Fleur Green And The Keepers. Independent. 30 Oct 2017
One thing I’ve learned over many years of writing about music is that it’s always worth giving a song or an album or an artist a chance, even if reading a snippet of a press release would ordinarily have you reaching for the skip button. While everyone in this business loves to pigeonhole, some things just don’t fit a normal classification. Local artist Fleur Green is certainly one such musician. After reading that she and her band The Keepers are an alt-pop act, I would normally just move on, but for whatever reason, I decided to dig a little deeper and give Fleur’s latest offering a quick listen, and I’m glad I did!
While I do normally have a strong affinity for the heavier end of the musical spectrum, I do pride myself on having eclectic (and often, eccentric) tastes, so who knew, perhaps what one may describe as alt-pop may tickle my fancy. Listening to Fleur Green and The Keepers’ debut long player When The Tide Rushes In, it became clear very quickly that there’s a lot more on offer here than would normally be encompassed by pop description.
It was Fleur’s first single, Nadia, that really grabbed me. This was a mix of jazz, carnival, mellow pop-rock, world music flavours, and even touches of the classical, all driven by an awesome catchy wistful melody and tidy 6/8 groove. There’s a sultry mood, driven by strings and sax, and fantastic sounding vibraphone. Anyone playing vibes in a modern release deserves a closer listen! Couple that with gentle poetic vocals and I was in for the ride.
The rest of the album continues on a similar theme, with an interesting mix of instrumentation giving the whole thing a festive, carnival feel but with a classical style undercurrent. I learned that Fleur plays an impressive range of the instruments herself, dabbling in piano, strings, tuned percussion, and more. The Keepers are her rhythm section, and there’s a range of guests on the album too, supplying tubas, sax, cello and guitars where needed. Musically, the tunes owe a lot to jazz forms, but it’s certainly in no way traditional, though would go together with piano jazz nicely.
The more I listen, the more depth I realise there is. There are different melodies and interludes to hear with repeated listens of When The Tide Rushes In, new instrumental forms and nuances and the like, and that’s to say nothing of the lyrical content. While for me music speaks louder than words, there’s some interesting comments and themes that Fleur addresses here. It rounds the whole thing out to a nice little package. And best of all, it’s a local package too!
Fleur Green and The Keepers launch When The Tide Rushes In at The Grace Emily on Saturday November 4th. Check out their Facebook page for future local gigs.
Luke Balzan
When: 4 Nov
Where: The Grace Emily
Bookings: eventbrite.com.au
Follow: facebook.com/TheKeepersrock
10 Years. Mascot Label Group. 25 Oct 2017
I’ve been involved with music ever since I was a youngster. Raised on a diet of classic rock, I quickly graduated to my own journey of self-discovery through rock, metal, reggae, world music and beyond. I take pride in my prowess and the musical respect I garner from friends. I also enjoy discovering new things, and for me, this latest offering from Knoxville Tennessee band 10 Years serves as an introduction to these guys, and I’m quite impressed.
Most interesting though is that while this is my first hearing of these guys, (How To Live) As Ghosts is the band’s eighth album, and they’ve had quite a healthy dose of success over the years. Obviously not so much here in Australia, at least to my knowledge, but judging by the strength of this album, I hope that’s a trend that’s about to change.
Stylistically they remind me of music from days gone by; the post-grunge vein with a hard inner core, melodic vocals and wistful hard-edged melodies. It kind of reminds me of stuff like A Perfect Circle or even a softer Deftones, and a more rough and ready take on modern rock. There’s plenty of appeal, and I find myself getting into the groove on the first listen or two.
The album opener The Messenger is an instant winner, setting the pace for things to come. Novavaine is a hard edged funky tune, balanced by the minor melody of Catacombs. Metal fans will be satisfied by Vampires, while diversity is the key on tunes like Lucky You and Halos. This is an album with lots of depth, and I’m sure I’ll find and discover new things the more I listen.
Certainly a great little release!
Luke Balzan
10 Years is an American alternative metal band, formed in Knoxville, Tennessee in 1999. The band consists of Jesse Hasek (lead vocals), Brian Vodinh (drums, guitar, backing vocals), Chad Huff (bass guitar) and Matt Wantland (guitar). (How to Live) As Ghosts, is the band's eighth studio album.
Track Listing
1. The Messenger
2. Novacaine
3. Burnout
4. Catacombs
5. Ghosts
6. Blood Red Sky
7. Phantoms
8. Vampires
9. Halos
10. Lucky You
11. Insomnia
Adelaide Symphony Orchestra. Adelaide Town Hall. 13 Oct 2017
The eighth in the ASO’s Master Series was dubbed Pilgrimage of the Soul, perhaps as a reference to the significance to the composers of the periods of time during which the two main compositions on the programme were composed. Mendelssohn’s Piano Concerto No.1 in G Minor, Op.25, was in part inspired by his four-year ‘grand tour’ of Europe and Britain, and Elgar’s monumental Symphony No.2 in E flat, Op.63, was dedicated (but not written in response to) the death of Britain’s King Edward VII and in anticipation of the coronation of George V.
Pilgrimage of the Soul was a nice idea, but an appealing name of itself doesn’t ensure the programme has a gestalt and ‘hangs together’. If indeed there was a meaningful connection between the two major works, it was not evident under the baton of guest conductor Richard Farnes. Originally the programme was to be conducted by the late Sir Jeffrey Tate, but his sad and untimely passing required some quick work by the ASO’s leadership team to commission a replacement conductor. Farnes is of course well regarded, especially for his work in various opera houses, but the Tate-curated programme seemed to present challenges that he was not quite able to overcome.
The Elgar symphony is long and complex, with a narrative that does not easily reveal itself. Certainly there are many long and languid lines in the composition, but these risk coming across as laboured. At its conclusion on Friday night, the Elgar was greeted by polite but not enthusiastic applause from the audience.
The piano concerto fared much better, and Israel-born pianist Saleem Ashkar played the ever-popular Mendelssohn with great élan and near-astonishing virtuosity. His considerable forearm strength never gave way to any blurring of the elegant melody lines, which always shone through including on his expressive face. One was never in doubt that Ashkar was loving being in every moment of the concerto. At its conclusion, he and Farnes enjoyed an extended moment during which they (presumably) thanked each other for their artistry, but whatever they achieved wasn’t really matched in the Elgar.
Kym Clayton
When: 13 Oct
Where: Adelaide Town Hall
Bookings: Closed
The New Yorks. Independent. 15 Oct 2017
The first thing that strikes me as I listen to the second release from local Adelaide band The New Yorks is that they have an appropriate name. New York is without a doubt my favourite city in the world, and while I don’t know if any of the band’s members have had the pleasure of visiting the city, their music exudes a mood reminiscent of the city and its energy. I’m not sure if it’s because they remind me a little of bands like The Strokes or because they have an urban rawness to their sound, but their name is certainly fitting.
The release I Wish I Was You, But That’s Just Me is a tight little effort, and though there’s only four tunes and a short interlude, there’s enough energy to fill an album. The band’s rock sound sounds familiar and yet is fresh at the same time. Their style is undoubtedly rock with an interesting mellow edge, where lead guitar strikingly follows the vocal melodies and soars over clean and tight rhythms.
The songs are punchy and feel simple, but the more you listen additional depth is revealed. The single from the EP is the closer, We Enjoy This Too Much, and this is also an appropriate name, being quite an enjoyable and catchy tune!
The band has had quite a lot of activity lately, with a bunch of shows in the eastern states, and lots of local activities too. Check out their Facebook page to see what they have coming up, and be sure to check them out. I may just see you there!
Luke Balzan
The New Yorks are a four-piece indie rock band from Adelaide, South Australia. The band includes Vinnie Barbaro, Marcus Rosella, Carlos Carosi & Jared Grimm. Their sound incorporates angular guitar work and hedonistic vocals, taking influence from the early 2000’s wave of indie rock.
Track Listing
1. Badman
2. Sir Wolf
3. Truman
4. Death In Modern Time (Interlude)
5. We Enjoy This Way Too Much
Supersonic Blues Machine. Provogue/Mascot Label Group. 15 Oct 2017
I’m definitely a summer kind of person. Earlier this year, I found myself working across Europe and Canada while they were in the grips of a bitterly cold winter. While it’s nice for an Australian to see snow and experience the big freeze, by the end of my ‘tour’, I was definitely missing the sun. On my way home, I stopped off in California to thaw out, and even though it was February and technically the dead of winter, I jumped in a big American muscle car, and headed for the beach. Cos it’s always sunny in California! It’s amazing what effect the sun can have when you’ve been deprived, even if only for a few weeks. Needless to say, my smile continues to grow as we plunge headlong into the Adelaide summer, with our long days, warm sunshine and fabulous sunsets.
Almost as important as the sunshine itself, a soundtrack to the summer is an essential season must-have, and listening to Californisoul, the second album from So-Cal act Supersonic Blues Machine seems to provide just that.
The band is a trio made up of well-known session players, who’ve obviously mastered their respective instrumental crafts, but here are free to play their own tunes, and do so very well.
As the band’s name may suggest, the blues is an important feature here, with a healthy doses of funk, rhythm and blues, rock, and even reggae. There are guitars a plenty, grooving drums, soaring blues harp, choral backing vocals, and the sweet tinkling of ivory too.
The album opener I Am Done Missing You has a grooving rocksteady rhythm, L.O.V.E. is a chunky blues party, Broken Heart ventures into country territory, Elevate has a hard-edged thump, and Hard Times gets right to the heart of the blues.
There are 13 tunes on offer, and all of them have plenty to take away and cherish. So pop on the album, crack open your favourite beverage, and enjoy the soundtrack to the endless summer.
Luke Balzan
Supersonic Blues Machine is the magic merge of drumming legend Kenny Aronoff, bassist/producer Fabrizio Grossi, and award winning guitarist/lead singer Lance Lopez. Californisoul is the second album and features guest appearances by Billy F. Gibbons, Steve Lukather, Eric Gales, Robben Ford, & Walter Trout.
Track Listing
1. I Am Done Missing You
2. Somebody's Fool (feat. Robben Ford)
3. L.O.V.E.
4. Broken Heart (feat. Billy F. Gibbons)
5. Bad Boys
6. Elevate (feat. Eric Gales)
7. The One
8. Hard Times (feat. Steve Lukather)
9. Cry
10. The Stranger
11. What's Wrong (feat. Walter Trout)
12. Thank You
13. This Is Love