We live in a world where society expects so much from creatives. Artists now possess contractual, social and cultural responsibilities that extend beyond an LP or tour. Whilst Kendrick and Bey are fronting the #blacklivesmatter movement, Frank Ocean has been insular, providing limited comment as an artist of colour. Four years after the release of his magnum opus Channel Orange, the rightfully busy, Frank Ocean has released a string of introspective tracks.
Ocean's prolonged marketing campaign commenced with #trendy visual album Endless. Rumour has it, the album was released only to fulfill his contractual obligations with his major, giving him the opportunity to release Blonde "independently". Exclusively released by Apple Music, the album offers a surprisingly limited insight into his creative process.
While Ocean's contemporaries (see Bryson Tiller, Miguel & Jeremih) have released instrumentally and conceptually elaborate LPs, Blonde finds power in it's simplicity and raw emotion. It is an album that comes across as subtle and subdued, but reveals its charms after repeated listens. Gradually, it's genius unfolded. "Nights" merges acoustic guitar with a strong urban styled base, fading into heavy synths demonstrating a diverse and ambitious aesthetic. "Self Control" and "White Ferrari" might just be the most quietly devastating tracks of 2016. "Pink + White" and "Ivy" are repeat offenders in the Isolated Nation office playlist. Team consensus on the remainder is whilst honest, intimate and soulful they are not 100% fulfilling.
With a rather strange list of featured credits including Brian Eno (minimal KING), Elliott Smith (the original sad boy), David Bowie (God himself RIP) and the Beatles (duh), Ocean has us questioning in what capacity did these artists contribute to the production of the album? Especially one that was on the ultimate DL? After a failed attempt at identifying relevant samples, sneaky Frank must be paying a lil bit of homage to the greats.
Franky~ Bueno follow up & looking forward to 2020.
Words: Sarah Marshman, Daniel Morey, Matt Spence & Megan Neale.
Mother!, with its meandering pace married with pulse-pounding white-knuckled radioactive fear and fury, is unlike any film I've ever seen in the last few years.
At the hands of master craftsman and director Scott McArdle, a transformation occurs: the story of the Soviet space race goes from a strong script, eloquent and thought provoking but still a mere script, into the play embodied by five superb actors and a genius sound guy at the Blue Room Theatre this month. This feat is comparable to the launching of a man into space, just as worthy of applause but far more successful.
James Francos, the 70s, the porno industry. The new bingo for Peak TV.
The Love Junkies delivered another trademark high-energy, sweaty, charged set at The Bird on Friday, September 8, with New Nausea and Childsaint in support.
As well as smashing out hits from Tremelow, the admirably raucous quartet delivered signature tracks from their Gradient EP. Regardless, the band has come far over the years, with their unmistakable, frivolous sing-along songs and searing guitars, to their exploration of more striking threads.
With no more new seasons of Game of Thrones to look forward to until 2019 (!), let's consider the trajectory of all seven seasons in a way befitting a show that's often as harsh and bleak as the bitterest winter winds.
JACK JOHNSON and his band return this summer playing all your favourite songs outdoors, under the stars, touring in support of his forthcoming studio album, All The Light Above It Too.
Global pop phenomenon, ROBBIE WILLIAMS, has confirmed that he will bring his mammoth Heavy Entertainment Show World Tour to Perth in March.
The Vic Park Summer Street Party returns to the urban village of Victoria Park on Sunday November 19 and promises to deliver another great series of attractions to suit all ages and tastes.
There is a smooth new tune from everyone's favourite scientologist, BECK!