The Scare – Oozevoodoo
If you've been with The Scare lately, you'll be lucky if it's only voodoo you're oozing, otherwise you better see a doctor.
Spoon – Atlanta – 14 April 2008
Spoon Centre Stage, Atlanta, GA 14th April 2008 It's Britt Daniel's birthday but you wouldn't know it. There's no cake and candles, no rambunctious behaviour or jokes. You'd be expecting the band to be soused
The Minus 5 – Killingsworth
No longer young bucks American supergroup The Minus 5 release their eighth album of beautiful stories, pretty melodies and career-defining songs.
Black Cab – Brisbane Interview (2010)
Sometimes the best music is just under your nose, as in literally right under your nose on your desk hiding in a spindle of CDs. That’s what happened with Melbourne's Black Cab as after receiving a promo of their third album Call Signs mid last year it was put on said spindle and largely forgotten about until the video for the first single, the chugging rock epic “Church of Berlin” was seen, which quickly made me hunt out the promo disc and give it my full, rapt attention. With Calls Signs recently being given an European release we talked to Andrew and Steve about their visit to the sunshine state, the sexiness of “Sexy Polizei”, the allure of Germany as a source for lyrics, covering alternative classics and new recordings.
British Sea Power – Valhalla Dancehall
Hurrah for English music. Just when you think Webcuts panders almost exclusively to the Americans, British Sea Power save the day.
Destroyer – Dan Bejar talking about Kaputt (2011)
It's been said by Webcuts in the past that Destroyer's Dan Bejar is the Woody Allen of pop music. His idiosyncratic, poetic touch is less that of a lyricist but a storyteller with a revolving cast of characters (mostly women), and picking up on the ripples and waves they create to make them a part of his own interior monologue. An essential eighth of the mighty New Pornographers, Bejar has been recording as Destroyer since the 90's. Kaputt, his ninth album is a sumptious, rhapsodic slice of 80's melodrama, immersing itself entirely in the era from the vintage instrumentation to Bejar's own penchance for seeking the sublime out of what some might find the ridiculous.