From The Life of Pablo to A Moon Shaped Pool, 2016 has been a year full of minimalist electronic statements. You can now add The Bride, the fourth effort from indie art-pop darling Bat for Lashes, to this growing list.
The Bride is a classic concept album, beginning on the eve of the titular character’s wedding. Disney cliché this is not, however, as her husband-to-be dies in a car crash, and she is left struggling to recover and find herself in the aftermath. Given the subject matter, the album can occasionally slip into melodrama territory. However, it manages to avoid the obvious, inviting the audience into the emotion-filled, high stakes world Natasha Khan creates. Khan herself has said the album was written as the soundtrack to a film she hopes to make, and one can easily perceive the cinematic qualities it possesses; you can almost picture the associated moving images as you listen on.
As always, Khan’s flawless and emotionally weighty vocals steal the show here. Her voice soars above the delicate and sombre arrangements, while ghostly choirs of her own multi-tracked vocals haunt the background, as on “Never Forgive the Angels”. That’s not to say the musical compositions aren't more than serviceable, as the album is filled with eerie, orchestral electronics occasionally calling to mind Lana Del Ray (“In Your Bed”) or Radiohead (“Sunday Love”).
The Bride’s ambitious concept is pulled off with ease and conviction, demonstrating Khan’s innate sense of world building theatricality, as well as her strong song-writing skills. While it may not immediately knock you flat the way that, say, 2012’s The Haunted Man did, it’s certainly an album you’ll want to return to and another stellar addition to Bat for Lashes’ heavenly discography.
Star Wars: The Last Jedi picks up immediately from where its predecessor The Force Awakens left off, but its attitude and intent could hardly be more different.
Despite what was a grandiose send-off in the years prior, LCD Soundsystem are back - and set to hit western shores in Perth in February next year. Receiving sundry reactions from listeners both new and old, the record continues to puzzle critics in its embryonic stage of existence.
The earnestness of Paddington 2 matches its inventiveness too: there's never, ever the cynical, lazy vibe of “Whatever, this is good enough for kids”. If you picture a Wes Anderson film with the deliberate, hilarious cruelty scrubbed away until it's a wholesome sheen, you're nearly there.
Fidelity Festival, newcomer to Perth’s live music festival scene, sure faced their fair share of said growing pains in the lead-up to their maiden voyage at the Red Hill Auditorium on December 2nd, 2017.
With a spectacular line-up, ideal weather and an amazing outdoor venue with ample space to spectate and boogie, the festival proved to be arguably the best night out of the year, with A$AP Ferg and Lunice the stand-out performers.
Really, this is what shoegaze is all about. It’s beautiful, cinematic music for describing the indescribable.
Exceedingly, the two have perfected the binary of poignancy and rhythm. Although a longing, wistful tone doesn't typically suit those seeking to dance, the pair's music is so thoughtfully produced that it had them executing their set without fail.
Having landing third in last year’s triple j ‘Hottest 100’ and secured a place in the Top 10 of the ARIA chart, the young star’s sold-out Thursday show drew in more than 3,000 people of all ages to the charming courtyard of Fremantle Arts Centre.
THE PALACE SOCIETY will deliver a summer of laughter, tears, awe and more laughter with the announcement of their FRINGE WORLD line-up.
Great vibes, sensible drink prices, public transport options galore, loads of street parking, food trucks and still more bands to be added – City Limits Festival is for music lovers who want to cut out the hassle! First release tickets are on sale now!