THE MOUNTAINS: SUN

Well well, what’s this? Sydney country/surf four piece The Mountains have given out a second taste to their upcoming EP, following up last month’s ‘Loose Jaw’.

As you listen, you’ll find that this track evokes plush melodies and an all-encompassing nostalgic ache for them sunny days spent with a long-lost summer fling.

The repetitive guitar strumming and tender percussion matched with Pete’s rich and supple vocals makes for a pleasant escapism. All you want to do is lay outside with your feet up and fingers tapping. Definitely a track that sweetens with repeat listens.

The bands EP, Country Doors is due out August 1^st via Slow Country Records.

BIG SCARY: NOT ART

From what initially began with jamming in the living room of Jo’s parents’ house, Tom Iansek and Jo Syme became Big Scary (although, they are neither big nor scary). Following the success of their debut album ‘Vacation’, this two piece Melbourne drummer and strummer are back with a fresh record ‘Not Art.’

The minute this humble duo step on stage, their impressive live act along with their endearing nature, lustre together as some pretty slick talent – in fact it’s pretty hard not to like these guys.

 ‘Not Art’ is a collection of 11 songs, chock full of rustic instrumentals aligned with sweet vocals.

We got teased with a taste earlier this year with single ‘Phil Collins’ – what Tom refers to as “the mood-setter” for the album. Jo’s percussion and Tom’s ethereal vocals exhibit great, balanced control.

The duo managed to craft a new sound for this record, bringing in influences from folk to hip-hop. May seem like an odd combination, even writing the two together doesn’t sound too right, but once you give it a listen, damn does it sound pretty right.

A pleasant surprise on the record is the pipes on Jo, as heard in the third track ‘Harmony Sometimes’. Her vocals resemblant of Zooey Deschanael wistfully pass along to delicate keys, accompanied with backing vocals of Iansek.

It’s hard to say ‘Not Art’ over ‘Vacation. Both records parade distinct sounds. However, ‘Not Art’ manages to imbue just as much of an effortless sensibility to the first record, which arguably (despite the album title) is art right there.

Edward Sharpe And The Magnetic Zeros: Edward Sharpe And The Magnetic Zeros

Melodic folk arrangements, strong, distinct vocals and a strong communal sensibility make this record a cathartic experience.

Three years after the release of their first record Up From Below, and having escaped the ‘second album syndrome’ with ease, this 11-piece folk outfit is back with its self-titled third effort.

Rustic authenticity and Edward Sharpe go together like bread and butter, whether they’re jamming together on their tour bus or conjuring up a storm on stage. You could deprive them of their instruments and they would still make music.

Edward Sharpe’s frontman Alex Ebert described the tracks on the new record as some of the, “rawest, most liberated, most rambunctious stuff” they have yet done, and he’s not wrong.

Opener ‘Better Days’ is an optimistic, feel-good track full of vocal harmonising and pounding percussion, while ‘Let’s Get High’, ‘Two’ and ‘Please!’ revisit the themes of life and love explored on their previous albums. ‘Country Calling’ is a boisterous number, with a soundscape consisting of horns, trumpets and thumping percussion.

Every Edward Sharpe and the Magnetic Zeros album has one track that churns up your emotions, and on this album it’s, ‘This Life’. It’s raw and powerful, showcasing Ebert’s vocals – the ragged pain in his voice works in harmony with the band’s gospel backing, giving it a stirring emotional potency.

THE MILK CARTON KIDS: THE ASH & CLAY

Simplicity is a nice and often undervalued quality. In this case, less is more.

With two albums already under their belt, Californian folk duo The Milk Carton Kids now return with their third record, The Ash & Clay. Following the success of Retrospect and Prologue back in 2011, Kenneth Pattengale and Joey Ryan have crafted a sound that pays homage to Simon and Garfunkel. There’s a simple rawness and warmth that goes along with their dry humour on stage. Not too different in tone from their previous stuff, this record drips with sweet harmonies accompanied by intricate rhythmic strumming that sets the atmosphere for all those feeling a nostalgic ache for peaceful afternoons swept underneath the sun.

‘Memphis’ resonated with me. The song is a perfect example of two guitars and two voices weaved together to form an achingly beautiful folk song. “I guess it’s been a long decline / God bless the souls that shook up mine.” As supple as this song is, the lyrics melded with its haunting melancholy tone add a depth of poetry – taking you back to a moment in time of tender loss. Meanwhile, ‘Ash & Clay’ adds a layer of hope. “Let’s come home before the girls are grown / Let’s come home tonight.” The song begins with what sounds like a soft flowing stream of delicate guitar picking along with a pairing of vocals; at times you almost forget there are two people singing.

The album as a whole is a stripped down effort, highlighting the striking vocal melodies and guitar lines that intertwine over one another, and when combined form music with a timeless appeal. 

MATT CORBY @ ENMORE THEATRE | 07-06-13

Photo: Aleksandar Jason Photography

When I go to gigs I love looking around and capturing a person who is completely awestruck by the artist they love, isolating their experience and encapsulating themselves to the music, showing only emotion in their face. To be an artist and have the ability to do this – well, that is a special thing: one fine quality that Matt Corby has cultivated.

Corby gave a soulful raw performance. His rough earthy voice was as much an instrument as his guitar.

Before Matt came the warm, husky voice of Grace Woodroofe.  For many (including myself) who hadn’t heard much of her until this evening, her vocals with the band’s performance lend itself to be a great supporting act.

Then came Corby. He opened alone on his keyboard with ‘Water and Wine,’ a mournful new piece, with a husky falsetto that silenced the crowd. Despite the occasional loud cheer from a horde of overwrought tweens, you would not have heard a pin drop.

Next song in, accompanied by his 5-piece band, Corby traded keys for his acoustic guitar, to play yet another new track ‘It’s Good To Be Alone.’ The soulful sounds from the acoustic, along with Bree Tranter on flute, perpetuated the awe-inspired silence established early in the show.

Back to keys we moved into ‘Made of Stone.’ Usually played solo by the artist, Matt was accompanied by his drummer, bass player, guitarist and keyboardist who all worked in perfect harmony to give this song the incredible height heard reverberating throughout the Enmore Theatre.

Afterwards came ‘Runaway’ and ‘Resolution,’ the latest track to come out by the bearded artist. Already having seen Matt live a few times before, it was ‘Resolution’ that I was most looking forward to hearing. And in doing so, let me just say the live version is (if more) better than the recorded one.

The dirty bluesy ‘Souls A’Fire’ came next and if the audience was anything to go by, this one proved to be the crowd pleaser.

Switching it up to electric guitar, Matt shared ‘Trick of the Light,’ another new song with a faster tempo and a funkier vibe.

It was the raw and very emotional ‘Untitled’ next, which completely captivated the crowd. Dim lighting with just Corby and his guitar. By tying the intimacy of the story behind the song, we were able to join in that feeling, while watching Corby wholly lose himself in the lyrics.

After came the acoustic rendition of ‘Lonely Boy’ and ‘Fire and Thunder,’ which Matt stopped halfway through to spot out a girl passed out up front (heavy).

However, the show must and did go on. Next came the famous “ooo-ee-oooh” everyone was waiting for, with the crowd belting out the chorus to ‘Brother’ with him.

The set came to a close with the pairing of vocals from Bree Tranter for ‘Big Eyes’ following the fast guitar picking and thunderous clapping from the audience along to ‘My False.’

The set was better than good, it was pretty excellent, and it’s no surprise that the show was sold out.

Matt Corby has been reminded and compared to the likes of Bon Iver, Jeff Buckley and Nick Drake. But, I think after witnessing him live, it’s safe to say he is pretty much in a league of his own.