Single Review: DROVES @LAZY BONES

Wollongong new/dark wave five piece DROVES started out a couple of years ago as GIVERNY – a solo project by singer-songwriter & multi instrumentalist Phillip Spiteri. Dark electronic beats and haunting guitar reverb were his stock in trade,  and after a few singles (and many shows later) they morphed into a full live band. At the recent Yours and Owls festival in Wollongong they officially debuted as DROVES and last Friday launched their new single ‘Time‘ at Lazybones in Sydney.
Arriving at Lazybones on a balmy Friday night I navigated the labyrinthian staircases and corridors to find the main band room. The first level opened up onto a smaller stage with alcoves of people huddled around tables awaiting the evening’s entertainment whilst jazz piped softly in the background. After ordering a drink from the bar, I surveyed the room for familiar faces and thought I had the wrong venue. Delving back into another set of corridors (and another staircase) I opened the door to a larger room decked out with red curtains, comfy couches and an impressive looking stage.
Support act TRU’ aka Sara Tamim had just started and her electronic dream pop combined with her mesmerising vocals captivated the audience quickly and had already drawn quite a crowd. With only a laptop in tow she displayed a commanding stage presence that suited the intimate nature of the venue and created a blissful ambient atmosphere that one could easily get lost in.
DROVES took to the stage later that night with a quiet confidence which grew exponentially throughout the set. Spiteri’s original songs were given a heavier edge live with Jonathan McKenzie’s impeccable drumming whilst the additional guitars provided intermittent shades of post punk grunge to the mix.  However it was the vocal harmonies on their new single ‘Time‘ that stood out in the set.  Spiteri’s baritone vocals were a perfect foil for singer/guitarist Taylor McAuliffe’s ethereal voice when he intoned  ‘Another day, another dollar in my head, another six drinks alone’  – which made me reminisce about the vocal melodies of The Go-Betweens.
Although, at times the set was a little loose, it actually added to the atmosphere of the show in an intimate setting like Lazy Bones. Spiteri & his new found band DROVES have managed to meld together new wave electronic music with an Australian twist.

Live Review: KING PRINCESS @ The Forum Theatre

On Friday Mikaela Straus aka King Princess, played her first Melbourne show, of her first EVER headline tour, and at the Forum Theatre no less! Playing to a room of approximately 1,500 people on a first trip to a country is a nothing short of amazing!

King Princess who is signed to Mark Ronson’s label Zelig Records. The 19 year old has become an icon in the LGBQT community, with her anthemic same sex love tracks. Opening the show with the art house track ‘Make My Bed‘. The song sets up the rest of the show. While its not the type of track you can sing along to, it opens her EP so its fitting the singer too opens her live show with the same track.

The singer then sang two songs unknown to me, whether they were new or extremely old was unclear. If they are unreleased tracks for a future album I will say we’re in for a treat when that full-length album finally drops! Speaking of albums, there were a few crowd members attempting to ‘heckle’ King Princess at one point during the show. Asking her it “Drop the album!”, to which she responded “I’m not done with it! When I’m done with it you’ll get it, and it’s gonna be FIERCE!!” which was met with a sea off laughter and applause from the remainder of the audience.

King Princess, performed with a small band, in a basic oversized suit, and with nothing but a party banner spelling out “King Princess” in terms of visuals. But the thing is that’s all she needed. Anything more would’ve subtracted form the raw energy and talent exuded throughout her performance!

The singer is so fresh and unrefined, it could come off as unprofessional as she walks onstage with a beer joking that she’s already drunk, but the confidence & pure cheek manifest in another way entirely, leading you to feel as though you’re friends with the pop star, crazy I know, she just feels so accessible which is a nice chance from the people I’m used to seeing on stage.

During one of her more popular tracks ‘Talia’ the crowd were wrapped together singing along emotionally at the top of their lungs, an ode to lost love. It was beautiful! For a artist with very few songs released, I was surprised when one of the 6 songs released was not played. Holy was missing from the setlist and I am still confused as to why.

The singer had released a brand new song the day of the concert ‘Pussy Is God’ which also did not make the set list, however Straus addressed why, chalking it up to the band simply not knowing it well enough to play live yet. Which is totally fair! She did however (to nobodies surprise) play her number 1 song, which Billboard recently named one of the 50 best songs of 2018 so far ‘1950’. The singer joked that ‘1950’ is the song that started everything for her, and how she’ll probably be playing it for the rest of her life. The song is an anthem, especially for those of lesbian orientation. “The inspiration behind ‘1950’ was… gay history,” she states, “And the way that our people had to hide in public, and how that affected the way that we love each other now.”

Overall a fantastic show. I’ll be keeping close watch over this one. Huge 2019 expected for Miss King Princess.

NOURI “Where Do We Go From Here” Single Review

New Zealand’s latest music export Nouri is set to attract a whole lot of attention with her debut release Where Do We Go From Here. And not only is Nouri’s husky vocal tones and Middle Eastern-inspired jams set to be a talking point but Nouri’s story-and quite a story it is—is also going to be of massive interest. Kurdish born and having survived a Syrian refugee camp her transition to pop star can only be described as miraculous. However, her first foray into releasing music reflects not on those big scale social themes but instead focuses on the personal, the communication divide between a struggling couple and their story. No doubt Nouri will have plenty of time and opportunity to delve deeper into her own backstory when the time comes, as Nouri is not only a gifted vocalist but an exceptional songwriter also. For now, this pop gem is the perfect introduction. It’s driven by a clean electric guitar and a subtle house beat, with Nouri’s expressive vocal floating over the top. The song builds from a contemplative verse to a short pre-chorus which is moderately cadenced, until the chorus arrives and Nouri takes the energy level up a notch, but not so much that it distracts from the lullaby-like melody. It’s soothing and calming and works its wonders on you slowly. The production is masterfully spare yet gets layered with other counterpoint rhythms and ambient touches without being too obvious. In particular, the added percussive parts, which gently infuse the track without changing it up completely.
The lyric is direct and highly relatable to anyone, lovers and those searching for love alike. The sound suits the song, it’s that simple, and simplicity, when it comes to intelligent pop is a difficult aspect to pull off. The style contains strains of the current crop of young female artists—Ariana, Dua Lipa, Bea Miller—but there are a few differences, most notably Nouri’s voice, her restrained lilts and yearning tone. It’s no wonder the backing vocals are kept to a minimum; the track doesn’t need it, as Nouri carries the tune through to the end effortlessly and with languid allure. This track is sure to land on radio and streaming playlists quick smart and provide Nouri with the optimal point from which to take a flying leap into mega-pop stardom.

Album Review: Amy Shark – Love Monster

Amy Shark sounds like you would anticipate that her will on hotly anticipated presentation
Following quite a while of endeavoring to compel a break in the music business, Amy Shark at long last discovered achievement in 2016. The single 'Venerate' ended up one of the greatest tracks of the year in her nation of origin Australia and her presentation EP Night Thinker proceeded with the publicity around the outside the box pop artist musician. She left on a global visit, did some TV appearances in the US and came back to the studio to put completing addresses her hotly anticipated introduction LP Love Monster, which at long last observes the light of day now!
In spite of the fact that 'Revere' obviously couldn't be left confidentially, she legitimately commenced the battle in April this year with the lead single 'I Said Hi', an infectious center finger to every one of the men in the business that did not give her a shot before she at long last discovered achievement. The track is both sonically and melodiously illustrative of the full assortment of work; the substance is conspicuously genuine, while the tracks are altogether made out of an acoustic base, layered up with reverberating drums and smooth electronic soundscapes.
While Shark composed the greater part of the tracks without anyone else and Dann Hume dealt with most of the preparations, she collaborated with a couple of hit journalists and makers as well. Jack Antonoff of groups Bleachers and Fun. who additionally composed with Taylor Swift and Lorde, created and co-composed 'All Loved Up'. It is a standout amongst the most hit commendable tunes which pushes Amy to utilize the higher enroll of her vocals, while in the meantime pushing her sound in considerably more cleaned pop an area. Long haul Lorde partner Joel Little, who likewise created for Shawn Mendes and Sam Smith, gave Amy's sound some louder drums and more profound bass sounds on the track 'Failing to go Back', which has a standout amongst the most moment tunes of the record. For Amy, the most energizing collab more likely than not been 'Psycho' with Mark Hoppus of Blink-182. The outcome is a gradually assembling guitar-construct two part harmony with taking off vocals in light of Amy's part, which supplement Mark's darker tones easily. The best theme on the collection nonetheless, may well be the unstable 'Botch Her Up' with dynamic vocal conveyance and a snare that won't effortlessly let go.
Expressively, Amy Shark essentially is stand-out. She has an unmistakable style in which she paints a photo clearly with incredible detail, figuring out how to influence you to feel precisely what she more likely than not felt at the time she depicts. Promotion single 'Don't Turn Around', about clutching a last piece trust after a separate, is the prime, sad illustration. Shark's songwriting is by and large nostalgic, glancing back at juvenile sentiment. 'The Slow Song' (which would have been an excellent expansion to the 13 Reasons Why sountrack) brings back recollections of a secondary school ball with your squash. "Is it me or did it simply get hot in here? I figured you wouldn't show and afterward you were there in front me looking unimaginably dazzling. Sit tight for a moderate tune… ", she sings over quiet guitar riffs. Goodness the feels!
With past sentiments, come the unsecurities experienced around a separate: "What part of me are you just not pulled in to?", she asks on the shocking collection closer 'You Think I Think I Sound Like God'. Her conveyance on this track is unchallenged in the entirety of its delicacy and aching. She plunges into comparable feelings on 'Allow Us To sit unbothered', which anyway appears to manage a later separate, in which Amy lost her feeling of self. "I don't know my identity, I'm awful any longer", she sings over beating drums and a midtempo taking off tune.
Amy Shark brought the snares and the feels, much the same as we anticipated that her would, on her great introduction collection Love Monster. It isn't really a sonically various record, yet Amy painted a soundscape in which she genuinely thrives and makes enough unique tones and subtleties to keep me snared from beginning to end.

Album Review: Years & Years – Palo Santo

Years and Years greater, bolder and more certain on sophomore collection
Years and Years shot to acclaim toward the finish of 2014 when they were declared as one of the following enormous things in the pop world. They satisfied the guarantee with number 1 hit 'Lord' and introduction collection Communion which beat the diagrams. The British three piece vanished for some time to take a shot at new material and returned not long ago with single 'Bless', a beating pop tune in which front man Olly Alexander opens up around an issue with a straight man, while diverting Britney Spears in 'I'm A Slave 4 U'. The business execution was marginally disillusioning, however don't compose Years and Years off at this time. Second single 'In case You're Over Me' ended up being all the more radiofriendly is as yet climbing the UK graphs, being near best 5 at the season of composing. Olly, Emre and Mikey currently discharged the full collection, titled Palo Santo.
The title of the collection alludes to heavenly wood, while likewise being the name of a tragic culture keep running by cyborgs who look to encounter feelings through human exhibitions. This idea driving the collection is investigated in the short video the band discharged in the meantime as the collection. Olly introduces himself erotically moving for its majority, proud, strong and agreeable in his own particular skin. Outwardly, Olly does not impart the spotlight to his band mates any longer and for the collection the vocalist worked with hit essayists like Greg Kurstin, Julia Michaels and Justin Tranter which influences it to appear like Emre and Mikey were less included this time. In any case, the extraordinary sound that the folks cut out on their introduction collection, with light electronic courses of action and irresistible snares, is regarded, yet taken substantially advance this time, both as far as generation and verses.
While Olly has never been concealing his homosexuality in his verses, he is more unequivocal this time around, discussing undertakings with straight folks ('Sanctify') and indicating sexual powerlessness after a say a final farewell to sentences like "Do I look great in this position, much the same as him?" on the dim yet enchanting title track. The more stripped down 'Mesmerized' is a beautiful number that clearly depicts the sentiment of falling head over mends for somebody. In the meantime, Alexander does not bashful far from airing his messy clothing either. 'Fortunate Escape' is an ill humored number in which he hits back at an ex darling, demonstrating his own particular weaknesses in the meantime: "From the majority of the photos I've seen of you two, Is he a model? I'm not shocked, you're so conceited." He is the first to concede his own particular imperfections in his verses all through the collection, which commits it a tale about making errors, owning them and proceeding onward. A story on what it resembles to be human, as he clarified it himself in interviews.
As far as generation, Years and Years set out to make things strides more distant than on their introduction, that was portrayed as somewhat harsh around the edges by a few. The uptempo tunes appropriately go off and never under any circumstance do they neglect to bring the songs. I am not misrepresenting when I say each and every melody on here are deserving of turning into a radio hit in some shape or another. 'Just for You' is the prime case with a creation that will completely keep you from sitting still while the melody serves snares for quite a long time (and years). 'Meet', in which Olly appears to berate an adoration enthusiasm for 'generalizing' him as a 'physical meet', is one of the more exploratory tracks with profound bass, taking off synths and ear getting vocal impacts, obviously not without a certain chorale.
Most importantly, Palo Santo is a record that floods with adoration for popular music. Olly Alexander is a major pop fan and he pays tribute to his motivations. 'Thank heaven' is 2018's solution to their greatest hit 'Lord' that in the meantime appears impacted by late 80s Michael Jackson. It will be a missed opportunity if this does not turn into a solitary sooner or later. Collection closer 'Up In Flames' takes the 80s impact significantly facilitate with a Whitney Houston and Michael Jackson hybrid established in 2018's electro pop. The scrumptious profound synths on 'Karma' are the main component giving without end this was not a missing early noughties track by a R&B star like Blu Cantrell. He channels his internal 90s George Michael on the remarkable pop tune enormous pop melody of 'Evangelist'. For hell's sake, he even references Nelly Furtado's hit 'Wanton' ('Promiscuous kid, be embarrassed') on the previously mentioned 'Fortunate Escape'.
Olly Alexander appears to have taken the sounds that propelled him for the duration of his life, mixed them into the sound of Years and Years 2.0, while likewise convincingly recounting his own story. At times a collection tantamount to this, needs an undeniable radiofriendly tune like 'In case You're Over Me' to pitch it to the majority. I without a doubt trust it works, on the grounds that Palo Santo, a standout amongst the most predictable and undeniable pop collections of the year, beyond any doubt ought not fly under the radar.

Album Review: The Carters / Beyoncé & Jay-Z – Everything Is Love

Beyoncé and Jay-Z astonished the world once more a week ago when they dropped the collection Everything Is Love, a joined exertion under the name The Carters. Visitor proofreader author and board part Tim van Erp drenched himself in the 9 new tracks and discloses to us how he feels about this new Bey and Jay venture!
"For those of you who weren't persuaded yet: Beyoncé truly is a splendid representative. Two years in the wake of dropping a performance collection about the disloyalty of her better half Jay-Z (Lemonade) and multi year after his mea culpa (as collection 4:44), the couple amaze discharge a collection together, under the monicker The Carters. Kid, is that astute. From the primary track on, it is certain that the two are cheerfully enamored yet at the same time taking a shot at their marriage, and generally: more grounded than any time in recent memory as an intense business couple.
Opening track 'Summer' is a blustery tune about having intercourse in the late spring, which is as of now a solid collection opener – however track 2, first single 'Apeshit', truly clarifies exactly the amount Bey and Jay… well, kill. It's an exceptionally very much delivered hiphop track with an ensemble you won't have the capacity to escape your head and significant verses (Beyoncé instructing you to 'get of [her] dick' = life.)
In 'Manager' we can hear Beyoncé singing about… well, how she's a supervisor. It's a swaggy melody which utilizes only the appropriate measure of trumpets. 'Decent' including and co-created by Pharrell Williams should turn into the second authority single: it sounds like a cutting edge great. Jay-Z is by all accounts taking the show at to begin with, yet then Beyoncé drops the "Fuck you… and you… you're cool" line. (Most likely motivated by Britney Spears' 'I Wanna Go' video, however hello. Still magnificent.) Both sound similarly baffled with others and happy with themselves on the track, which is quite amazing.
'713' examples Dr. Dre's 'Still D.R.E.', in a remarkable snappy manner. The melody is in a split second noteworthy along these lines, but at the same time it's somewhat dull – up until the outro, which hits the correct spot melodiously. In 'Companions' Jay-Z's rap truly emerges. Whatever is left of the tune is somewhat tedious and goes on a smidgen too long. Exhausting? Nah, not in any way. It's a more quiet minute amidst the collection, and as I would see it the weakest tune, however it's a long way from awful. The rhythm is brought back on next track 'Caught wind of Us', where the couple sings and raps about their star control over a piano question and going with beat.
'Dark Effect' is another feature – not exclusively does it sounds like a hiphop exemplary from the mid 2000s, it likewise talks on an imperative topic. Jay-Z rapping "Get your hands up high like a false capture" in the ensemble truly hits home, yet whatever is left of the verses are right on target also on themes like prejudice, racial profiling and dark pride. Collection closer 'Lovehappy' is an awesome tune (and a genuine two part harmony, though a non-customary one), however its verses are an open book to the point where it nearly gets uncanny at a few focuses. Bey and Jay enlighten us concerning how glad they are as one yet the amount it took them to get to this point, singing about how they briefly separated because of Jay's undertaking. It's nearly as though they felt committed to legitimize this present collection's presence, and that is a long way from vital – the collection would have been important and solid without these unsubtle verses, as well. That being stated, their forward and backward is energetic and shrewd.
All things considered, Everything Is Love is a splendidly arranged and splendidly executed collection on which individual and societal issues are similarly spoken to. It's a legitimate and critical subsequent stage in The Carters' professions and one can't resist the urge to ponder what they will think of straightaway, together or without anyone else's input."

Album Review: Florence + the Machine – High As Hope

Florence + the Machine considers more quelled fourth collection
Nine long years into her profession (better believe it, her introduction Lungs was discharged in 2009), Florence Welch from Florence + the Machine acknowledges the time has come to make a stride back and reflect. The British sensation began as an alt artist lyricist, however inside years became out to be a field offering, celebration featuring pop star. On her fourth collection High As Hope she strips things down like never before and reveals to us her story in more fair, straightfoward verses than any time in recent memory.
Florence first rose to distinction with a dynamic blend of shake, soul and pop, described by her mark powerhouse vocals. Second collection Ceremonials flaunted her most styled, grandiloquent phenomenal minutes with huge mass of sound creations, while third record How Big, How Blue, How Beautiful precisely tried different things with some more acoustic sounds, while for the most part being ruled by full symphonic instrumentations. On High As Hope Florence gives up much more and exposes her spirit on more stripped back instrumentations and rawer creations; it is not necessarily the case that High As Hope is a tranquil acoustic collection. Hi!? It's Florence we are discussing all things considered!
Florence + the Machine propelled the track 'Sky Full of Song' as a first taste back in April and both sonically and expressively it speaks to the collection well. Florence investigates what it implies for her life to visit all the time finished a quiet yet perfectly layered instrumentation with a vivacious song in the chorale. In the first place official single 'Yearning' talks about a dietary issue in the opening lines ("At seventeen I began to starve myself"), however in the relatively euphoric sounding tune attracts a correlation with the young of today whom she portrays as connected. A standout amongst the most fair and decimating minutes goes ahead 'Effortlessness', an uncovered melody composed as an expression of remorse to her sister. "I don't know my identity in those days and I expectation and expectation I could never treat anybody like that again", she sings in the wake of reviewing how she destroyed her sister's eighteenth birthday celebration party.
On the delightfully streaming 'South London Forever' she glances back at the medications and beverages filled days at Art College. The development of the tunes in the tune is eminent! Jamie xx helped track 'Enormous God' takes things to a darker place with an unpropitious piano circle, profound synths and an expulsion like vocal execution. The way the track is created is a new area for her, however flaunts how all through her profession, she has investigated each and every collection while keeping up a mark sound. Sonically, the Patti Smith tribute 'Patricia' comes nearest to the sound of its forerunner. The magnificent grande finale brings back the staggering arrangements of How Big, How Blue, How Beautiful, yet in an alternate, less snare centered setting.
High As Hope is Florence's most smaller assortment of work yet (just 10 tracks), yet has a faultless develop through and through. Opening number 'June' is an affection tune purportedly enlivened by Pride month that specifies the day after the staggering slaughter in the Pulse night club in Orlando, saying how 'skies turned dim', however 'love turned into a demonstration of resistance'. Awful shutting tracks 'No Choir' and particularly 'The End Of Love' appear to be a full circle minute. While Florence prior in vocation flourished with grande motions in verse and illustrations, her verses are, albeit still wonderful today, more clear, for instance while recognizing her grandma's suicide when Florence was only 9 years old: "And in a snapshot of satisfaction and wrath I tossed myself from the gallery like my grandma such a significant number of years before me."
Florence + the Machine makes time to stride back, reflect, recuperate and proceed onward with the making of High As Hope. There is a downplayed quality about this record demonstrates Florence return to essentials, her nuts and bolts. Regardless we get vocal firecracker when required and the preparations develop like there is no tomorrow if the melodic movement requests it, however everything here fills a need to get Florence's own story over. What's more, that story is one we need to continue hearing again and again until the point when the following part goes along!