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Webcuts Top 20 of 2010 – Part 1

By |January 1st, 2011|Categories: Features|Tags: , , , , , , , , , , |

So that was 2010. What does Webcuts remember most about it? It's hard to say, really. The landscapes shift, the memories flickr and 365 days blur into one long unending soundtrack. One thing our favourite tracks of 2010 all had in common was that they appeared like one night stands that lingered a little longer than usual, almost all of them attached to a singular memory of the song being performed, either from a distance or elbows resting on the stage in mute admiration, or maybe just there emanating from a speaker aimed direct into our inner consciousness, refusing to budge.

Twin Shadow – London – 11 May 2011

By |May 24th, 2011|Categories: Live Reviews|Tags: , , , , |

Having to write a live review on the fly, almost two weeks after it happened, from notes hastily scribbled, while packing to go to a festival will show us this is not the way to be. There's no time to go into great detail, to labour the point, to draw comparisons between George Lewis Jr's physical appearance (a little bit Prince, a little bit Morrissey), or the sound (a little bit Prince, a little bit Morrissey, albeit on a synth-sprung landscape). Twin Shadow, at least from this writer's perspective, has adequately filled the gap that LCD Soundsystem left by their absence, in making music that moves and is moving, that is confident without being arrogant, and is just too perfect for words.

Cloud Control – Interview (Static, 2010)

By |June 24th, 2010|Categories: Interviews|Tags: , , , , , |

A Tale of Two Cities? Not bloody likely. While both appear on the forthcoming Laneway bill Cloud Control and Rat vs Possum are worlds apart and aren't harbingers of any Sydney or Melbourne scene. Although there are groups of like-minded musical acts in all Australian cities and towns they're is no discernible Sydney sound or Melbourne sound. Cloud Control's indie-folk rubs shoulders with Parades' and Jonathan Boulet's dense polyglot pop while Rat vs Possum's tribal skewed pop sounds share the same general geography as Love Connection's murky shoegaze and Super Wild Horses girl fronted garage. It's not where you come from, it's where you're at.

The Soft Pack – Interview (2010)

By |August 8th, 2010|Categories: Interviews|Tags: , , , , |

Originally they were The Muslims but now they have a less volatile name, The Soft Pack, and a more polished repertoire as heard on their self titled debut. Touring that album in Australia they spent some quality time with Static's Chris Berkley who got to the beginnings of how the band formed, that name change, the San Diego and LA rock scenes, surfing, the prestigious honour of being covered by Nada Surf and the possibility of covering some Australian indie classics.

The Morning Benders – Interview with Chris Chu (Static, 2010)

By |July 22nd, 2010|Categories: Interviews|Tags: , , , , , , , , |

For The Morning Benders, a big echo doesn't necessarily mean a big noise, but the latter is certainly what these Californian boys encountered following the release of their sophomore album Big Echo earlier this year, easily giving Webcuts one of our favourite albums of 2010. Perfectly formed and lavishly constructed, Big Echo stretched its influences across the decades, from the lush '60s doo-wop harmonies of "Excuses", the '70s Californian pop-rock of "All Day Day Light" to the peer rivaling, stark echoes (which the album lives up to its name) of "Hand Me Downs".

The Stills – Interview with Tim Fletcher (2009)

By |February 3rd, 2009|Categories: Interviews|Tags: , , , , , , |

Having released one of Webcuts favourite albums of 2008, the tsunamically stunning Oceans Will Rise, we caught up with vocalist/guitarist Tim Fletcher from Montreal's The Stills whilst in the middle of a brief European tour late last year.

The Wedding Present – London – 13 December 2010

By |December 20th, 2010|Categories: Live Reviews|Tags: , , , , , |

These are confusing times we live in. The past and the present have merged into one. Bands come back from the dead, sounding better than ever (The Primitives), artists who are clearly dead keep on making dreadful albums from beyond the grave (do we need name names?), and bands will play their best album in full and it becomes ‘an event’ (The Wedding Present). There are few albums in the history of music that deserve to be played in full (though tell that to Echo & The Bunnymen...), there's always at least one track (or more) of filler, or one completely misjudged stinker, but nostalgia has a price and it pays handsomely, so hey, on with the show!

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