Back before Christmas, I interviewed Nick from one of my long-time favourite bands, Antiskeptic. It took a while for the article to finally be published, but you can can read it online. The interview also comes complete with some videos of the band’s career.
To check it out, go to http://www.fasterlouder.com.au/features/31389/Antiskeptic
Today, it’s time for a less serious blog post. Recently, I have picked up some gear and begun experimenting with home music recording. A couple of months ago, I began jamming with an old friend again and we started playing around with some songs and recording them. This inspired me to get my own set up happening, as I became motivated by just how easy it was to record ideas and build up a composition. It was not so much about kicking up a career in music, as just a fun hobby in which I can do something creatively in a very hands-on fashion. I have never been a great musician, but I enjoy being able to create music, either my own, or playing others’ and it is a great way to have some fun as well. While my computer isn’t doing so strongly at the moment, hopefully we can get a new one soon, or at least borrow a friend’s, to help when my computer just bugs out. But in any case, it has been fun to experiment and have a play, and this hobby has been taking up a lot of my time lately, so I thought I’d share with you the current set up, and a couple of samples I’ve recorded!
First up, the gear! Music nerds, assemble!
I already had a nice little USB controller, which I had used to record guitars and vocals in the past, the handy little Alesis iO2.
This handy device has allowed me to record demos for past projects and does the job reasonably well. It is not top of the line by any means, but is perfect for just demoing material, and seems to be the closest thing to an mBox that I’ve used, without forking out the big bucks for the real thing.
So while I already had the means to record, my software program was getting on in years, so I decided to upgrade…slightly. I recently got a copy of Cubase 5, which isn’t that young itself, but is a solid tool. I have always liked the layout that Cubase uses. It is simple, but allows you to get very technical if you want to. But the lay out and the ability to easily find what you are looking for is what I love about it. I tried Sonar X1, which seems powerful, but otherwise is incredibly confusing, and aesthetically is just a bulky and junky-looking piece of software. So I returned to Cubase, which has so far been a pretty reasonable tool. Every now and then, it is quite buggy, but I think that is a lot to do with my computer’s memory and other hardware, than it is to do with the program. In a perfect world, I would probably set myself up with Pro Tools and an mBox, but when you are saving for a wedding, these kind of upgrades are just way out of my budget! For the time being, I think I can get the job done with Cubase and the little Alesis. And from the demos I’ve been doing lately, it seems like a pretty good set up so far!
As you may know, I have not got any decent amps at home, or at least any I’d be willing to record with. I had to sell my wonderful Ampeg SVT IV Pro and 810e, which means bass-wise, I am toneless. This is also a problem if I am recording anything but acoustic guitars. So I begun to take a look at my options. Through numerous praises, especially Mansa Mishoor of Periphery, I looked at the AxeFx unit, but unsurprisingly, this beautiful device is extremely expensive. The next best thing was to try to get some amp simulator software that had great tone, but without the expense. That’s when I stumbled onto Amplitube.
Not only can you get great amp tone, but it comes with an array of stomp-boxes, allowing me to save a lot of money and space on the floor. While of course this kind of set up does not mean I can get these kind of tones live, but at this stage I am only looking to experiment creatively, not start a band and tour. So for home recording, I can’t think of any better plug-in. And it works fantastically with Cubase. Personally, I love using the Orange amps and cabs, but the 65 Fender is also a favourite of mine. There are so many amps to choose from, including my old rig, the Ampeg SVT IV and 810e fridge, meaning I have my old bass tone again!
Growing up however, music hasn’t always been about guitars and bass. Those of you who know me will already know of my fond affection for Moby, BT and more recently, Gotye. These one man bands have fascinated me for a long time, and watching various documentaries on their recording process has really inspired me to replicate some of the simpler soundscapes they create. While I am not ever reach the talent or production tools that they have, one simple little device which they depended on was a midi keyboard, and this I did not have. So I saved some money and finally picked up a bargain on eBay. Having dabbled with the piano roll for so long, what a refreshing change it was to have a keyboard! So I have begun to teach myself piano, just by trying to play stuff by ear and getting a lesson or two from YouTube every now and then. I have a long way to go before sounding decent, but I’m starting to really find my way around the instrument now. The keyboard is an Ashton UMK49, and is a cheapie, but is as good as I’ve every played before, so I was really happy to grab a keyboard of this quality so cheaply! There are probably, way better out there, but this is a great little device just for mucking around at home.
One thing I’ve always loved are musicians who experiment with different ideas, styles and so on (hence my artistic references mentioned earlier). I’ve always loved world music, as well as classical, soundtrack and so on. After discovering the wonders of Amplitube, I then went on a hunt to find some midi software that would not only give me a range of sounds, but that was also of the highest quality. Sure enough, I stumbled upon the range from EastWest. If you use midi, and have not heard of or used East West, I suggest you check out the videos below. Their range is phenomenal, and the sound quality is the best I’ve ever heard in midi, aside from recording it live yourself, and then playing it back through your keyboard (a la Gotye). I have 3 of the programs, Colossus, Symphonic Orchestra Gold and RA, the ethnic/world music collection. I have spent many hours playing with the array of sounds available, and there are plenty I am still to discover. I have two Kora instruments at home (8 string and 4), which are hard to keep tuned. But the RA has a great midi Kora, which sounds to me as good as the real thing. This has saved me a lot of time in tuning! Below are a couple of examples of the EastWest programs that I have. I think you’ll agree that the sound quality is fantastic.
So I guess you are wondering what this all sounds like? Well I have two short samples for you! They are nothing special, and are not representative of the stuff I am writing at the moment (I am not prepared to show you just yet). But below are two very short covers of soundtracks I both love. Very short, and just the main pieces. But this is just using the keyboard, Cubase, and the EW Colossus VST software. If you ignore the screw-ups and forgive it as simply a guy learning how to play keyboard, I hope you can get an idea of just how cool this set up is. I’ll post some more teasers soon, of different sounds and maybe even some guitar/bass (of which I play much better) tracks to give you an idea of some tone through the set up. Anyway, these two tracks are just short adaptations, not to be compared too much to the original work. It’s just the main ideas and feel that I was trying to achieve, which is always the best place to get to when learning a piece, rather than try to do the whole thing at once. Hopefully, I’ll get to rest of the tracks eventually (I’ve got most parts, but only comfortable with so many movements, so I’ve just included just the bones for the time being).
If you’d like to hear the originals (which are amazing compositions themselves), check the vids below. Highly recommend if you grab the official soundtracks if you like them 
Until next time bloggers, in which hopefully I’ll have some better samples and music to show you
I must admit, I had some preconceived ideas about this album when I first heard lead single The Adverntures of Raindance Maggie. In short, I wasn’t terribly impressed. It was catchy, had a nice bass groove, but seemed overly simple and even boring, despite it’s obvious energy. Disappointed by this, I felt that the album might be a return to days of One Hot Minute, where the band struggled to reinvent themselves after John Frusciante’s first departure. Opening track Monarchy of Roses did little to alleviate my fears. The experimental nature of the song is brash at first, and like One Hot Minute’s Warped, features a lot of vocal effects. However, the song eventually breaks up into a high-energy funk-rock song that is very much a Chili Peppers’ song. It was almost like the band were teasing us with the intro. Instead, the song bursts into a melodic, upbeat funk classic that retains some experimental elements, but combines the hard hitting rhythm section of the earlier Chili Peppers material.
The second track, Factory of Faith starts with a nice lead bass groove before Anthony Keidis comes in with his traditional rock/poet/funk/rap. At first it is a bit same-old from Keidis, but it gets better as the song goes on. In fact, it gets a lot better. It sounds a lot like a track from Californication-era Chili Peppers. It is funky, but has a grungy, dark-funk element that has been absent from the band since the afformentioned record. While polished, it also sounds a bit raw and energetic, and to me seems to have that same experimental-yet-catchy magic that the Peppers found when they did Californication.
Brendan’s Death Song will also be a fan favourite. The track sees the band begin with an acoustic ballard, before morphing it into another full-band rock-a-thon. A longer track at nearly 6 minutes, the song is a great little mix that fully explores the range of sounds and styles that the band has explored on the new record. Keidis really shines on this song too. His voice is gentle and crisp, and his lyrics quite haunting. It is not as depressing as the song title suggests, but is a well-balanced song. Josh Klinghoffer’s varied guitars, from accoustic to warped electric leads are engaging, giving the Chilis an experimental but somehow indie-pop flavour.
Ethiopia begins with a cheeky bassline and a big-hitting drum groove, reminiscent of Dani Californication. But the band actually deviate from the pop sound quickly and instead head back to that Californication-era dark funk with plenty of brash guitar tones and convoluted drumming. There is still that new Klinghoffer-experimental element with the guitars, that seem to jump between Frusciante-esque funk and stomp-box-heavy effects. All in all, it is a pretty good track, fusing many elements that saw the Peppers really achieve the heights of acclaim back in their late 90s comeback.
Annie Wants a Baby - reaffirms the influence Flea has on the album. After confessing he nearly quit the band over Frusciante’s overly melodic song styles on By the Way and Stadium Arcadium, his bass line once again leads the way in this track. But the 3 other musicians all get their time to shine. The track again retains the style of the previous tracks. While not as strong as the previous 4 songs, it maintains the consistancy and layers of texture without sounding monotonous. The style is far more complementing to the whole band than Stadium Arcadium, which really seemed to drone on at times. Instead, all the musicians have a lot to play with and bring a much more collaborative effort to the table, unlike Stadium Arcadium, which felt very Keidis and Frusciante heavy at times.
Look Around is another furious, upbeat funk song. Not quite as good as the material on Blood Sugar Sex Magik, but it is imbued with the energy of big hitters like Suck My Kiss and Naked in the Rain. It also has the surprise elemenents of keyboards and those warped guitars, making it sound familiar yet extremely fresh at the same time. This feels like it would have been an awesome song in the jam room.
Next up is lead single The Adventures of Rain Dance Maggie, to which I feel the music doesn’t quite live up to its title on this occasion. There isn’t really too much to explain here, as you’ve probably all heard it already. At the least, it probably is the weakest track of the album so far. It has its interesting parts, but it still bores me just a little too much. It certainly is the most radio-freindly track to this point, but it to me it kinda just slowly plods along.
Did I Let You Know begins with some big percussion, before moving into some brooding Klighoffer leads. It sounds like it is going to be a big funk tune, but instead turns into a nice melancholy tune that once again reminds me of those Californication-era sounds. It also includes a lovely trumpet performance from Flea that really changes the dynamic of the song. There’s also some interesting vocals, which I believe could be Klinghoffer, but I am not certain. Either way, the different vocals are quite fresh and give a bit of edge to the song. In fact, I wish there were more of them in other songs.
Goodbye Hooray is another furious, upbeat grunge-esque tune. Full of loud, distorted guitars and running guitar solos, it is one of the most abrasive songs on the record. But that is not to deny its appeal. It is fun, fast and a nice big wall of sound with plenty to think about for those guitar-nerds out there. For anyone thinking that Klinghoffer might get pushed around by his veteran band-mates, this song, albeit the rest of the album, proves that simply wasn’t the case in the jam room.
Speaking of new approaches, Happiness Loves Company features Flea rocking out on the keyboard in what is a piano-pop tune, with a nice marching-band rhythm section. A straight-up rock tune, it fits quite nicely on this album and surprising, it doesn’t feel out of place given the Peppers’ obvious lack of piano motifs on previous albums.
Following on is the sublime Police Station, which continues with its keyboards, but features plenty of melancholy guitars. Keidis’ vocals contrast the music, and there is a vocal part that sounds like it was lifted straight of a top40 hit from 2010 (forget the name). However, eventually the song finds its own groove. It is an interesting tune, but it doesn’t quite follow-on from its beautiful intro. Instead it sounds like a bit too many ideas thrown into the mix. It is kind of the Venice Queen (from By the Way) of the record, but without the incredible first part of the song. It certainly follows the soft/fast dynamic of that track, but doesn’t quite pull it off I think, and instead comes across as a bit schizophrenic - that is to say, it is has too many parts that don’t always complement each other. I feel they should have stuck with the soft, melancholy vibe, as they really seemed to find something new and beautiful. It certainly has its great parts, but in this case, the parts are greater than the sum.
Even You Brutus begins with more pianos, but with a very different flavour. It turns into a big, bouncy tune with almost preachy vocals from Keidis. It sounds almost like a show tune, a made for Broadway smoker, almost a Ben Folds tune, but retains plenty of bite. It certainly is very different to most Chili Pepper material so far, and it is impossible to compare it to anything that they have ever done before. If it was the first song you ever heard of this album, you’d be a little shocked. But in the context of the album, it fits in very well. In terms of overall sound, it is probably the least-sounding Chili Peppers song on the album.
Meet Me At the Corner returns to the traditional rock-sound of the band. It sounds like something that could have been on Stadium Arcadium or By the Way, in that it is very melodic and straight-edged soft rock. But despite its sound, it throws plenty of curve-balls at you, showing that the band have really matured and instead of resting on their accomplished sounds, are more than happy to experiment with sound. This is best summed up by a very sudden vocal performance that is effect heavy and almost takes you aback.
Closing the album is Dance, Dance, Dance, which is far from a floor-burner initially. beginning with some ghostly guitars, it eventually builds into a more medium-paced tune, but is reflective and patterned in nature. It is a good album closer; it sticks with the wide body of sounds that permeate the album, maintaining the creativity and experimentation.
When the band first announced that they would continue without Frusciante, I considered the decision as perhaps hanging on to the glory and fame of yesteryear. However, I’m With You proves that the band was far from a spent force nd had plenty more to offer the world of music. Unlike One Hot Minute, the experimentation on this album really pays off. It is very much Californication-era Chilis, but with a very fresh approach. Compared to By the Way and Stadium Arcadium, the musicianship is far more balanced, reflecting each member’s talents, rather than being driven by pop/rock melody. There is plenty of the Chilis of old, while some exciting new sounds. Josh Klinghoffer was the perfect choice to replace Frusciante, and I think he gives the band a very new and exciting feel, but in saying that, he continues to bring the kind of guitar work that we have come to known from the band. While I’ve only heard it a few times now, this is certainly a record that the band can be proud of. They took a risk by continuing, but I think they have come up with something that is unique and reflective of a creative, collaborative jam band. It has its highs and lows, and some parts of it are not that strong. It certainly was not the kind of record I was expecting. But it is still one that I am very glad to have heard.
Reminiscent of those 1940s and 1950s photos and vision of families gathered around the family radio unit, pop #makingmirrors into Twitter and you’ll notice that on Sunday the 14th of August 2011, Australians around the country huddled around their radios or computers for what is surely one of the biggest events in radio for a long time: the premier of Gotye‘s latest album: Making Mirrors. Listening to the stream online, I could conceivably compare to what it must have been like when albums were first sent down the airways 50 years ago. Gone was the internet-leaked copy that was acquired with guilt months before the official release. There was a real sense of community tonight, albeit in the age of online streams and Twitter, but knowing others around the country were also glued to their radios also listening for the first time was a unique experience. 5 years in the making, Gotye’s 3rd studio effort has been hotly anticipated. His second single, Somebody That I Used to Know is said to become the number 1 single in the country tomorrow, and Making Mirrors is in the top 10 most pre-ordered albums on iTunes. With his preceding record Like Drawing Blood taking out number 11 in Triple J’s Hottest 100 Album of All Time earlier this year, excitement was already at fever pitch when Richard Kingsmill played the entire album publicly for the first time on Triple J, bring in none other than Wally De Backer to discuss the making of his latest work.
At 7pm, Richard introduces his honoured guest, and the hour and time is upon us. What must be said first is that the format of the next hour and 5 minutes was extremely engaging; a batch of songs would be played, with Gotye answering questions on the songs put to him by the DJ. It was fascinating to hear the stories behind the songs; Wally is an incredibly humble and down-to-earth person who happily and openly answered every question with no hint of ego. It was genuine and heart-warming to hear the album explained as it was being heard for the first time by its creator.
The album begins with the title track, Making Mirrors. A soft and delicate sweep of flutes begin the journey, before moving into the more familiar yet haunting sound of Gotye’s voice faintly projecting in the background. It is a very short introduction, but a clever piece that sets the tone for the overall feeling of the record. The song blends straight into its successor, Easy Way Out, a very short, up-tempo piece full of retro guitars and classic rhythm in what could be described as an homage to Beck‘s signature album Odelay. The most compelling feature of the track though is its length, with the song finishing at just on two minutes. Gotye explained to Kingsmill that initially Easy Way Out was the lead/intro track, and that it was never meant to be what could be described as ‘full-length.’ In a sense, it is a slightly disappointing that De Backer didn’t push that song into more territory, but given its style, in a way the short piece is justified in that it is a fun little ditty. There is plenty more up-tempo stuff on the album where Gotye really flexes his production muscle, so we can easily let this track slide.
If you haven’t yet heard Somebody That I Used to Know, you will soon, with the track destined to become the number 1 ARIA singles chart track this week. Creating even more buzz than expected, the single has exceeded all expectations and will no doubt give Wally some serious credentials for the number 1 album spot once the record hits shelves on Friday. Featuring the sublime vocals of Kimbra, the track sounds deceptively blissful compared to its lyrics. There isn’t much to say about this song, given it that you’ve all heard it by now, but that it is a fantastic piece. It was composed with a very subtle creative flair, with more and more layers revealing themselves every time you hear it. While the vocals are the stand out, the production of this song is not to be out-done.
Following on is another familiar piece, and one of my all time favourite Gotye songs, Eyes Wide Open. Still getting play after its appearance in Triple J’s Hottest 100 of 2010, the song is an apocalyptic marvel that explores not just the themes of world crisis, but the role that we as human beings play in them. To some it may come off as preachy, but I honestly think it is a mature and reflective look at where we are as a society today, from the point of view of someone in the post-apocalyptic world. A dark and abrasive track, it is beautifully written with many layers, including a bass-line written on the Winton Musical Fence. It does stick out a little in the context of the album; there aren’t really any other songs that sound anything like it. In some ways it sounds a little out-of-place, but given how good a song it is, it deserves to be on the album. The mood it creates is vastly different to that of the other pieces around it that it really makes you think, and by the time it is over, you’re already half-way into the next song, and catch yourself reflecting on what just took place. If Bronte was not the last song, I would say that Eyes Wide Open would be better suited as the final track on the record.
Following suit is Smoke & Mirrors, an apt title given the smoky-sounding lead keyboard/distorted rhodes that finds prominence in the recording. Gotye has focused on a lot of retro soundscapes on the record, and the echo on the snare and the rolling percussion give it a very old-world feel, a nod to the influences that no doubt inspired De Backer. Layers upon layers of sounds have been a feature of much of his work, but on Smoke & Mirrors, Gotye succeeds in really creating a time and place for this work, and it almost seems like a bustling metropolis stuggling through the cold winter at three-quarters pace. It is a great song just to close your eyes and listen to, allowing yourself to be distracted and caught up the short wave of sounds that exist in that space of time. The song bounds along to a big percussion-based finale, in which a small orchestra of drums playing over sampled horns wind up the tune.
Up next is the Learnalilgivinanlovin of the record, I Feel Better. A fantastic, up-beat and gleeful-sounding song, my only criticism of it is that it pretty much is a re-hash of that early 1960s/The Temptations/Spencer Davis Group vibe that he had with his first single on Like Drawing Blood. It’s not to say it is a bad song, but it is obviously another attempt by Gotye to emulate some of his musical heroes. It is a fun song, well written and well produced. His vocal performance is very good on the track too, almost achieving a Cee-Lo Green sound during the bridge, which is nothing short of impressive. It’s a song that will be played again and again, and an up-beat party number to be sure. But, it is certainly one of the least of his experimental sounds on the record in that he is essentially revisiting Learnalilgivinanlovin.
If Richard Kingsmill had not asked whether George Michael‘s Faith was the inspiration for In Your Light before it was played, I may not have initially noticed how similar the two songs were. Beginning with a funky, strummed acoustic guitar, much like Faith, it certainly follows a similar notion of up-tempo pop, albeit with a much-heavier production. Gotye actually likens the piece to Katrina and the Waves‘ Walking on Sunshine, and the guitar certainly takes its lead from the drum pattern in that song. It certainly could be compared to I Feel Better in its less-than-subtle reflection of songs gone by, but Gotye does enough with his layers to keep the song interesting and give it a modern element that is noticeably absent on I Feel Better. It is a fun song and one that is sure to get the crowd going when played live. If you don’t immediately put your dancing shoes on, you will at least admire how well Gotye pulls the song off.
Dirty, sexy, full of sunglasses and cool is State of the Art. Containing deep bass grove and horn samples, this track is one of the most impressive on the record, purely for its exploration and quirkiness. Most notable is the vocal track, recorded with an incredible amount of detail by Gotye and his mixer (to which Richard Kingsmill accurately said ‘I can see why it took you 5 years to record this album’). The vocal line is quite humorous and fun, and the whole song sounds like something Quentin Tarrantino would write, if he was doing music instead of film. Better yet, The Rza‘s score on Kill Bill vol.1 is an adequate comparison. It could even be a distant relation to the trip-hop explored on Damon Albarn‘s first Gorillaz album. There is a great, playful vibe on this song. It really feels like a song Gotye had a lot of fun recording and writing, at least if listening to it is anything to go by. This song is one of my favourites on the new record, and it is a brilliant match of Gotye’s incredible layering of sounds, as well as composition and diversity.
Don’t Worry, We’ll Be Watching You continues the more experimentation side of the album, and could even be an echo of Heat’s A Mess from the last album. A big, deep bass-line with distant, thin vocals from Gotye create a very sparse and dark landscape that allows Wally to really shine. It isn’t a song that grabs attention, but is an interesting mood-setter that allows De Backer to explore a range of sounds steadily and at their own pace, without piling them on in songs such as In Your Light. It doesn’t really build up to any big moments, but rather wiggles slowly along, like a nice, extended interlude.
The warm vocals of Giving Me a Chance lift the album back towards its singer/songwriter prominence. Featuring a nice array of keyboards and subtle synths, it reminded me at first of some of Moby‘s 18 album, a dark and melancholic electronic album that featured steady rhythm coupled with post-9/11 brooding. This song feels quite short, but is a really nice composition that sets up what will become an incredibly emotional finale.
However, before we get to Bronte, Save Me presents an up-beat and hopeful image, with Gotye describing the song as inspired by the impact his girlfriend has had on his life, in rescuing him from apathy. The song has a fantastic opening melody that is sure to get the crowd singing along when it is played live, and the lyrics carry a strong, hopeful message about the motivation and peace that we find in love. Despite its rosy subject matter, the song sounds very natural and organic. For a love song, it sounds like a wonderful ‘thank you’ to the person who inspired it. Out of all the positive love songs on the album, this has the most resonance for me because it sounds so genuine. It doesn’t come across as pre-meditated or inspired by any particular concept.
Finally, comes the brilliant closing track Bronte. Inspired by the death of a friend’s dog, the event allowed Gotye to explore the inevitable end of life. It is heart-breaking to listen to, but also has a sense of love and warmth, as people share the last moments of a life together. For anyone touched by death to hear these lyrics, it will no doubt bring tears to your eyes. But it is a beautiful, peaceful song that acknowledges the inevitability of what is about to happen, but also provides comfort in what is happening. It is one of Gotye’s finest songs lyrically, and musically it is very tasteful . For a concept so daunting and final as death, De Backer’s treatment of the subject is enchanting.The drums beat like a slow, walk towards the darkness of the final shut of the eyelid. But the song makes it feel like you are walking to the door of death with the protagonists, hand in hand, a slow, sombre march. With the time spent on that last journey reflecting on the fact that life will end, Gotye described it as hopeful, and in a way it is. If one could die in the same way, surrounded by loved ones, then death is far less intimidating. Instead, De Backer creates a beautiful, shared experience of death that approaches the subject head-on, but with warmth and closure, rather than regret and fear. It is an incredible piece that is hard not to fall head over heels for. And appropriately, the album concludes with such a piece.
Making Mirrors is a musical landscape filled with incredible, youthful highs (I Feel Better, In Your Light), and plenty of fun and exploration (State of the Art, Smoke & Mirrors). For all its hopefulness in Bronte and Save Me, it is not without its reality-checks in Somebody That I Used to Know and Eyes Wide Open, which balance the album with the twisted and distressing side of existence. Lyrically, it is brilliant, and it has music to match. The most compelling feature of the album is the way Gotye layers each song, and the sounds he presents. It is an album that you will learn more about the more you listen to it. From a production point of view, it is in an extremely engaging work, and it is no surprise that it took so long to complete. It is also Gotye’s most cohesive work. Like Drawing Blood was a fantastic collection of songs, but the weaker songs certainly stood out against its bigger counterparts. Making Mirrors contrasts Like Drawing Bloods‘ youthful musical exploration with a mature, concise album that has a lot more vision and a broader portfolio of material. It is hard to say though which is better. The preceding album has spent the last few years entertaining my ears, and after such a long wait, any record is going to be inevitably compared to its predecessor. But I really think Making Mirrors stands on its own as a great body of work. It ebbs and flows, but it is consistent and thought-provoking. I think that with time and reflection, as well as the memories that inevitably get attached to a record, eventually Making Mirrors will step out of the shadow of Like Drawing Blood. It is an album that is going to grow and change the more you listen to it, and I am sure I will look back on this review in a year’s time and feel that there was so much more to add. But in short, it is a sensational album and one that is absolutely going to be played again and again, and will no doubt have a big impact on the people who get the chance to listen to it.
Score: 8.5/10
At about 2:30 in the morning today, I was trying to get to sleep when my fiancée nudged me and announced with shock that Oceansize had broken up. I was subsequently shown the tweet on my iPhone and we spent the next 30 mins or so trying to find out what happened. Unfortunately, it may be some time before the truth about the sudden split is announced. Just 5 months after releasing their forth studio album, Oceansize released a brief statement via their various social media networks and websites saying simply that:
We regret to inform you that Oceansize have split up. An explanation for this occurrence is neither forthcoming or indeed necessary. All that remains is to say THANK YOU for being there for us. It’s been a very eventful and life-affirming 12 years. We’ll miss you. There will be more music from each of us as soon as possible.
For a band that has been around for 12-odd years, the announcement was very sudden and terribly brief. One can’t help but assume that the break up is bitter, given the remark that the cause of the split is “neither forthcoming or indeed necessary.” While I respect people’s privacy, I believe that it is a cop-out to market yourself as a band for 12 years, ask people to buy your record, do interviews, talk to your fans on a forum and play live shows then suddenly call it a day without so much as explaining to the incredibly loyal fans what has happened. With so many people invested emotionally in the band, its journey and its music, and for some, for as long as the band has existed, it does seem incredibly bitter, both within and towards the fans. Sure, there is the obligatory “thank you for being there with us,” but I certainly believe that the loyal ‘Size fans deserve far better. It’s not just curiosity; us fans have followed the band closely for years, spoken with them, supported the band in every way that we can. It feels too much like a text message from a girlfriend saying she is breaking up with you. You just don’t do that kind of thing, especially after 12 years.
The only conclusion I can draw is that whatever happened, it was bitter and unpleasant. Most bands who break up amicably say so, using clichés that the band “had run its course” or they had “lost the passion.” Even when it isn’t amicable, they say “creatively, it just wasn’t working any more” or “it is time to go our own way and explore other things.” In the case of Oceansize, the silence is screaming and we can therefore conclude that based on a lack of other information, what ever happened, it wasn’t pretty and they aren’t going to talk about it. At least not soon. Eventually, someone will surely explain it to a fan who approaches an ex-band member on the street, and they will be told what happened, which hopefully filter back to everyone. Personally, I don’t care what the reason is. These things happen, and many bands I grew to love have split. It is the nature of things. I just think in this case, the band hasn’t done it right by the people who ensure the band’s existence: the fans. As tired as the cliché is, without the fans buying the albums and the live concert tickets, they wouldn’t have survived for 12 years. So I think the fans deserve a little bit more respect.
There was a hint that something was brewing a month ago, with Gambler, ‘Size’s guitarist/keyboardist posting on his blog, in the ominously titled ”There Is No Tomorrow” (a reference, in hindsight, to the Oceansize song “No Tomorrow”): ”a number of things that have been a big part of my life have recently come to an end. Certain things were expected, others not so.” Otherwise, the band have been completely silent on the matter, except to say the band is no more. Mike Vennart (Vocals/Guitar) and Gambler have formed a new band titled British Theatre, announcing the project with: “Hello World. Oceansize are fucking dead. Long live British Theatre.” Drummer Mark Heron and bassist Steven Hodson are remaining with their other band Kong. The various members have also listed their solo projects as work they will be continuing in the near future, and the details can be found at http://oceansize.co.uk/. One noticable omission is any project by guitarist Steve Durose. Whether we can read anything into that or benignly assume that until now, Oceansize has been his sole focus, remains to be unseen.
L-R: Steve Durose, Mike Vennart, Steven Hodson, Mark Heron, Gambler
It was an incredible journey and it was an absolute pleasure to be introduced to their music, to see them live, to watch their dvds, to meet them all in person and to interview Mike Vennart. They will be sorely missed, but at least the music is still around and I am sure I will be listening to them well into my old age. So raise a glass to Oceansize, one of the greatest underground bands I have known. May they rest in peace and may their legacy be remembered for a long time.
Photo: ‘Lost in Music’ by Gary Simmons
A little break from the socio/political posts I’ve done recently, this post is about another passion of mine: music. Over the years, there have been several albums that have highly impacted me. In a world currently full of pre-manufactured songs ready to be sung by the highest bidder, these albums enshrine all I love about music and keep reminding me of just how amazing this art form is. So here are 10 albums that will always have a special place in my collection, and are the story of a particular time in my life, or part of my ongoing journey through the adventure that is being alive.
1. Rage Against the Machine by Rage Against the Machine
I was first introduced to this band in High School by a friend, a resident music guru and a rebellious lad who was loveably quirky, but managed to have such a great and eclectic taste in music. I asked him one day whether he had any albums by a particular artist (I forget which), to which his response resembled “you should listen to Rage instead.” The next day, he brought in a copy of Rage Against the Machine’s self titled album for me and from then on my life was changed, musically and politically. I was in love with this band from the get go. Every thing about it was appealing; the angsty music and vocals, the passion, the search for justice and the anger. Rage was my escape, my education, my inspiration. Initially, it was just about the music. I liked the vocals, but didn’t pay much heed to the lyrics. I just loved the way the music made me feel. I spent hours in my bedroom learning to play electric guitar to Rage songs, and I credit Tom Morello for the majority of my early guitar lessons. All my technique training is credited to imitating Morello. Instead of practicing scales, I practiced songs like Bombtrack or Know Your Enemy, playing the riffs over and over again, like scales, until I got the fingering and coordination right. To this day, Rage songs are some of the few songs I remember how to play instantly, while others I have to doodle around on the guitar for a bit until I remember. It wasn’t until several months after acquiring the album that I actually discovered that Rage was a political band. I figured they were pretty angry about something, but until I started looking up the lyrics on the internet and listening much closely, I was mostly oblivious. But then everything changed. I researched a lot of the material in the Rage songs, to understand what they were on about, and the more I learned, the more I realised how similar my beliefs were. While I was still young, and concepts like Capitalism and Socialism were foreign to me, I understood Rage’s passion for social justice, to protest against the wrongs in the world, to provide a voice to the voiceless and to quote Zack de la Rocha, raise “a fist in the air in the land of hypocrisy.” Rage from then on would be central to many things in my life. I found a style of music I had been longing for, an artistic expression that was literally music to my ears. But I also found in Rage elements of a belief system I already had within me, and Rage provided me the material to explore those political beliefs, and I learned more about the issues and identified with them. I could go on and on about Rage, the many memories I have of them, including the amazing 2008 reunion shows in Sydney, however let me just say that in terms of a contribution to musical and political knowledge and skill, Rage remain unparalleled.
2. Curtains by John Frusciante 
Curtains was an album I discovered almost accidentally, but would go on to become one of my favourite solo albums of all time. As a youth, I grew up listening to the Red Hot Chili Peppers, and when I began working for Sanity in 2005, I finally had access to thousands of recordings. I didn’t know anything about Frusciante’s solo work, but I purchased Curtains. Oddly though, I didn’t listen to the album for nearly 2 years, until I ripped it to my computer’s hard drive and gave it a listen. This was an album that just seemed to hit all the right places. Frusciante’s gorgeous, yet simple acoustic work, combined with his soaring, pained melodies felt like they reached into my body, into my soul and became an intimate friend. A friend who I related to so well. As it turned out, I have very little in common with Frusciante, and will probably never will, but through Curtains, we have an amazing friendship. Frusciante’s solo work can be quite odd, experimental and alienating. But for whatever reason, Curtains is a diamond in Frusciante’s rough, and is an album I turn to often. It is a shame that so far, none of his other albums come close to the experience I have with Curtains. Songs like The Past Recedes, Leap Your Bar and Time Tonight, while depressing, often wrap around me like a warm blanket. The melodies are simply wonderful, melancholic and fueled with a philosophical and personal- yet detached look at life. It still amazes me that it took so long to finally listen to the album, but it was well worth the wait, and I can’t help but wonder what I would have been listening to had this album not come along when it did.
3. Play by Moby 
Play was an album that again found me by surprise. It was first given to me by my uncle, an incredible musician in his own right, for Christmas. It wasn’t really what I was into, and had mixed feelings about the gift at the time. I was mostly into angst-filled hard rock, and was at the height of my rebellious time in High School, probably around years 9 or 10. But I kept the recording, and started to listen to it. I thought it was a bit of a novelty at first, the blues vocals over dance music, but didn’t consider it much more. Over the course of a year or so, Moby began to rise to fame through word-of-mouth and advertising exposure, leading his songs to finally gain airplay and regular rotation on video music shows, which I watched every weekend. As a result, I started to appreciate this mystery artist even more, and realised I already had the album. Soon enough, I was hooked, and I played it very frequently. I loved almost every song and found the African-American vocals to be soul-searching and grand. I have always loved the sound of blues; it is the music of the heart and soul. As a result, vocally and musically, Play had a real impact on me. Following the discovery of this slight, bald, vegan musician, I sought out all his records, including material that was rare, or released under a pseudonym. I loved his music, his style, his exploration. While at times, Moby can be frustrating, bringing out albums that differ so much from the previous, but despite this, I find it hard not to appreciate the musical territory he explores. Natural Blues, My Weakness and Everloving are some of my all-time favourite songs, and this album will always be treasured in my collection.
4. Satellite by P.O.D. 
I discovered P.O.D., like a lot of people did, around 2001, but just before the release of the album. A few months before Alive hit the radio, I bought their previous album, The Fundamental Elements of Southtown in a music store. The sticker claimed that fans of Rage Against the Machine would love the album, and at the time, I was very much into Rage. It was the first and probably only time I have paid for an album because of the promotional sticker on the front. While it wasn’t as good as Rage, it struck a chord with me and I listened to it a lot. Then Alive hit the radio waves and became a top 20 hit. I brought the single, then album Satellite. I loved this album very much when it was released. I loved the energy, the massive wall of guitars that were recorded and a thumping drum kit that was mixed in wonderfully. Every song was a gem. While I don’t listen to the band as much as I used to, this album was listened to so much that I had brought it several times over the years. It carries so many memories for me, memories of friends, of High School, of my first bands and my love at the time for hard rock.
5. Frames by Oceansize 
Late one night, at a small gathering at my old Meeks St apartment in Kingsford, we were all drinking at watching Channel V. It was the weekly metal night, and to be honest, everything was pretty terrible. Mostly 80s hair metal, or metal bands that missed the 80s. I was pretty tired and out of it and was ready to change the channel, when Unfamiliar by Oceansize popped on to the TV. I instantly turned the TV up and watched in joy. I said to my girlfriend that ‘I could easily get in to this band,’ and I did. Either that night or the next morning, I looked up the band and grabbed the album with Unfamiliar on it, which turned out to be Frames. I was blown away. I can only compare it to the discovery of Rage: I instantly fell head over heels for the band and their music. It was very different to what I had been listening to at the time, but also had familiar hard rock sounds. But it was new, a different and fresh taste that combined hard rock with post rock, the latter genre I had little experience with. As such, Oceansize propelled me in to the discovery of several other post-rock bands. I simply cannot rate this album highly enough. It is a beautifully composed album, delicate, intricate, fragile, yet explosive and powerful. It is an album that you pick up and listen to start to finish every time. As a guitarist and bassist, the string department in the band, which consists of 3 guitarists and a bassist, gel so well together and compliment each other perfectly. And as a man who loves his drums, Mark Heron from Oceansize would have to be one of my favourite drummers. It is simply too hard to compare this album. It has so much quality, diversity, depth and a wonderful soundscape. If this was one of the last albums I would hear before I died, I would die a very happy man.
6. Memoirs of a Common Man by Antiskeptic 
Another album I found in High School, I discovered the band on the internet, and picked up their preceding EPs, and after a long wait, their debut album was released. As I was pretty keen on punk music at the time, Antiskeptic seemed to blend many elements of the style, while also being very individual; the music was more complicated than your average punk band, with some great guitar work and a bass guitarist that operated more like a second guitarist than a bassist at times. The result was a fresh and creative punk band, that combined my love for punk, but also retained melody without sacrificing artistic expression. While many other punk bands in the late 1990s/ early 2000s operated on catchy riffs and simple palm mutes, ‘Skeptic took it a step further, and stretched it out like elastic, pushing the boundaries of the genre. While the band would remain very much an underground and modest success, their music will always be remembered with great enthusiasm by yours truly, and it is still a surprise to me that this band never made it to the big time. While their following studio work would not be as grand as Memoirs…, they still had a fantastic style that was fun, but also very thoughtful. Very few songs centred around girlfriends; instead, they explored many aspects of life, including the spiritual, which has always been of particular interest to me. I always held the band in such a high regard, and still do, although as I have become older, they do now seem far more mortal. I still remember the first time I met the band, and how disappointed I was (it was a busy night and they were tired), but I met them all again on several occasions and have wonderful memories of talking to them at festivals like Black Stump or at gigs in Sydney.
7. Guero by Beck 
Back in 2005, a fellow employee named Sam, who worked with me at Sanity introduced me to Beck. I didn’t quite get it at first, but thought it was very funky and had a cool vibe to it. I picked up the album he showed me, Guero, and it has become one of my favourite records. Quirky, experimental, yet driven melodically, Guero is a fun fusion of sound and texture. Wonderfully produced, it was one of the first really creative records of this style that I liked, and have listened to it over and over for the last 5 or so years. From the classics like E-Pro and Girl to the flowing Missing or the more melancholic Broken Drum, Guero truly is a gem of an album and a summer does not go by when I do not play this record, either at home or in the car multiple times. Albums like Guero have opened up alternatives in music that led me to find many other wonderful artists, like Gotye and DJ Shadow. To quote Bender’s description of Beck’s music in Futurama, he “transcends genres even as he re-invents them,” and Guero is truly no exception. While it was a slow-burner to begin with, it is a fantastic album and should be an essential in any record collection.
8. This Binary Universe by BT 
While I was familiar with BT’s work, nothing prepared me for this album. It was sonically so different from any electronic music I had ever heard. There were obvious jazz and classical influences, with songs exploring both electronic soundscapes while deviating into beautifully written orchestral pieces. This Binary Universe is a journey into experimental electronica, but is also a fascinating creative endeavour, with an accompanying dvd of the entire album put to film- making it an incredible audio/visual experience. It is also mixed in 5.1 surround sound, making the alum an incredible sensory experience. BT is a genius, and this album seems to employ every talent this man has. While BT is one of the original founders of Trance music, he is also a film composer and rock musician, but This Binary Universe is a Universe of its own. It includes songs written solely using software create by BT, giving at incredibly unique sound. This album should be considered a piece of art; it is an incredible feat of accomplishment, both musically, creatively and visually. It is something that needs to be heard to be believed, and was an album easily ten years ahead of its time.
9. Lateralus by Tool 
I was first introduced to Tool upon recommendation by a close friend at school. Down at the local cd store, I listened to the album on the headphones and I honestly wasn’t too impressed. I liked my music hard and fast, and Tool just seemed to take forever to get going. I eventually skipped ahead until I found a track I liked, Parabola, and decided I’d give the band a go. I purchased the album, but it took a while for me to warm up to them. At the time, I didn’t have much time for music that was so deep and progressive. Instead I liked upbeat, melodic, hard rock music which had songs of no more than 5 mins. So listening to Tool for the first time was a new experience and it took some getting used to. Eventually, it clicked, and I was taken to another world. They were so different to anything I had listened to before. They were so creative, tribal and mysterious. I found little information about them anywhere, but yet they seemed to have a massive fanbase. I was also surprised to learn that they were so closely connected to Rage Against the Machine, and that it was vocalist Maynard who sung on Know Your Enemy, on Rage’s self titled album. If I had known earlier, I probably would have been listening to Tool a lot earlier, based solely on the recommendation of Rage. It is hard to sum up Tool in words, and I am sure many people have the same problem. They are a world unto themselves, detached from reality, while also encouraging the ‘real’ world to explore the themes and colour of their own. Lateralus is by far my favourite Tool album, and I believe it is unsurpassed in creativity, expression and texture. Songs like The Grudge and Parabol/Parabola take you on amazing sonic journey that makes you want to fall in love with music all over again. Like the other albums in this list, Lateralus opened a door to many other artists and creative styles and will forever have a place in my record collection.
10. Frizzle Fry by Primus 
Primus was a band I was introduced to by a drummer in a band I was in at the time. I was keen to start exploring new styles on the bass guitar, and Joel told me that if I wanted to be good at bass, I needed to listen to Primus. And thus he lent me their albums. At first, I found Primus to be a bit weird. They weren’t metal, but had metal-ish parts. They weren’t a comedic band, but clearly didn’t take themselves seriously. They weren’t funk, but they weren’t rock. Primus were simply a strange hybrid of sounds, powered by something I hadn’t heard before: a lead bass guitarist. Unlike anything else I’d listened to, the music revolved around the bass, with the drums and guitar acting like a warped rhythm section. While there were plenty of guitar solos, it was the bass that lead the way, being the loudest, clearest instrument in the mix, with the guitar strangely turned down. Despite how different it was, I soon fell in love with Colonel Claypool and his friends, and Primus completely changed the way I thought about both the bass guitar and music. Claypool made me look at the instrument in a new way, much like Tom Morello did for the guitar when I first heard his solos in Rage Against the Machine. Soon enough, I had Frizzle Fry, and was blown away with the instrumentation of tracks like To Defy the Laws of Tradition, John the Fisherman, and Too Many Puppies. I must admit it was a rough introduction to the band, and I wasn’t as overwhelmed as I was with other bands, but soon enough, Primus became one of my favourite musical groups, and albums like Frizzle Fry took my own creativity and bass playing in a whole new direction.
Music is an artform that can bridge all aspects of humanity, and bind them together in celebration of the human race. Jamie Catto and Duncan Bridgeman, better known by their project ’1 Giant Leap’ have embodied this concept. Their latest DVD release, “What About Me?” has captured the hearts, minds, ears and imaginations of those around world.
When Jamie Catto left the dance supergroup he helped found, Faithless, in 1999 to team up with a man named Duncan Bridgeman to found 1 Giant Leap, I imagine few realised the impact that this group would have.
Their concept seems ingenious but also quite simple: take a laptop, some microphones and some hand-held video cameras to each continent of the world and film just about everyone that wants to be involved. The result is a song, with each instrument perfromed in another half of the world. Carlos Santana might play guitar from his home in South America while an African choir provide the vocals in their backyard and a traditional Middle Eastern band provide percussion. What is even more compelling is that no matter where these musicians are playing, the end product sounds so good that you would expect all these musicians to have collaborated in the writing process from the begining, when in actual fact, they are kilometers apart and have probably never spoken to each other, in person, on the phone or via email. It is incredible the power that music has.
Based in the UK, but recording and writing all around the world 1 Giant Leap were nominated for two Grammy awards for their first self-titled film and album and worked with a number of musical and philosophical superstars such as Dennis Hopper, Kurt Vonnegut, Michael Stipe, Robbie Williams, Eddi Reader, Tom Robbins, Brian Eno, Baaba Maal, Speech, Asha Bhosle, Neneh Cherry, Anita Roddick, Michael Franti and Jamie Catto’s former band member Maxi Jazz.
In 2008 came a stunning follow-up, “What About Me?” This film is an incredible piece of art, fusing together a variety of philosophies and not to mention some of the most beautiful world music ever recorded. And the guest list for “What About Me?” was to die for: Noam Chomsky, K.D. Lang, Will Young, Maxi Jazz, Tim Robbins, Carlos Santana, Susan Sarandon, Billy Connolly, Michael Stipe, Michael Franti, Speed Levitch, Stephen Fry, Eckhart Tolle, Speech, Boots Riley and Baaba Maal contributing either philosophical thoughts or music to the project.
But, 1 Giant Leap is not about stars, music or philosophy. It is about celebrating the divesity of the human race. Music, philosophy and film are but the means for this celebration, the venue, if you will. The stage is us, human beings, sharing our thoughts, perspectives, culture and lives either through the spoken word or through music. It is not about one point of view, one religion, one gender or one race. But a celebration of everything. Duncan and Jamie are simply the vehicles for this amazing journey, choosing instead to film humanity, from the streets of New York to the most remote villages in Africa: this is about humanity. This is not to take away from the breathtaking and tearjerking music that comes with it, but the point Jamie and Duncan are making is that humanity needs to be celebrated, not destroyed, corrupted or imprisoned. “What About Me?” is a journey through life’s experiences, from birth to death, from poverty to sexuality, from activism to tribalism. 1 Giant Leap is a stunning collection of music, images and thoughts from all walks of life, from all ages and all cultures.
We all have things to share. And I think that 1 Giant Leap is the long lost brother and sister of the Threethings Project, because it is about sharing with people around the world who we are, and celebrating this fact, without ignoring the pitfalls of humanity.
I could not reccomend these two wonderful films more.
Below is an excerpt from the film “What About Me?” I hope you enjoy it. The DVD and Soundtrack for both films can be bought at most major DVD/CD retailers or ordered online. It is worth every penny.
