At this point, it’s nearly impossible to assess the strength of Wildflower without making note of the fact that it’s been sixteen years since The Avalanches left us. In the history of musical disappearances, very few rival such a lengthy lull period. However, this delay seems appropriate for a group whose sound feels detached from time itself; for The Avalanches, it’s not about the sound, but the feeling. That said, with the ever-increasing legacy of their debut, it’s hard to listen to their follow-up without pondering if it could possibly reach equal heights, or indeed if it was worth the wait at all.
For their second release, The Avalanches retain their sample-based approach while tapping into more psychedelic and hip-hop influenced territories. Wildflower is best described as a street carnival mixed with a fever dream- at times delirious and lucid, others festive and urgent, always celebratory. These varying sounds are tied together with multiple interludes to ensure the album retains a remarkable flow.
There are missteps, sure- divisive lead single “Frankie Sinatra” (with Danny Brown and an under-used MF Doom) has been the cause of much ire amongst fans, and “The Noisy Eater” (with Biz Markie) appears to be The Avalanches’ failed and frankly annoying attempt at recreating the spontaneousness of “Frontier Psychiatrist”. However, these moments aren’t overbearing on the overall result, and are balanced with fantastic tracks including “Because I’m Me”, “If I Was a Folkstar”, “Colours” and “Kaleidoscopic Lovers” (featuring Camp Lo, Toro y Moi, and Jonathan Donahue respectively).
So, will Wildflower go down in history the way its predecessor Since I Left You did? Who knows; it’s unrealistic to expect a group to bottle lightning twice in a row (not to mention unfair). Besides, it’s the wrong question to be asking- “is it any good?” will suffice. The answer to this is a strong yes. Wildflower perfectly encapsulates unidentifiable feelings of nostalgia and, for all the times you may be tempted to get off, it’s a trip you’ll still want to keep returning to.
Here are the most interesting bits of film and tv news/footage/tidbits from this year's Comic-Con.
A unique combination of archival footage and rotoscope animation, Tower recreates the 1966 mass shooting that took place at the University of Texas.
Coma Land, the fantastic new production from Black Swan Theatre Company, made me feel every possible feeling on the spectrum last night, and I loved every minute of it
Despite all the wild excitement, the trio appeared the perfect combination of vibrant, as well as calm and collected. The boys had done this countless times before, but this didn’t detract from their ability to send tremors and impart some sweet magnetic energy.
Wednesday July 19 saw a night full of blistering rock and roll, with Canadian duo Japandroids bringing their Near to the Wild Heart of Life tour to the Rosemount Hotel. FOAM were in support.
If you're looking for something different to do this Winter, you could do far worse than check out an intriguing drama piece known as Blink that will see its WA debut this month. We were privileged enough to have a quick chat with creative director Melissa Cantwell.
Stephen Bailey (of Mt. Mountain)'s debut album Silo is a masterclass on patient mood building. The arrangements are subtle, the production is dense and drenched in reverb, and the performances are of stellar quality.
Ahead of their Splendour sideshows with Two Door Cinema Club, and an impending third studio album, we had a chat to Sean Caskey from Last Dinosaurs about how maturity is affecting their music, making fine wooden furniture and what music they have and do draw inspiration from.
In Part 2 of our Revelation Film Festival roundup, we review documentaries "Working In Protest" and "You've Never Had It: An Evening with Charles Buckowski"
Cult director Sofia Coppola makes her return after the mediocre Bling Ring with a re-imagining of the 1971 classic, The Beguiled.
But is it any good? (Spoiler: it's pretty damn good)