So basically this album is every bit as harrowing and melancholy as you would expect it to be. As the tremendous singer-songwriter-storyteller that he is, Nick Cave on his new album Skeleton Tree uses his plethora of sonic tools to paint a sorrowful picture with deep running concerns in loss and grief.
Having tragically lost his son little over a year ago, with only part of this album in creation at the time, this album displays the shattering effect and resonations such an event has had. One need look no further than the song “I Need You”, in which the emotion in Cage’s voice is near palpable, and definitely heartrending.
Focusing more on the instrumentation, everything feels expansive and yet somewhat vacant. With synths eerily sound-scaping the terrain onto which Cave often seems to simply wander atop, with delicate and often surreal worlds being wounded into its surface.
With death being so constantly close in Nick Cave’s discography, its rare to find it so ever-present without it being used as a dramatic or metaphoric device so often employed in his stories.
An experience not to be delved into lightly, and with this incredible new album, this year is shaping up to be one in which flirtations with death are abandoned for sheer confrontation.
In Transformers: The Last Knight, the freak show has been toned down; there's precious little human bile forced down your throat this go around. Heck, there's even some attempts at respectability. Which is boring and nullifies the series' proudly nihilistic juvenile identity.
With a fervent belief that true commitment to bad-taste transforms it into something fashionable, fun and infectious, Kirin is a lot to take in.
Slowdive know how to play to their strengths, pulling from the best moments of their discography to present us with something that is at once familiar and refreshing.
I couldn’t think of anything more terrifying than playing a delicate set of acoustic jazzy music to room full of mostly black overcoat-clad, chin stroking, forty-something, ultra-discerning listeners. But for The Necks, that is the thesis for their completely improvised performances.
The Exes share a deep passion for vocal harmonies and heartbreakingly good songwriting. This killer combination has crystallised itself on their new album When We Fall. We caught up with the Exes ahead of their two gigs at Babushka and Fly By Night this weekend.
We caught up with Sydney singer-songwriter Montaigne to chat about making positive change, video games, life, death, and spirituality. Have a read, then do yourself a favour and purchase tickets for her performance at Capitol on the 29th of July.
From humble beginnings to a hefty, sold-out national tour, Winston Surfshirt has certainly transcended the mediocrities of the urban music scene and reminded us all what a little funk and R&B can do for the soul.
So, it's awful.
Will Wagner and the Smithies appeared every part bonafide rockstars on Friday night, with plenty of good songs and good vibes.
Black Swan State Theatre Company’s exciting run (and WA premiere) of beloved American-Australian playwright Lally Katz’s work The Eisteddfod is just around the corner, opening at the end of this month and directed by Jeffrey Jay Fowler. We took the opportunity to have a chat the genius behind the script herself about growing older, writing, the play and WA.