Author: Joseph James

EP Review: Koji – Fury

Koji Fury EP Cover
Standard

Koji first came to my attention after releasing split EPs with label mates Into It. Over It and La Dispute. Unlike those two bands, I wouldn’t consider Koji emo or pop-punk like Into It. Over It. Nor is he hardcore and intensely dramatic like La Dispute. But both splits just seemed to work as great marriages between the artists involved. Koji is hard to classify because he has a sound that is both versatile and recognisable. He’s a laid back singer/songwriter with a voice that sounds earnest and warm and songs that seems both simple and thoughtfully crafted, with subtly intimate details.

Fury departs from Koji’s acoustic past but still remains infectious. Musically, it’s more like straightforward indie rock, but manages to stay interesting without the using choirs and violins and other such instruments that Koji has used previously.

Title track ‘Fury’ doesn’t appear to contain a super catchy hook, but it refuses to leave my head. I’ve listened to it so many times over the past few days. Each time the song seems to get better, and each time it gets further entrenched in my mind. I swear my dreams have even had ‘Fury’ playing as the soundtrack for my subconscious adventures.

The following three songs continue with the earworm treatment as well. “Breaking And Broken” is ridiculously catchy with its rhyming choruses, as is ‘Everyday’, with its repeated lines and memorable guitar lines. Closing track ‘Question’ rounds off the EP perfectly by slowing down the pace but keeping up the mood.

There’s a fuzzy shoegaze vibe that permeates throughout the songs, whilst still remaining carefree and upbeat; a formula of Silversun Pickups and early Smashing Pumpkins with a bonus dose of happiness to offset depression.

Fury is thoroughly addictive, with each listen fueling the need for another. I just cannot get enough of it. Go have a listen and get hooked yourself.

Joseph James

Album Review: Declaration AD – Sometimes It’s Us

Declaration AD Sometimes It's Us
Standard

I need to admit something before I start. I consider the boys in Declaration AD some of my closest friends. I even lived with a few of them for a few years. And frontman Sam Coates designed the WNF logo for this site. This review cannot be impartial.

I’m pretty sure that I’ve attended more of their shows than anyone else. I was their first show back in 2010, at the now defunct Happy Bar. I tagged along on their first tour. I helped them print their first lot of t-shirts, and I loaned them my lungs when they recorded the gang vocals for their first two releases. I’ve watched them grow and evolve into who they are now. Obviously this is going to be a biased review, but it’s a two-way thing. My familiarity with the band also means I can give an insider’s perspective.

Declaration AD formed in Wellington late in 2009. The Wellington hardcore scene was in a re-building stage at that point, after some of the previous bands who had carried the torch had either broken up, or were in the process of doing so. We would have to road-trip up to Palmy if we wanted to attend hardcore shows.

I still remember the first one they took me to: The Chase on their final tour (I was honestly terrified. It was my first experience seeing people throwing down like they do, and I kept getting hit by backswings.One girl standing next to Kirk got knocked out).

Declaration AD would play shows with pretty odd lineups, simply because that was the only option – there were no other hardcore bands in Wellington to play with. It worked alright when they played alongside punk and metalcore bands, but often they’d play with indie bands, powermetal acts… anyone who was willing to have them on the bill. Last year they even opened for internet sensation rapper Bangs.

Over time the boys have helped to revive the Wellington hardcore scene through constant touring and inspiring friends to start their own bands. They would befriend bands in Auckland, Hamilton, Tauranga and Palmy, and then invite them to play shows in Wellington. Our flat was known as The 44 (short for “44 hardcore”) – named after the street number. As Wellington hosts, we’d let visiting bands stay over, crammed into our limited floor space and draped over couches. It was pretty common to have the entire place filled with sweaty sleeping bodies after a show.

The hard work led to success. Declaration AD have shared the stage with heavyweight local acts like Saving Grace and Antagonist AD, as well as international artists such as Terror, Trapped Under Ice and Sleeping Giant. They released two EP’s and a full length album over this period.

Sometimes It’s Us is Declaration AD’s most recent offering, the first that they’ve recorded in a professional capacity. Previously they’ve had help from friends with recording gear, but this time the band saved up to pay for time at a proper studio.

The album begins with static and tuning, like the faux-radio intro to Queens of the Stoneage’s Songs For The Deaf. It kicks off with the furious ‘Spent’, the grooviest track Declaration AD have written in ages. And it’s from this first song that the new dynamics start to pop up. Kirk Hodgson’s guitar playing is eerie and high pitched at times, unlike the usual chugged open chords. And during the bridge vocalist Sam Coates’ delivery is almost spoken word.

There are two key aspects that make Sometime’s It’s Us standout: the energy and the use of dynamics. These songs are heavy. They’re fast and angry. Listen to the blistering ‘Enfleshed’ and you’ll see what I mean. But they’re also well written. There’s the cut outs in ‘Mental Hell’ and ‘Belonging’ that add impact. The different styles of vocal delivery. The changes of pace, the guest spots from other vocalists, and the use of powerful gang vocals. All these elements are used to make the songs more interesting.

One of my favorites, ‘Mental Hell’, is frantic and speed driven, with a doomy break down juxtaposed against the breakneck beat. Towards the end it sounds like Sam is shouting through a megaphone. I also really like ‘Picket Sings & Protest Lines’ because of the enormous sounding gang vocals.

In fact the entire album is pretty relentless. ’04-14′ steps it down a notch for some slow burning self-examination, but on the whole there is a lot of aggression coming through.

Perennial crowd favourite ‘Better Man’ features in its third incarnation. ‘Better Man’ first featured on the NZ Hardcore Compilation CD in 2010. I remember the Declaration boys being so excited during the lead up to the compilation release; recording their first song and featuring alongside some of their heroes. The recording session didn’t go as ideally as hoped though, leaving them slightly disappointed with the end result. Their next attempt was with début EP MMX later that year. Again, they realised that this recording lark was harder than they’d initially thought, leaving them despondent about another recording that didn’t really capture the sound that they had wanted. So they’ve decided to test the idiom “third time lucky” with their first professional recording, and give ‘Better Man’ another go.

I’m reminded of how Anberlin re-recorded their song ‘Feelgood Drag’ as a single, three years after they’d first released it. The song became their breakthrough hit. The re-recorded version sounds darker and edgier. But I prefer the original version that I grew up listening to, simply because it’s more familiar. In the same sense, this newer recording of ‘Better Man’ may be better, but it will take me some time to get used to. Naturally, the song has evolved over time, as the lads have learned to play their instruments better and gel as a band. One of the more noticeable aspects is that vocalist Sam Coates is no longer at the forefront, but sounds somewhat distant in the mix. And the gang vocals are more prominent, as is the case in their usual live setting. Long story short: ‘Better Man’ has finally been given the treatment it deserves. Few people actually have a copy of either of the first two versions, so it’s only right that the band’s most enduring song get’s proper recognition.

Image: Grace Gemuhluoglu

L-R: Dan Drower (bass), Kirk Hodgson (guitar), Sam Coates (vocals and Dave Morrison (drums).    Image: Grace Gemuhluoglu

The stark images throughout the album depict anguish, loss, anger and pain, but the overall there is a theme of hope. There are personal issues laid bare, and although this makes Sam the lyricist vulnerable, it makes him all the more relatable as well. Many of the songs explore identity – who we are, how we act, what makes us feel validated, what we stand for. During the contemplative ’04-14′ he shouts “my flaws are too real to deny”. I’m sure that none of us can deny that we have similar battles. Words have always been Sam’s gift. He’s a genuine, unassuming guy who can brighten anyone’s day with an affirmation. He writes with conviction and shouts with such power that he has always stood out as great frontman.

Sometimes It’s Us showcases improved musicianship from the band. I love how Kirk uses treble to bring balance to the sound – an oft neglected aspect of “heavy” music, with its frequent drop-tuning and distortion. His sound has changed, with a very metal tone, tight riffs and plenty of pinch harmonics and Dimebag-styled squeals. Drummer Dave Morrison has really stepped up this time round, going for the no-fills approach. His efficient style gives the music momentum without over-complicating things. And the times that he does include an aspect like a fill or something flashy, they stand out. And bassist Dan Drower always was known for his musical abilities, and finally gets to cement his role in the band by recording new material, after having joined the band early in 2013.

Sometimes It’s Us is a big improvement for Declaration AD, showing how far they’ve come during the three years since their last release. It’s furious and focused while at the same economic and efficient. They’ve put planning into the song writing and recording that has led to tighter and more dynamic sounding songs. This is easily the longest release, lasting almost half an hour, but it’s also one of their best.

… And it’s also their last. After roughly six years, they’ve decided to call it a day.

I was there at the start, and now I can say I was there until the end. When the Declaration boys look back over their time as a band there will be no shortage of achievements to reflect on. They’ve survived a few line-up changes and left a legacy to be proud of. It’s bittersweet that this album features some of their best work, but they won’t be around much longer to celebrate it.

 

Declaration AD:      Facebook        Twitter       Instagram        Bandcamp

 

Joseph James

Live Review: This Will Destroy You and sleepmakeswaves at San Fran, Wellington

This Will Destroy You sleepmakeswaves San Fran Wellington
Standard

This Will Destroy You (Texas, USA)

w/ sleepmakeswaves (Sydney, Australia) and Spook The Horses (Wellington)

San Fran, Wellington

Sunday 7 June 2015

Image: Fergus Cunningham

Image: Fergus Cunningham

Local act Spook The Horse started the night off strong with their searing post-hardcore set. At stages heavy with roaring, and other times calm and contemplative, with plenty of tambourine shaking in between. They ensured that those who arrived early were rewarded for their attendance.

Sydney post-rock quartet sleepmakeswaves were outstanding. This show was towards the end of a long tour (22 countries over a three-month period), but they showed no signs of waning, clearly loving every moment onstage. Most bands who play this kind of music stand there solemnly in the dark as they play, but the lads from SMW were jumping around all over the place having the time of their life. I swear I didn’t see the drummer’s face once, hidden behind his shaggy mop of hair. The music was upbeat and positive, accompanied by quirky electronic samples. It was such a good set that I could have quite happily called it a night then.

Image: Fergus Cunningham

Image: Fergus Cunningham

After sleepmakeswaves’ energetic set, This Will Destroy You didn’t seem nearly as exciting. It was late on a Sunday night and the music was so slow that I could hear my bed calling me. Guitarist Jeremy Galindo was seated for the whole set and even commented that he was ready for bed too. I’m glad I didn’t answer the call though, because I was soon swept up in the music.

TWDY had one of the most intricate set-ups that I’ve seen. Transformers to help compensate for the electrical system differences between NZ and USA. Pedals upon pedals upon pedals. Keyboards and dials and switches, all draped in an assortment of wires. A spaghetti monstrosity of cables laying claim to most of the stage.

And all this equipment was used to create the music. Swells and hums and intricate layers of sound. Spaced drumming with washy cymbals. Sparse keyboard notes on top of haunting white noise. Even though the music was slow and the set lasted almost two hours, it certainly didn’t feel like it. Time didn’t drag its heels, but instead flew past sooner than I realised. And when my eyelids would start to feel heavy the band would launch into an electrifying overdriven segment to wake me up again. TWDY didn’t have the same stage presence of the previous two bands: they let their music do the talking.

Image: Fergus Cunningham

Image: Fergus Cunningham

Not only were we treated to seeing This Will Destroy You, but they also brought another stellar international band with them as support. And sleepmakeswaves actually put on the best performance of the night. It was a relatively small turn out, something that I can only attribute to the fact that it was a Sunday night. And it did go late, until around 12.20am. But once the sleep deprivation wears off, I don’t think anyone in attendance would say they regret having gone.

Joseph James

Thanks to Fergus Cunningham for the photos.

EP Review: Barouche – Volume I: The Expedition

Barouche Volume I The Expedition cover
Standard

Ross Jenkinson is London multi-instrumentalist who has just released a brilliant solo EP under the name Barouche.

The EP starts off with ‘Plot a Course’, a groovy latin-esque number that makes me think of Santana. I’m not usually a fan of much electronic music, but second track, ‘Across the Breeze’ is charming, in a similar style to Panda Panda. ‘If We Could but Rest…’ is another fun upbeat number, delightfully danceable with its offbeat drumming.

Two tracks remind me of darker post-metal like Cloudkicker. ‘The Demons are Shouting’ is tight, angular and djenty, whilst ‘The Better Angels’ is looser, with a deliciously dirty guitar tone coupled with sloshy cymbals.

In fact, those cymbals led me to a personal “Sherlock Holmes moment”. When listening through headphones, I noticed that the hi-hat cymbals were coming through the right hand earpiece. After messaging Jenkinson my suspicions were confirmed – he plays left-handed! Maybe I should pursue a career in detective work…

One key advantage that Barouche has over many other post-rock acts is that the music is tight and concise and not sprawling and slow building. As much as I like music with long build ups, I tend to play that stuff in the background. But I remain attentive to Barouche’s music because it’s short and exciting. People have short attention spans. This is why best-selling pop songs are short and repetitive. And why Barouche will be more palatable than other instrumental projects for many people.

It’s always impressive when someone can create a full musical project on their own. The likes of Lights & Motion and Cloudkicker have shown that it’s possible to still do a Mike Oldfield. And now Barouche has joined their ranks. The range of music is refreshingly experimental, covering different styles and exploring different musical flavours and colours. Jenkinson has displayed an impressive assortment of abilities in his arsenal, recording everything himself using both standard instruments and computer programming.

This collection is Volume I, showcasing a range of sounds and styles. Barouche will continue to flesh out these ideas with future releases, taking each sound in different directions and letting them evolve. If The Expedition is just a taster, then I’m excited to hear the music still to come.

You can download Barouche Volume I: The Expedition from Bandcamp here.

Keep on eye on that page. An ambient/noise record is due in a few weeks, with a  “Big, Happy, Rock” EP to follow shortly after. By sounds of things, Barouche won’t be slowing down any time soon.

Barouche      Facebook

Joseph James

Album Review: Faith No More – Sol Invictus

Faith No More Sol Invictus vinyl album cover
Standard

 

Faith No More are an anomaly.

Sure, they’re a rock band. But they’re also more then that.

They can funk it up like the Chili Peppers, or skank it up like the Wailers. They’re so odd and avant-garde that one never quite knows what to expect. Little wonder, then, that they inspired a wave of bands that collectively spawned the nu-metal genre.

You are as likely to hear them covering Lionel Richie on an easy listening radio station, as covering Black Sabbath on a hard rock station. And when I saw them play at Westfest back in March they closed their set with a Bee Gees cover.

That set was great. The band exhibited their bizarre humour by wearing a uniform of white linen, with a white backdrop behind them and hundreds of bouquets of flowers carefully arranged onstage. And as great as it was to hear all the old classics, the songs from the then-unreleased Sol Invictus still stood out as strong enough to slot in among the other songs.

Faith No More playing at Westfest in Auckland. Photo taken from Faith No More's Facebook page

Faith No More playing at Westfest in Auckland.
Photo taken from Faith No More’s Facebook page

It can be scary for fans when bands reform. Will they live up to the standard of their glory days? or are they has-beens who have decided to give it another go for the money? After seeing them play earlier this year, I could tell that Faith No More thankfully still have the goods.

They’re hardly covering new territory with Sol Invictus. It’s merely a continuation of Album Of The Year. This is surprising in some ways, considering that almost 17 years have passed since AOTY, so you could be forgiven for assuming that their sound would change over such a long period. Take Blink 182, for the sake of comparison. Their Neighborhoods  album that the released shortly after they reunited didn’t sound like old Blink 182, it sounded like Angels and Airwaves and +44, projects that the respective members had worked on during their split. The band members hadn’t stayed stagnant, so their musical styles had developed over time. Likewise, the FNM members have kept busy during their time apart – working on side projects, touring with other bands, scoring movies and starting record labels – but this doesn’t seem to have affected their sound and style.

‘Motherfucker’ was a bold choice for the first single – unlikely to garner much radio play because of the swearing, but provocative enough to cause publicity buzz elsewhere. However, second single, ‘Superhero’, wasn’t anti-commercial like the first, with the first preview initially being hosted on the Marvel website. Obviously Marvel are synonymous with superheroes (after which the song is named), but they are also the ruling kings of Hollywood, (along with Disney).

These two tracks were good choices as singles though. They, along with ‘Matador’, are the standout songs on the album.

‘Motherfucker’ is built upon a repeated drumbeat and chanting. Mike Patton’s soaring vocals cuts over the mantra. It’s so silly, but contagious. Its sinister, but ridiculous enough that it can’t be taken too seriously.

Likewise ‘Superhero’ seems cartoonish with its “HEY, hey, HEY, hey” like the “Gabba gabba hey” part from the Ramones ‘Pinhead’, but then ominous enough to stay grounded.

Patton sings, screams, shouts, growls, whispers and croons. His voice really is an instrument, with a reported six octave range. He uses different types of microphones and effects just as a guitarist uses pedals to change-up the sound.

Refusing to be pigeonholed, Sol Invictus sounds diverse yet familiar. It’s uncommon enough to have rock music led by piano and not guitar, but FNM have deliberately cultivated their own recognisable sound. Part operatic, part spaghetti western, with plenty of avant-garde and slick, dark rock to boot. There are definite nods to earlier albums, almost to the point that the album seems too same-y, but at 40 minutes long, the album is too short for repetitions to bore.

Trying to analyse it too hard is futile to attempt. I’m sure that there is some social commentary going on somewhere, but I couldn’t specify what exactly. The whole thing feels like a big in-joke from the band. Is this a magnum opus that they are proud of, or a social experiment to see what they can pass off as art to sell to the mindless masses?

Sol Invictus has grown on me with each listen. It’s weird, slightly unhinged rock music played by talented musicians. It’s the same Faith No More, just as they left off. If you’re a fan, then you’ll know what to expect, and you’ll probably like listening to more of the same. I wouldn’t call Sol Invictus vital, but it’s certainly not a disappointment.

Joseph James