EP Review: Kacy Hill – Bloo

Kacy Hill Bloo EP cover
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It sounds like Kacy Hill is one of those lucky right-place-right-time people. She started out as a model (which could explain why she looks familiar, especially if you’ve ever seen American Apparel advertisements). This modelling work somehow led on into dancing, which landed her a role as a stage dancer on Kanye West’s Yeezus tour. Hill somehow managed to capture Ye’s attention, and after listening to her demo backstage, he decided to sign her to his label G.O.O.D Music.

If you’re not a Kanye fan, don’t let this put you off. This isn’t a hip hop release. Although it is definitely manufactured pop.

HIll has a great voice. The most similar name I can think of is Florence Welch (of Florence + the Machine).

First track “Foreign Fields” features crackles and static to give it a warm, vinyl-like feel. It’s a simple song that showcases Hill’s stunning voice, accompanied by crisp piano. There is a trip-hop vibe to it, with a handclap metranome transforming into an electro drum beat. The chorus feels messy with extra effects that make Hills sound distant and echo-y, but it helps to contrast against the slightly sterile verses.

EP highlight “Arm’s Length” takes us into Florence + Machine territory, with upliftingly cooed choruses and ethereal bridges. It’s a joyous anthem that marries delicacy with club music.  “Shades of Blue” brings the mood down. The thunderous drums are cool, but I question why Hill chose such a gloomy song as the closing track. When a début EP like this only contains three songs, each song needs to be strong enough to all make a positive statement. Ending on a depressing note taints the overall experience.

The piano-led gospel-come-pop works well, although the overproduction and excessive effects don’t always serve to enhance the music. The songs work best when striped right back to the basics of just piano and vocals. As they say, less is more. Hill’s voice is gorgeous, and I’d far rather listen to her than half the tripe that plays on the radio these days. This short taster is a promising show of Hill’s potential. Let’s just hope that in the future she can let the songs do the talking, instead of hiding behind unnecessary overproduction.

Joseph James

Album Review: Silversun Pickups – Better Nature

Silversun Pickups Better Nature cover
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Better Nature is Californian quartet Silversun Pickups’ fourth album, the follow-up to 2012’s superb Neck of the Woods.

They’ve always written brilliant dreamy shoegaze songs with a hint of danger, but never managed to receive much attention in New Zealand. New World supermarkets started to use ‘Lazy Eye’ in their advertisements a few years ago, but I still see Silversun Pickups as an underrated indie secret. Better Nature is more energetic than the previous albums, hinting that it may prove to be the break through album in New Zealand.

(Clockwise from L-R): Joe Lester (keyboards), Nikki Monninger (bass), Christopher Guanlao (drums), Brian Aubert (guitar, vocals). Credit: Rebekkah Drake

(Clockwise from L-R): Joe Lester (keyboards), Nikki Monninger (bass), Christopher Guanlao (drums), Brian Aubert (guitar, vocals). Credit: Rebekkah Drake

The titular opening track ‘Cradle (Better Nature)’ is more explosive than I had expected from the band based on their earlier output. I realised something different was up at the songs halfway point, when the choral chant of “Better! Nature!” launches into a raunchy guitar solo. The previously shy shoegaze sound has turned frantic and demands the listener’s attention, while still retaining the attractive fuzziness. Second song ‘Connection’ follows up just as strong.

It’s the same Silversun Pickups sounds that you know – crisp drums, throbbing bass, ethereal fuzzy guitar and atmospheric synths. But this time it’s a case of more. More variety, more attitude, more wild and unkempt. Frontman Brian Aubert even looks more wild. Watch the video of their last video clip (Cannibal) and compare his appearance to the ‘Nightlight’ video and you’ll see what I mean.

Better Nature features loads of interesting sounds and tones, lurking almost into industrial territory at times. For example, ‘Friendly Fires’ reminds me of soundtrack work that the album’s mixer Alan Moulder has done alongside Nine Inch Nail’s Trent Reznor in the past. It begins with threatening throbbing bass that evokes a tense thriller scene, before the introduction of chirpy keys reminiscent of Jay Z’s “New York State of Mind”. The cut out chorus sung a capella over hand claps adds to the eerie feel..

Lead single ‘Nightlight’ also has a lot of similar elements to Nine Inch Nail’s ‘Hand That Feeds’. It’s not as upbeat, but the distinctive drumming, moody bass, and victorious chorus make it a perfect synth pop anthem.

(WARNING the above video contains violence and nudity.)

It’s impressive that the band can keep their familiar signature sound and still write songs that sound different. You can tell that they’ve made an effort to prevent the songs all sounding the same. Many start strong and unique, before slowly reverting back to the usual fuzzy sound. And there are so many strange outros that don’t match their respective songs. Clinky slow xylophones, a child singing, and odd vocals all feature in outros that seem out of place, in attempt to mix things up.

‘Pins & Needles’ is my personal favourite, featuring a groovy swagger thanks to slide guitar before returning to the familiar infectious fuzzy sound. The guitar solo is a ripper too, with some delicious tones. ‘Tapedeck’ has lovely resonating marimba or vibraphone playing over a dancy syncopated beat and dripping with odd sounds that allude to industrial music. The expansive slow chorus sounds odd juxtaposed against the driven verses, but it works. Bassist Nikki Monninger takes over lead vocal duties in the echoed chorus of ‘Circadian Rhythm (Last Dance)’ and her voice is so good it’s a wonder that she didn’t feature more prominently throughout the album.

Better Nature is great – both recognisable and fresh. It’s more dangerous and wild than the previous albums, with the same brilliant aspects that made them so good. It’s not as dreamy anymore, but the dark new urgency makes for more exciting music.


Silversun Pickups:         Website         Facebook           Twitter         Instagram           YouTube

Joseph James

Album Review: Gary Clark Jr – The Story of Sonny Boy Slim

Gary Clark Jr The Story of Sonny Boy Slim cover art
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I’ve seen Clark play on both his visits to NZ. The first time he opened for the Red Hot Chili Peppers at Vector Arena in 2013. It was only a four-song set, but it was enough to blow me away. When he came back to our shores earlier this year he proved once again that he is a musical force to be reckoned with.

There was never a question of whether The Story of Sonny Boy Slim was going to be good. Gary Clark Jr has the midas touch of the guitaring world. The question was whether he would be able to capture his sensational live energy on his sophomore studio full-length.

The problem was that his Black and Blu album wasn’t comparable to his stage sound. The dirty rawness got lost in the production. The songs were good, but didn’t allow the true brilliance to shine through.

Before I discuss the music, I must note that this album is visually stunning. I bought the 2LP gatefold vinyl and the art is great, with a contrasting colour scheme of red, yellow and black. The best aspect is side D, which features the scene from inside the gatefold laser-etched onto the disc.

Side D, with laser etchings of the picture from inside the gatefold

Side D, with laser etchings of the picture from inside the gatefold

Clark has taken more control over this second album. No co-writers are credited this time round. He also dominates with the instrumentation, playing bass, keyboards and drums as well as the expected vocals and guitar. This would suggest that the record could sound more clinical, having been recorded in so many separate takes. But it doesn’t. And kudos to Clark for having the ability to pull off the work that usually requires a full band. He roped in some mates to help out at times, including saxophone, horns, organ, piano, and flute to flesh out the sound.

The Story of Sonny Boy Slim is also a bit of a family affair. Clark’s fiance Nicole Trunfio and son Zion feature in the intro of ‘Hold On’, and his sisters Shawn and Savannah provide backing vocals on a three tracks.

Speaking of intros, the start of first track ‘The Healing’ has an odd little pre-amble that sounds like something Son House would sing. It’s not a strong introduction to the album, but it does foreshadow that this album is more of a nod to older styled blues.

‘Grinder’ is the designated crowd pleaser – the rock number with the obligatory guitar solos the whole way through. But The Story of Sonny Boy Slim is not an rock record (surprising, considering that the release date coincides with the commencement of a tour supporting rock titans Foo Fighters). Instead most of the songs sit back in the groove. This is the album that requires being in the moment. There’s no hurry. There doesn’t need to be.

Take, for example, ‘Star’. It has skanking guitar and falsetto singing riding upon a delicious bassline. It stays strong and steady the whole way through.

Some of the stand out tracks include ‘Hold On’ – a more ballsy song that features a horn mantra and squealing guitars; ‘Wings’ -which showcases Tameca Jones as the amazing guest vocalist who sings above the infectious syncopated snare patterns; and ‘Can’t Sleep’ – with more squealing guitars and a bouncing beat.

We hear nod’s to the inspirations from the past in the Motown-sounding ‘BYOB’, and the ho-down that is ‘Shake’ goes full-vintage with prominent slide guitar. Harmonica and organs and brass instruments all feature heavily throughout the album, too, giving a New Orleans flavour.

Final track ‘Down to Ride’ is like ‘You Saved Me’ version 2: the longer hazy extended jam. It takes me back to when I saw Clark play last, drinking in the soulful tunes in a hazy, dimly lit venue.

Clark is no longer the promising young guitarist from Austin who needs to impress and make a name for himself. He has proven himself already, so now he can sit back and play music for his own satisfaction. And taking a more personal approach may have reduced the sell-ability of the album, but it also lifted the overall quality and cohesiveness. He doesn’t need the co-writers, the producers or show-off songs. His songwriting is strong enough that he can let the music sell itself. This is an album designed as a whole, rather than a collection of singles.

Listen to ‘Church’ (featured above), a track that Clark previewed at his Wellington show earlier in the year. It’s nothing flashy. Hell, it’s straight up basic. But there’s something that I can’t quite pick that makes it utterly electrifying.

If you’re after the next Hendrix, then this album will disappoint. But if you are happy to settle for some stunning blues, saturated in a relaxed vibe and some thrilling instrumentation, then this will suffice. And of course the guitar playing is still brilliant.

Clark is Sonny Boy Slim. This is his autobiography. And it’s well worth a listen.

Joseph James

Album Review: Halsey – Badlands

Halsey Badlands cover
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Halsey is an anagram of the name Ashley [Frangipane], the latest of a string of electro-pop stars who will soon conquer the airwaves with her début album Badlands. She shares a similar synth-based pop sound to Lorde, Broods, Ellie Goulding. Her voice is like Taylor Swift at times, but she also has a bad girl attitude like Taylor Momsen or Miley Cyrus. Halsey is going to be huge; a hybrid of all trending chart toppers.

The music is likable enough. Dreamy synths? Check. Percussion driven? Check. Computerised sounds? Check. Repetition to the days? Double check.

It’s unashamed manufactured pop, but it is nice to see that the artist herself has at least a co-writing credit on every song on the album. There is also some odd additions thanks to the slick production, like a cinematic choir on ‘Castle’, or the stunning violin on a number of tracks. There are rap and alt rock influences that are detectable through the punky attitude.

Because that’s the last part of the success formula. If you want to sell your product, it’s as much about image as it is about the music. This music is pop with an edge. Halsey is working on her bad girl image like the aforementioned Momsen or Cyrus. She sings about smoking and using drugs and attracting boys older than her. It’s enough to both upset parents and appeal to rebelling tweenage girls. Those messages could be justified as feminist, but I think it’s just clever marketing.

Badlands lasts roughly an hour, with 16 songs. I enjoy most of the songs, but an hour of it is a bit much. The music starts to lose its punch when it doesn’t deviate enough. That said, the demographic that this music will appeal to tends to listen to singles instead of albums, so the music it won’t lose its effectiveness outside of an album context.

Halsey has a great voice. Coupled with slick producers, and riding a trending genre, there’s no way she won’t sell. Hear her blasting from a defiant teenage girl’s bedroom soon.

Joseph James

EP Review: Oscillate – Skepticism

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I first met Conor Coleman – the man behind Oscillate –  when he was drumming for now-defunct local band As Legends Rise. We had a lot in common: we’re both drummers, we both work in teaching roles, and we have some similar tastes in music. I remember one time we were at a Datsuns gig at San Fran and he got concussed somehow. I was pretty worried for him, but in typical Conor style he just laughed it off.

Conor was at my flat getting a home-job tattoo from my flatmate (he got two: a bear on his chest, and a zombie skull on his shoulder) when he introduced me to djent – technical metal with focus on angular syncopated riffs. When he asked me to check out one of his side projects I expected something along those lines, something heavy and influenced by bands like Periphery and The Contortionist.

And it is. Music that Conor has released under the guise of Oscillate is undeniably djent-y. But I was impressed that the music is also far more multifaceted than that.

Most of it is tight and technical progressive metal with complex rhythms. But there are some more tender moments as well. I love the twinkling piano parts in ‘Skepticism’. ‘I Slept Through The Noise…’ has some enormous sounding ephemeral interludes. ‘And I Dreamt’ is a brilliant dreamy track with an electric drumbeat reminiscent of triphop music like Massive Attack. It has tender piano and reverberating guitar that makes you forget that you were listening to articulate metal riffing a minute beforehand.

I asked Conor about a sample of Tommy Lee Jones talking in the film No Country for Old Men. He told me that he chose it in part because he loved the movie, and because it explored how he felt at the time of recording, seemingly stuck with limited options forward. Themes of existentialism and inevitability run throughout the EP, like the musical equivalent of The Matrix (not that there are any lyrics to show this).

Cloudkicker is the most similar act that I can think of – a one-man post-metal project. Other similar sounding bands include Northlane, Dumbsaint and Russian Circles. That’s no small achievement for a 21-year-old solo musician. Conor has proven himself as more than just a metal drummer. This Oscillate EP shows off his skills as a multi-instrumentalist and composer, and reveals great potential for more to come.

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