played songs back-to-back with little interaction with the audience. There was one moment however, where singer Sharin (pictured below), broke her restrained demeanour, flashing a cheeky smile to the punters. From this break of poise, you could tell that she could see that the crowd were obviously digging what was being created on stage. A climatic performance of Aly Walk With Me closed their show. The chainsaw-like guitar feedback was interspersed with seductive vocals, and a delicate chime noise sounded intermittently between the aggressive sounds created by Sharin as she mashed her palm against the fret board. It was just perfect. 

Brain Jonestown Massacre (pictured top and below) then took over to a heaving venue. The San Fran eight-piece, led by the notoriously surly Anton Newcombe, played a marathon two-hour set, playing a mix of old and new material. The crowd, sardined within the space, outstretched their limbs to catch the lights from the stage and make shapes to the shoegazey, blues infused sounds. They danced as the band churned out hits like the psychedelic rollercoaster of That Girl Suicide and the hypnotic Super-Sonic. Positioned far side-stage, Newcombe was constantly being upstaged by percussionist, the “tambourine man” Joel Gion, who exerted charisma and showmanship throughout the show to the delight of the crowd. His cocky stage presence really added to the rock n roll image of the band that we had coveted in the documentary Dig!. A surprising inclusion to the set was (David Bowie I Love You) Since I Was Six that had the crowd droning along to the down tempo rework. Anemone, usually sung by a female vocalist, worked fine with Anton's lead and was still delightfully fluid and full of attitude.

The Brian Jonestown Massacre’s set was long, obviously, due to the twenty or so album releases that they have under their belt.  There were times where the similar sounding tracks became tiresome, but I guess my expectations that they would play their 90’s releases like Take it From The Man, or Strung Out in Heaven in their entirety was never going to happen. The band took heavily from this year’s release Aufheben, which from lack of familiarly, didn’t resonate as strongly with me as the old favourites that they played. 

Overall, the two bands played the new material that they were here to tour well, both displaying the fine musicianship that they are known for. I’ll definitely need to take the time to give both new releases a proper listen. 

Review by Carol Bowditch. Photos by Carol Bowditch and Bobby Townsend.

Elizabeth Rose interview

Carol Bowditch grabbed a few words with Elizabeth Rose about her current Australian tour:

How are you feeling about your first headline tour? 

I'm really excited to be on my first headline tour! With excitement comes also nerves. I get worried about the number of people turning up to the shows, but so far it hasn't been that bad!

What can people who attend your shows expect?

In my live show it's just me up onstage with my keyboard, laptop, sampler and me singing. I try to spice things up a bit with quirky outfits and makeup! The music I play live is slightly varied from the recordings, I like to experiment with new melodies and extended edits of the songs with obscure intros and outros.

You recently joined Chairlift on a national tour. How was that experience?

Touring with Chairlift was so incredible. I've been big fans of them for a couple of years and getting to meet them was just so surreal. Caroline and Patrick are so down to earth and they are so creative in their songwriting. I had a few good chats with Caroline about bands we're into and now I'm working on a remix for them!

Your video created with Ben Wilson is insane! How did you come up with the concept and do you think that video clips are an important tool to compliment your music? 

The video clip is trippy, hey? The concept came about when we realised we didn't have the time to shoot a proper clip from scratch. I wanted to use live footage from my single launch at GoodGod [in Sydney] but didn't want it to look like a 'live' show, if that makes sense? And that is where the crazy effects and overlaying of images came in! Video clips are a very important tool to compliment the music, they amplify the meaning/vibe/energy of the song and they are also really another fun tool to use to further express yourself as an artist.

Tell us a little about the collaborations you've been working on...

I've been working with some exciting people lately. A track with Flight Facilities should be coming out in time for summer later this year, and a track I did with UK producer Sinden will be on my EP. I've also been working on a track with a fellow Sydney producer Frames.

What have you been listening to lately? Can we hear any of these musical influences within your music? 

Lately I've been getting into the new Simian Mobile Disco album, Unpatterns. Also listening to Patrice Rushen, an 80's soul singer. Her album Straight From the Heart is great!

After the tour, what else have you got planned in 2012? 

After the tour I'll be madly preparing for the release of my EP! I'm in the middle of producing it at the moment. After that I have a few festivals coming up, including Mackay Festival of Arts which is a sci-fi dress-up theme! At the end of the year I want to start working on another release, possibly an LP....

Tell us something that it would surprise us to learn about you...

I love to go fishing. Ha! Bet you really didn't see that one coming.