EDWARD DEER live shows

Edward Deer is a Sydney singer-songwriter who is well worth checking out.

His track 'Tie Up The Birds' has been on high rotation here at Shout About Music HQ for several weeks now. It's an atmospheric tune that gets better with each play. Listen to it here http://www.myspace.com/edwarddeer

Deer has a Wednesday night residency at the Sandringham Hotel, Newtown in Sydney on the following dates: 

• 15 Sept (w/ guests Ole Sport & Cogel)
• 22 Sept (w/ guests Guitarzan & Honeytree)
• 29 Sept (w/ guests Bec Richardson & James Hiller)

All shows start at 8pm.

Deer's debut ep, titled Songs for D, will be available at all the shows and it's highly recommended by Shout About Music.

BASEMENT BIRDS live review

I wasn't exactly wowed by the Basement Birds album, so my expectations were low before I saw them on stage - but I was pleasantly surprised...

Ah music fans. They’re a fickle bunch. While a decent-sized crowd welcomes support act Ohad Rein (aka Old Man River) onto the stage, their attention fluctuates. While they are willing to clap along to the hits from Rein’s first record, they are easily distracted during his (very promising) new songs.

When you think about it, ‘fandom’ is a strange thing. Footy fans support their heroes through thick and thin, even when their idols perform below par. Music fans, however, remain loyal only up to a point. This means that when musicians form supergroups, only hardcore fans turn out to see them.

This is a blessing and a curse for Basement Birds. They didn’t sell enough tickets to fill the Enmore as planned but, having moved to a smaller venue, they’re playing to a concentrated crowd of committed followers. Everybody here is a fan of Kevin Mitchell (Jebediah), Kav Temperley (Eskimo Joe), Steve Parkin (Autopilot) or Josh Pyke; which makes for a special atmosphere.

When the band open with radio hit ‘Waiting for You’ one thing is immediately obvious: the vocal interplay and harmonies are going to be the highlight this evening. It’s one thing to perfect complex vocals in the studio – over several takes – but it’s quite another to do it on stage.

Yet Basement Birds manage it. Again and again and again. The rockabilly swagger of ‘Cinnamon and Smoke’ is propelled along by some impeccable chorus harmonies. The Whiskeytown-inspired ‘Not The One’ is nailed thanks to Pyke and Mitchell’s call and response vocals. The craving lyrics in ‘Holly’ are well articulated by Temperley’s raw vocal delivery. The four-part harmonies in ‘Ghosts’ echo round the room in suitably haunting fashion.

But it’s not all plain sailing. Tickets were sold with promises of ‘surprises and special guests’ but when Temperley invites Julia Stone onto the stage, she never materialises. In fact there are no surprise guests all night.

Perhaps to make up for it, we are treated to cover versions that range from the sublime (‘All I Want’ by Sarah Blasko) to the ridiculous (‘The One That I Want’ from Grease). Unique moments like these are what die-hard fans treasure the most, so tonight’s audience savours every note. If this does turn out to be “the first ever and last ever Basement Birds show in Sydney” (as Mitchell speculates) then at least the musicians give their devotees something to remember.


By Andy McLean. Copyright held by author.
First published in The Brag, Sydney, August 2010.

THE MISSION IN MOTION featuring seamus mcalary

Beardy stand-up comedian Seamus McAlary lets it all hang out in this new music video clip (fortunately, it's only Seamus' star that is rising).

The music may not be everyone's cup of tea but the band (The Mission in Motion) is getting a lot of radio play right now, so who am I to judge? And Seamus is awesome in the video so check it out.

SUPER FURRY ANIMALS love kraft

One of the less-famous Gorillaz collaborators on this year's Plastic Beach was Gruff Rhys. Kind of appropriate that a Super Furry Animal would team up with Gorillaz when you think about it. Here's a review of one of his own records...

With Super Furry Animals you only have to glance at the song titles to know you’re in for a good time: ‘Zoom!’, ‘Atomik Lust’, ‘Lazer Beam’, ‘Psyclone’ and ‘Cloudberries’ all promise the usual mix of pop and psychedelia we’ve come to expect from the Welsh wizards. I’m pleased to report that the music makes good on that promise.

Love Kraft opens with a luscious sploshing noise and then ‘Zoom!’ begins to unfold, laden with organ, horns, celestial choir and Gruff’s chants of “I can’t get enough of this / kiss me with apocalypse”. It’s classic Furry stuff: catchy, absurd and yet faintly unsettling too. Soon after ‘The Horn’ pipes up like a gloriously twisted nursery rhyme. Close your eyes and you can see oompa loompas marching down Welsh mountains singing the round robin words with happy abandon (“Go, go with the flow, la-la-la-la-la-la”).

The album reveals new treats with each listen but special mention must go to the deep funk of ‘Psyclone!’ for the lyrics alone. Gruff starts by warning a pterradactyl, brontosaurus and tyrannosaurus rex of an incoming meteorite and then implores a chicken to negotiate with invading aliens. Afterall, “Time is chicken, ticking away” he explains. And somehow, coming from him, you know exactly what that means.

If this album was a cat it would woof.

By Andy McLean. Copyright reserved by author.
Article first published in The Brag, Sydney, 2004.

Love Kraft is available through Shock Records.

IKARA COLT modern apprentice

Here's a look at Cockney noise merchants Ikara Colt...

Within moments of you putting Modern Apprentice on I guarantee your Mum will storm in and demand you, “Turn that racket down”. Even if you don’t live with your Mum. Even if (like me) your Mum lives 11,000 miles away (admittedly she was visiting me from England at the time, but it still counts).

I’m not sure if any further analysis is really necessary. Can there be a better recommendation for a record than: it’ll piss your folks off? I can’t think of one. Still, if you really insist, I suppose I could go on to say that Ikara Colt sound like the place they’re from. New Cross in London is a dirty, dangerous place where the locals will smash you in the face as soon as look at you. Modern Apprentice allows you to experience this unique environment without the spell in hospital afterwards.

Half the record is brooding and nasty (best example: the Sonic Youth fuzz of ‘Waste Ground’) and the other half is ferocious and nasty (best example: ‘I’m With Stupid’ which is packed with more explosives than And You Will Know Us By The Trail Of Dead at their most incendiary).

These are merely trifling details though. All you really need to know is that your parents will hate this and you will love it.

Listen to this album if you’re adopted and looking for your long lost Mum: she’ll be round in no time.

By Andy McLean. Copyright held by author.
First published in The Brag, Sydney, 2004.

Modern Apprentice is available through Smash Music.

WILCO live review

Wilco played a show at the State Theatre, Sydney a few weeks ago. This was my take on it...

Chicago’s Wilco are the archetypal musician’s musicians. They’re a hard working, endlessly-touring six piece who rarely play for less than two hours. They boast multi-instrumentalists, several guitar maestros and a lead singer who ticks all the boxes: gifted, tortured, fragile and flawed. Heck, even their drummer is ridiculously talented.

So, this evening, it’s no wonder that Sydney’s muso brigade is out in force. The audience is a sea of regulation-issue check shirts and includes several of our local alt-rock fraternity (Old Man River and Andy Kent among them). When the crowd is just as hip as the band themselves, nothing can go wrong. Right?

The first sign that something is slightly amiss comes when Liam Finn opens – the room is practically empty. Many punters aren’t just too cool for school, they’re too cool to even bother watching the support act (even a prodigiously skilful support act with 24 carat rock lineage). And Finn seems subdued tonight, by his standards. There’s less looping madness, there’s less of his own material, there’s less beard. There’s no drum kit and no EJ Barnes (until her late cameo on ‘Second Chance’). Three years after his marvellous solo album arrived, he’s treading water now.

Thankfully, everyone takes their seats before Wilco launch into their dazzling array of songs; each tune allowing different band members to shine. Played live, ‘Radio Cure’ has even more claustrophobic edge, thanks to Pat Sansone’s electronic wizardry. ‘You Are My Face’ is given added tenderness by John Stirrat’s gorgeous harmonies, and then extra groove by his bassline. Meanwhile, during ‘Impossible Germany’, Nels Cline receives spontaneous applause for his elaborate guitar solo.

But, strangely, that’s about as animated as the crowd gets until midway through the colossal ‘Spiders (Kidsmoke)’, when frontman Jeff Tweedy finally grumbles: “It’s been a long time since we’ve seen an audience sitting that still.” He has a point. Considering the room is full of Sydney’s movers and shakers, there isn’t much moving or shaking happening.

An awkward stand-off is only avoided when the crowd obligingly gets to their feet and, gradually, the room’s orbit turns around. By the end, there’s a mass singalong on ‘Jesus Etc’, a huge ovation for ‘Hate It Here’ and - during a belting encore of ‘The Late Greats’ and ‘I’m A Wheel’ - even the coolest of the cool kids are wigging out in the aisles.


By Andy McLean. Copyright held by author.
First published in The Brag, Sydney, 2010.

Wilco are touring the UK in September 2010.

THE POLYPHONIC SPREE together we're heavy

Today I've added another review from the archives. This gives you a glimpse into the hazy, crazy world of America's favourite cult (band)..

Giving Tim DeLaughter a bucketload of cash to record a Polyphonic Spree album is a bit like giving a small child the keys to a lollyshop: They're going to gorge themselves on every treat they can find. Disney (who own Hollywood Records) stumped up the moolah for a studio large enough to accommodate the 25-piece (count 'em) band and DeLaughter duly splurged dosh. No horn, harp or harmony was left unturned to bring us Together We're Heavy.

The aim was to create a sugar-coated symphony to love and some of the time that's achieved. A breezy piano leads the parade on 'Everything Starts At The Seam'; 'Two Thousand Places At Once' is a soothing antidote to hectic modern living; and I'd swear my stereo actually glowed with joy during 'Hold Me Now'.

At other times the happy clappy clan get a bit overzealous though. 'When The Fool Becomes A King' is the worst example of this, descending at one point into a sickly playground chant of: "The trees wanna grow! grow! grow!" If you can stomach the odd schmaltzy moment like that then you will love this album.

If Together We're Heavy was a dessert it would be banana split, pancakes, cheesecake, black forest gateau, apple pie and chocolate fudge cake mixed up and served on Belgian waffles with maple syrup.


By Andy McLean. Copyright held by author.
Article first published in The Brag, Sydney, 2004.

Together We've Heavy is available through Festival Mushroom / Hollywood Records.

THE CHANDALIERS video clip

What do you do if you're a struggling band, with no budget, and you want to make a video clip to be shown on the box?

Think outside the box...

THE GO! TEAM thunder, lightning, strike

For my money, this is one of the most impressive debut albums of the past decade...

You know how sometimes you can wake up and you just feel great? There’s no explanation for it but you can’t wait to get out of the front door and taste the day ahead? Well Thunder, Lightning, Strike is that feeling distilled into one neat little compact disc. It’s the most infectiously happy set out of sounds you’ll hear this year.

‘Feelgood By Numbers’ pipes up sounding like Schroeder from Peanuts playing a rambling piano line over shuffling little percussive beats. Then there’s the giddy harmonica on ‘Panther Dash’ which calls to mind Johnny Marr-era The The if they’d ever let their hair down. Not enough for ya? Then try ‘Bottle Rocket’ for size. It’s like a coked up Eminem rapping the script from Herbie Goes Bananas over a warped Hanna-Barbera theme tune.

Everything is infused with the same wide-eyed delirium that St Etienne had when they first surfaced with Fox Base Alpha in the early 90s. The Go! Team also share that band’s slightly kitsch quality (it’s no surprise to discover they’re from Brighton, coastal playground of London’s gay crowd). But while there are samples and shades of days-gone-by sprinkled everywhere, Thunder, Lightning, Strike is still very much a record of the here and now. It’s time to let the love in people, The Go! Team has arrived.

If Thunder, Lightning, Strike was a place it would be Bedford Falls from It’s A Wonderful Life: where everything is perfect.



Article by Andy McLean. Copyright held by author.
First published in The Brag, Sydney, 2004.
Thunder, Lightning, Strike is available through Shock Records.

OLD MAN RIVER & FRIENDS live review

I interviewed Old Man River this week and my interview feature article will be published in The Brag and on this blog in September. In the meantime, here is my live review of one of his previous shows...

Old Man River & Friends
The Studio, Sydney Opera House
Friday 17 October 2008


The last time Ohad Rein (aka Old Man River) played at the Opera House, it was something of a landmark occasion. As part of the Nations By The River ‘supergroup’, he helped concoct a quite fabulous collective performance.


A lot of water has passed under the Harbour Bridge since then. Some of the performers from that night have hit choppy waters (Gelbison, The Sleepy Jackson), while others found fairer seas (Sarah Blasko, Ben Lee). Meanwhile, Old Man River navigated foreign oceans and scored some unlikely chart success, notably in Italy and Japan.


So, it seems fitting that the Opera House should again be the scene of a major milestone for Old Man River. Tonight, after several years of touring, he is bidding farewell to debut record, Good Morning. And, in the spirit of his previous show here, he’s invited some friends along to celebrate.


The pattern for the night is established early on. As if on a conveyer belt, guest musicians frequently appear, disappear and reappear, showcasing both their own material, and Old Man River’s. For many performers this is a rare glimpse of the spotlight (albeit shared) which gives the gig an added sparkle.


Highlights include a visibly excited Tanya Horro playing melodica and singing on ‘Long Way From Home’; a gorgeous duet with Megan Washington (sans PA) on ‘Wedding Song’; and Jason Walker’s subtle pedal steel, which chimes in on most of tonight’s numbers.


Many songs start off true to their recorded version, before veering away into extended instrumental jams. This works best on ‘Summer’, a delirious alt.country number that recalls The Band, and the stunning ‘Time’, which ends in sprawling crescendo of sitar, pedal steel, congas and harmonies.


In age old tradition, the hits are saved to last. The Kahn Brothers enter stage right, ask the audience to join them in doing a communal stretch, and then belt out a joyous rendition of ‘Sunshine’. Then finally, we are treated to the unselfconscious delirium of ‘La’ where, on cue, the audience joins in with random animal noises. It’s a celebratory way to full stop this chapter of Old Man River’s music. Here’s hoping he finds calm seas and a good breeze in the future.


Article by Andy McLean. Copyright held by author.
First published in The Brag, Sydney, 2008.

Old Man River's new album Trust will be released by EMI in September.

- More Old Man River articles will be published in this blog in the next few weeks. Stay tuned. -

THE HIVES tyrannosaurus hives

My review today is from my 2004 archives and it's proof (as if you needed it) that music critics get it wrong sometimes (see my comment about the Yeah Yeah Yeahs in the second paragraph! Ah hindsight. It's a wonderful thing)...

In 20 years’ time kids will look back on the 'New Rock Revolution' and think the following things: 1) What a shite name for a music scene 2) What the fuck were people thinking bringing 1980's clothes back in to fashion? 3) The Strokes and The White Stripes deserved the hype but most of the rest of the pack were good singles bands whose albums didn't quite cut the mustard.

The Hives will join The Libertines and the Yeah Yeah Yeahs in the "rest of the pack" category. 'Main Offender' and 'Hate To Say I Told You So' were head and shoulders above everything else on Your New Favourite Band and now 'Walk Idiot Walk' towers over this new record like, well, like a Tyrannosaurus Hive.

If that sounds unkind it isn't meant to. It's just that The Hives have the ability to unearth two and a half minutes of pure pop gold every so often and that can be a curse as well as a gift. The rest of the album is a mixed bag of hyperactive jumping beans: 'Love In Plaster' sounds like a Blondie recording session gatecrashed by a bunch of drunken Swedes, 'Dead Quote Olympics' resembles a Clash b'side and 'Antidote' closes the album with a short, sharp slap across the chops.

It’s all good fun but to be honest you might want to wait for the Greatest Hits CD to come out in five years time.

If Tyrannosaurus Hives was in your family it would be your kid brother: a precocious, sometimes irritating, ball of energy that you can't help but love.

Article by Andy McLean. Copyright held by author.
First published in The Brag, Sydney, 2004.

Tyrannosaurus Hives is available through Polydor.

THE DANDY WARHOLS live show review

The Dandy Warhols will be in Australia for Parklife in early October. The last time they were on these shores, things got a little strange...


The Dandy Warhols (support act: Downhills Home)
Friday, 31 October 2008, Enmore Theatre, Sydney.



Over at Mission Control, Lieutenant Pop starts to worry...
“Earth to the Dandy Warhols, earth to the Dandy Warhols, are you receiving me? Over.”

Bzzzzzzt. Bzzzzzzt. Bzzzzzzt.

“It’s no good sir, I’ve tried contacting The Dandy Warhols but all I’m hearing is random static and feedback.”

Commander Rock stares out the window, pondering the infinite cosmos beyond. Then shakes his head: “Ever since Captain Taylor-Taylor went on that mission with the warlords of Mars, he’s given up trying to communicate with the outside world. His methods were always unconventional, but he used to get results. Now, I’m not so sure. Perhaps Lieutenant, we’ll need to put our faith in our younger space cadets, Downhills Home. Their solid country-rock can be good for the soul, and at times they take me back to my youth. Ah, those Grateful Dead gigs were really something...”

But Commander Rock’s reverie is quickly interrupted. Bzzzzzzt. Bzzzzzzt. SHAZAM! KAPOW!

Lieutenant Pop stares at his monitor in disbelief. “Sir, did you see that? It’s beautiful! What is it?”

“That son, is The Dandy Warhols re-entering our orbit. Look there, you can clearly make out ‘We Used To Be Friends’ and ‘Bohemian Like You’. And there! Peaking out behind that needlessly drawn out intro, it’s ‘Boys Better’. For a moment there I thought we’d never see those stars again. ” But still the Lieutenant looks fretful: “Sir, I’m picking up an unidentified object on my radar. It’s enormous! What could it be?”

“Relax, it’s just Captain Taylor-Taylor’s gorgeous pout. You don’t usually see anything like that unless you’re in the Zoolander System.”

Bzzzzzt. Crackle. Bzzzzzzt.

“Blast it sir! I’m losing them again. Let me check the radar. The Dandys appear to be... I can’t believe this. They seem to be... disappearing up their own backsides. ” Commander Rock just shakes his head slowly. He’s seen this happen before. “Lieutenant, with these guys you gotta have patience. Every time you think you’ve lost them in a blizzard of white noise, they will draw you back again with ‘The Last High’ or ‘Get Off’. Sure, they’re an enigma, but God bless those guys. And God Bless America.”



Article by Andy McLean. Copyright held by the author.
First published in The Brag, Sydney, 2008.

JOSH ROUSE el turista

Here's a perfect record for your lazy Sunday...

Considering that only one in five Americans own a passport, Josh Rouse could teach his compatriots a thing or two. First, the Nebraskan troubadour made Spain his semi-permanent home. Then, he made it his muse (quite literally: he married an Iberian girl and now writes half his songs in Spanish).

This has made Rouse’s music a lot more interesting today than it was ten years ago. Back then, he was producing safe alt-country ditties that were very likeable but hardly challenging. Nowadays, he’s combining his new Latin passion with lounge jazz to produce albums like El Turista.

Two-minute instrumental ‘Bienvenido’ is a warm and fuzzy welcome, where piano, violin and xylophone weave in and out of a looping double-bassline. This sets the tone for what’s to come; a collection of quietly assured acoustic numbers that shimmy and sway across bossa nova rhythms.

Highlights include the mellow ‘Cotton Eye Joe’ and ‘Don’t Act Tough’ (which make you want to find a hammock and daydream the afternoon away); and ‘I Will Live On Islands’ (which shakes you from your slumber, sounding like a carnival that’s been gatecrashed by Graceland-era Paul Simon).

At times, Rouse does get overly sentimental (‘Lemon Tree’ is a bit too sickly sweet, while ‘Mesie Julian’ slips into novelty easy listening cheese) but heck, the guy has clearly been seduced by the Spanish way of life and, for the most part, it’s quite charming.

Recommended for your siesta. Not recommended for your fiesta.

By Andy McLean. Copyright held by author.
Article first published in The Brag, Sydney, 2010.

El Turista is available through Shock Records.

TRAVIS ode to j. smith

It seems hard to believe today but, before Coldplay arrived, Travis was the indie band of the masses. They married inoffensive lyrics, catchy melodies and lavish production to sell records by the bucketload.

So it’s refreshing news that, more than ten years on, they’ve abandoned that formula and recorded a raw guitar-driven album. The aim with Ode to J.Smith presumably was to scrape away the sheen and let the songs speak for themselves. Good idea. In theory.

The trouble is, no matter what the Scottish scallywags try, the songs just don’t stand up. There’s a bit of shoegaze drone on opener ‘Chinese Blues’ (but shoegaze is a style that, in the wrong hands, just sounds like drone. And so it does here). There’s a touch of glam rock stomp in ‘Long Way Down’ (but halfway through the band just runs out of steam - and inspiration). There’s even a nod towards Britpop nearly-men Cast in the cliché-ridden chorus of ‘Get Up’.

The album rarely strays from its indie guitar core, but when it does, the results are surreal at best. Ever wondered what Travis would sound like if they had a blind stab at Carl Orff’s ‘O Fortuna’? Well, no actually, me neither. But ‘J. Smith’ tells us anyway. Ever hoped that Travis would have a pop at 1980s synth balladry? Again, me neither. But the boys give it a whirl on final track ‘Before We Were Young’.

Ode to J.Smith sort of confirms what we already suspected. Travis need spit and polish to put shine onto their otherwise-slightly-dull music.

Article by Andy McLean. Copyright held by author.
First published in The Brag, Sydney, 2008.

Ode to J.Smith is available through Shock Records.

MIDLAKE bamnan and slivercock

Before The Trials of Van Occupanther and The Courage of Others, Midlake released this quirky debut album...

Midlake may share American Deep South roots with Kings of Leon but these good ole boys might as well be from another planet. They've come to tell tales of making kingfish pies with only one arm and of the forbidden love between a landlord and an air vent inspector ("She's glad that he cares so much about the safety of electrical outlets").

Not exactly issues everyone can relate to - but somehow it makes perfect sense.

They avoid the "look-at-me-I'm-zany" trap of They Might Be Giants because the songs are performed with the fragile sincerity of Gorky's Zygotic Mynci or The Flaming Lips. Also, with the hushed organ taking the music off in unpredictable directions, Bamnan and Slivercock calls to mind a more coherent version of The Beach Boys' Smiley Smile. Sprinkle in some ambling acoustic guitar and strange "what-does-this-button-do?" bleeps and whistles and the effect is magical.

This isn't an album that will come to you. It requires your undivided attention like a piece of quality literature. But if you're prepared to invest the time, you'll be rewarded with a glimpse into a weird and wonderful world.

Listen to this album before you go to sleep: you'll have peculiar (but sweet) dreams.

Article originally published in The Brag, Sydney, 2004.
Article written by Andy McLean. Copyright held by the author.

Bamnan & Silvercock is available through Bella Union.

THE CHARLATANS you cross my path

The Charlatans have just announced an Australian tour to promote their forthcoming album. To whet your appetite, let's look back at their last album...

During their tumultuous career, The Charlatans have been written off at every turn. In the early-90s, critics pegged them as Madchester hangers-on, trailing in The Stone Roses’ wake (the fact that The Charlatans were not actually from Manchester was a trifling detail). Next, Britpop barged in, and the band was portrayed as less talented also-rans behind Blur and Oasis.

The Charlatans were also prematurely written off when their career was blighted by death, prison, fire, cancer and financial ruin. And yet, throughout all of this, one fact was overlooked: the music was ear-meltingly marvellous. From baggy pop (Some Friendly) and stoner rock (Up To Our Hips) to Dylanism (Us And Us Only) and electro (Wonderland); each album took The Charlatans on a new journey.

But, in 2004, even the music went awry. Up At The Lake was well below-par, and then the unconvincing white-boy reggae of Simpatico made even die-hard fans write the band off.

Frankly, they should have known better.

You Cross My Path is the sound of The Charlatans fighting back and saving the day again. This time, the sound is best described as New Order-meets-shoegaze. Everything must have gone green for Bernard Sumner when he first heard his own melodies being trumped on ‘Oh! Vanity’ and his Get Ready riffs being aced on the title track. Meanwhile, fans of Mercy Arms will adore the swirling guitar drone of ‘Bird’, which also features a “lead bass” that Peter Hook would have been proud of.

Quick, someone tell Howard Moon and Vince Noir: The Charlatans have found The Funk again.

Article by Andy McLean. Copyright held by author.
Originally published in The Brag, Sydney, 2008.

You Cross My Path is available through Cooking Vinyl

THE CURSE OF COMPANY leo magnets joins a gang

The Curse of Company was created by whizzbang boffins in a secret underground laboratory. Scientists spliced DNA from several indie creatures, including a big dose of Dappled Cities, a dash of Theredsunband, a drop of ex-Expatriate and a sprinkling of Mr Bungle. Blended together, these ingredients produced a curious by-product: a concept album about the exploits of a mythical adventurer, one Leo Magnets Esquire.

Like all concept albums, Leo Magnets Joins A Gang has to be appreciated in its entirety. Cherry-picking on iTunes is futile. Songs drift in and out of focus in an epic procession of echoing instruments and disembodied voices. After repeated listens, it’s impossible to resist being drawn deeper and deeper into the fantasy world.

Lyrically, there are few firm narratives but plenty of recurring themes. Travelling, for example, crops up in many ways, be it seafaring on ‘Fleets in the Fog’ or climbing a tree on ‘The Kites of the Countries’. Through harmony, Sarah Kelly and Wiley Rennick bring key lyrics to life, such as the repeated refrains of “So when we undress your heart, no need for concern” (on ‘Homecoming’) and “I am one of a thousand falling leaves” (on ‘Side by Side’).

Rennick wrote and co-produced the album so, while the band’s DNA-mix is varied, the dominant gene is definitely that of his normal, full-time band. Imagine a ghost ship skippered by Dappled Cities, and you’ve got Leo Magnets Joins A Gang.


This record is proof that Hollywood has got it all wrong: letting mad scientists loose is a good thing.


Written by Andy McLean. Copyright reserved by the author.
Article first published in The Brag, Sydney. 2008.

Leo Magnets Joins A Gang is available through Universal.

BASEMENT BIRDS coming soon...

I've been commissioned to review THE BASEMENT BIRDS show at the Enmore this weekend. This band features the combined talents of:

• JOSH PYKE
• BOB EVANS (aka KEVIN MITCHELL) 
• STEVE PARKIN
• KAV TEMPERLEY

To find out whether or not this supergroup really is 'super' or not, check out the Shout About Music blog next week.

...by the way, the support act on the night is OLD MAN RIVER (look to your right to see a review of his latest EP).

TEENAGE FANCLUB shadows

Glasgow’s Teenage Fanclub is a songwriting democracy; each album contains an equal distribution of songs by Norman Blake, Raymond McGinley and Gerry Love. When all three are on song they create power pop to rival Big Star, harmonies to rival The Byrds and indie gems to rival anyone.

On Shadows, Norman Blake is on dazzling form. ‘Baby Lee’ combines sun-drenched harmonies with swooning strings and a cute xylophone line to produce a joyous love song. ‘When I Still Have Thee’ blends hammond organ and mandolin to reveal a golden pop nugget.

But the other writers are distinctly off colour. Gerry Love’s ‘Into The City’ is nondescript, passing by like a cloudy Scottish day; and his ‘Shock and Awe’ delivers the absolute opposite of what its title promises.

As for McGinley, his fragile voice is a double-edged sword. On 1995’s Grand Prix it perfectly articulated his vulnerability and self-doubt; on Shadows it just sounds strained and weak. His ability to conjure a compelling melody has deserted him, leaving the songs devoid of life or vitality.

It gives me absolutely no pleasure to report any of this. I interviewed these charming men in 1992 and have been a paid up member of the Fanclub fanclub ever since. But such is the life of a critic – we have to call it as it is – and it’s now been 10 years since the Glaswegians produced a consistently great album.

Norman Blake solo album anyone?



Article originally published in The Brag, Sydney. June 2010
Article written and copyright held by Andy McLean
Shadows is out now through Liberator Music

S. CAREY all we grow

This article is hot off the presses. Published in this week's issue of The Brag...

Sean Carey was last seen on these shores as part of Justin Vernon’s touring band for Bon Iver. Seeing the group perform at Angel Place last year was a chilling, thrilling experience. So when Carey’s debut album dropped into my lap, I sat up and took notice.


Sadly, when I hit the ‘Play’ button my interest quickly wore off. I listened to All We Grow on the train, in the lounge room and walking through the city. I played it on the stereo, laptop and iPod. Heck, I even listened to it at night with all the lights out. But frustratingly, this damn record just could not hold my attention.


The curious thing is that Carey uses the same ingredients as Bon Iver. Everything is slow burning. Everything is quietly understated. Many songs are built on repetitive percussion and/or guitar; they take their own sweet time to reveal themselves. Mournful, layered vocals echo through the songs, deliberately telling you half the story, no more. The rest you have to work out for yourself.


So why does this record fail, where For Emma, Forever Ago succeeded? I think it lies in the repetition. Justin Vernon used this with deft skill on tracks like ‘Lump Sum’. He built something ghostly and atmospheric, while his plaintive vocals held you captive. But Carey, on tracks like ‘We Fell’ and ‘All We Grow’, clings to repetition to the point of monotony; and his voice just doesn’t have the same power of expression to rescue things.


Having been part of the Bon Iver story, maybe Carey would be best advised to branch out and do something uniquely his own. Or else he will always suffer by comparison.
 Article written by Andy McLean

Original article published in The Brag, Sydney. August 2010.

All We Grow will be released on JagJaguwar later this month.

OLD MAN RIVER you're on my mind ep

When I saw the cover of this EP the alarm bells in my head were deafening. Mixing eastern mysticism with western rock is fraught with danger. Get it right and you create perfect psychedelic pop like ‘Mantra’ by The Lovetones – but get it wrong and you create faux spiritualism like ‘Who Feels Love?’ by Oasis.

I needn’t have worried though. Ohad Rein (aka Old Man River) knows exactly what he’s doing. He’ll employ Indian instrumentation and even Hindi language when the occasion requires it. But he’s equally happy working within traditional rock arrangements.

The title track contains a simple sentiment so Rein keeps the music relatively simple. Guitars, drums, bass and piano lead the way in a song of reconciliation, propelled by a wave of harmonies and violins. In the wrong hands, this could sound sickly sweet; but there’s undeniable charm at the heart of this. The same can be said of the folk song ‘Sailing’, which features a choir and a sentimental lyric without ever being syrupy.

The eastern influence is more apparent in the words of ‘Be The Change’ and in the music of ‘Shanti Aaye’. The latter features the gorgeous vocal talents of Hamsika Iyer alongside Indian strings and percussion. It also sees Luke Steele on remix duty and - surprisingly - he resists the temptation to get carried away (there’s a first time for everything). In his hands the song gains a spring in its step while retaining its roots.

Harmony is possible when East meets West. This EP is proof.


By Andy McLean
Original article published in The Brag, Sydney. July 2010

The You're On My Mind EP is available through LaLaLa Music/Stop Start/EMI

** More Old Man River articles will follow in the next few weeks so stay tuned to this blog.

OASIS dig out your soul

To kick things off, here's a review from my archives. Lots more to follow...

A few things are guaranteed with a new Oasis album: 1) Noel will reckon it’s their best record since Definitely Maybe, 2) nobody else will, 3) the NME will laud Liam as a comic genius for making thuggish comments about other musicians, 4) when reviewing the album, many critics will completely miss the point and lambast the Gallaghers for being derivative.

Of course they’re derivative! When did Oasis ever pretend to be anything else? People don’t love Noel and Liam for originality. They love them for making big, brash, catchy songs. So the true measure of an Oasis album is simply: are the songs big, brash and catchy enough? Unfortunately, on this occasion, the answer is “the first few are, and the rest aren’t”.

The claustrophobic ‘Bag It Up’ is a good start, combining Liam’s sneered vocals with an absorbing chord progression, to quite menacing effect. There’s only just time to throw in a lyrical reference to The Rolling Stones before ‘The Turning’ barges in. It’s even more twisted that its predecessor, with keyboards and a minimalist bassline conjuring up The Charlatans at their finest.

But soon the band start sounding laboured: ‘I’m Outta Time’ is an insipid Lennon-on-the-piano imitation; ‘To Be Where There’s Life’ is full of vacuous faux-eastern “wisdom”; and the plodding ‘Soldier On’ is undoubtedly the weakest track to ever end an Oasis record.

Contrary to popular belief, Noel and Liam have recorded two stellar albums since What’s The Story (Morning Glory)? But this isn’t one of them.

Dig Out Your Soul is available through Sony BMG.
Article written by Andy McLean.
First published in The Brag, Sydney, 2008.

** More Oasis reviews and information will be added in the next few weeks. Stay tuned!!