MUSIC REVIEWS JANUARY 2017
To listen or purchase click ≈≈≈ or album artwork
MISTER OTT
Single Shot ≈≈≈
(Earshift Music/Art as Catharsis Records)
Reviewed by Melanie Christodoulou
It’s a great pleasure to ring in the new year with this review of Single Shot by Sydney’s own Mister Ott, the follow up to their debut album. There is no sign of the dreaded second album funk accustomed to the trade, as bandleader Matthew Ottignon and co. revitalise their infectious Ethio Jazz soundscape with a dash of 70s psychedelic rock. To get the downsides out of the way early (of which I can only find one) there are only seven tracks, and this is defiantly an album you’ll want to hear again. It’s opener, Blood Sky, is unassuming, etherial, spacious and funk-laden. The approach allows fans to comfortably adjust to the latest ingredient to disrupt their signature mix of jazz-meets-funk-meets-hip-hop-meets-dancehall-meets-reggae, heard ever so faintly in the guitar riffs of one Ben Panucci. Its lead single and title track begins in much the same way, however it truly is a lesson in how to build, layer and develop tension.
Single Shot takes a minimalist approach to open, the drums and bass mimicking each other with only a faint echo of guitar embellishing their funky rhythmic pattern. The keys, guitar and horns then trade places in the spotlight, each time returning with a heavier and thicker interpretation than the next. The song crescendos towards a dense cacophony of brass bass and frantic drums. It only sees release as the reverb-soaked guitar echo gains dominance over it’s counterparts, simply fading into the silence moments later. On a completely different spectrum is Shakedown, an intergalactic number just in time for Treky fans enjoying the latest instalment of Star Wars. Some beautiful suspensions played through the catalyst of a synthesiser form the foundation for an uplifting and light hearted addition to the album. The piece’s engine room, featuring drummer Carlos Adura, isn’t given a moment’s rest in providing the driving rhythms for the piece. Only towards the end does it feel like Adura catches a break as some pronounced syncopation hijacks the rhythm of the piece, ironically more complex from a player’s point of view, however giving the listener the impression that the structure is falling apart from exhaustion.
This is only the beginning of what you can expect from Mister Ott’s latest. There is defiantly something for the fans however not to the detriment of creativity. The psych element revitalises their sound for the new year and only goes to highlight both the talent of the band and the flexibility that their mix of genres allow for such a sonic exploration. Having been lucky enough to catch a glimpse of this album in all of its live music glory, I for one can’t wait to be able to hear it in full in 2017.
Reviewed by Melanie Christodoulou
(Eastside Music Director/ presenter of Take One)
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OREN AMBARCHI
Hubris ≈≈≈
(Editions Mego /Rocket Distribution)
Reviewed by James Tsai
If I was to pick the album of the year it has to be Australian musician/guitarist Oren Ambarchi‘s exhilarating 2016 entry Hubris. This release on Austrian record label Editions Mego is filled to the brim with great local musicians and other guests from afar. The album, divided into three parts, is a total sonic departure from Ambarchi’s long-term collaboration with Jim O’Rourke (who is also featured on this record) and Japanese mystic, all-round musician Keiji Haino as a psychedelic power rock trio from the planet Mars.
Hubris is loaded with a relentless motorik drive, its genesis in the now classic Krautrockers like Can and Neu! Part 1 kicks off with a funky new wave groove, with contributions from Jim O’Rourke, Konrad Sprenger on motorised guitar and Mark Fell on electronic percussion; and apparently inspired by Ambarchi’s love of Wang Chung‘s soundtrack work to William Friedkin‘s 1985 film To Live and Die in L.A.!
The short quiet-before-the-storm, Part 2 features Canadian sound artist Crys Cole providing abstract voice/speech over O’Rourke and Ambarchi’s layered bass guitar sounds. Part Jean-Claude Vannier, part Serge Gainbourg whispering, but on valium.
The finale, the storm, the Part 3 of this three part album, is a recalling of Part 1, though, this time with the intensity of an audio nuclear meltdown yet, hypnotic and danceable. The track is powered by turntablelist Ricardo Villalobos‘ electronic beats, and twin percussion action by Australia’s own Joe Talia and Will Guthrie. American musician Keith Fullerton Whitman also contributes with his unique synthesizer noise. The Neu! meets Weather Report maelstrom is fuelled further with guitarist Arto Lindsay‘s own post-DNA guitar slashings and skronks. Ambarchi’s own guitar takes hold of the whole piece, drives it to its frantic end through the black hole, emerging at the other end as simple sonic dark matter. Where would Oren Ambarchi take us next after everything is reduced to dark matter? Who knows.
Hubris is an album that wouldn’t sound out of place at the Berghain nightclub in Berlin, nor in your own bedroom. By the way, there’s also a fantastic remix EP called Hubris Variation helmed by Ricardo Villalobos. But that is another story in itself.
Reviewed by James Tsai
(Radio Free Alice / co-presenter of Spirit House)
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LAKUTA
Brothers & Sisters ≈≈≈
(Tru-Thoughts)
Reviewed by Chelsea Deeley
Brothers & Sisters, the debut album from UK-based collective Lakuta, is a melting pot for a number of reasons. Not only does it unite a wide range of heritages from each band member, including Tanzania, Malaysia and Spain to name a few, but musically it qualities derived from jazz, soul, and funk with dashing of ska, Latin and Caribbean tones.
As an incredibly dynamic and vigorous record instrumentally, it is their lyricism that holds rigor and the right amount of sass that just hits that ‘anti-establishment’ spot. Ardent decries of war and strength against all who dispute them a prominent through out the record, with the melodic and sometimes rapping nature of lead vocalist Siggi Mwasote’s delivery accentuating the haste of their sound. Tracks such as third offering ‘So Sue Us’, ‘Rice & Peace’ and ‘Yansan’ towards the end of the album are standouts.Groove-filled gems are also in abundance throughout this record. Fourth track ‘Pique’ show cases spritely horns charging over a spiraling, soulful instrumentation. The albums closer ‘Ultimate Robot’ is another impressive example, starting out a more laidback beat, then switching to double time in a toe-tapping afrobeat boogie. Lyrically rousing and undoubtedly danceable, these guys are one to watch.
Reviewed by Chelsea Deeley
(Amrap / presenter of The New Thing)
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SILVER LININGS
So Good To You ≈≈≈
(Gulf Point)
Reviewed by Paris Pompor
There’s a revival of ‘80s electro-boogie that hasn’t yet been reflected much in Australia’s mainstream. No reason it won’t though, after all, Zan Abeyratne and Kate Ceberano once topped charts fronting I’m Talking, while fellow locals Rockmelons came close on their first (and best) album. This particular strain of soul-R’n’B saw rhythm sections largely replaced by sleek machines as their operators wound tempo knobs to 110 beats per minute or slower, rather than disco’s favoured 120. With glistening keyboards and coy vocals, the sound was big in (and largely emanated from) the US. It still keeps avid collectors’ up at night and a few re-issue labels well greased.
Melbourne pairing of producer Benny Badge and vocalist Françoise d’Argent reimagine the era with necessary chic as Silver Linings, adding sprinklings of British jazz-funk to the mix. Seasoned producer Badge has the requisite Roland TR-series drum sounds and a Yamaha DX synthesizer too, ensuring beats snap and bass lines bounce beautifully. When Lachlan Peavey straps on a real bass briefly, his fluid spidering is a treat. The title track is the pants (tight, satiny, electric blue) both for its melody being most memorable and for a keys solo that’s adequately bent. Available on vinyl or digital worldwide via Rushour.
Reviewed by Paris Pompor
(Groovescooter / co-presenter The Vinyl Frontier)