Stars – The Five Ghosts
Critic proof Canadian indie-poppers release their fifth disc of tunes but like its subject matter we find it lacks substance.
Prefuse 73 – Everything She Touched Turned Ampexian
No we have no idea what Ampexian means, but globe trotting Scott Herren otherwise known as Prefuse 73 does on his fifth disc of beats and pieces.
A Hawk and a Hacksaw – Délivrance
Business as usual for New Mexico's A Hawk And A Hacksaw? Just ask "The Man Who Sold His Beard".
Glasvegas – EUPHORIC /// HEARTBREAK \\\
The only euphoric heartbreak here is all expectations of Glasvegas trumping their debut going out the window.
The Radio Dept. – Freddie and the Trojan Horse
Labrador, 2008 [8/10] It was not the lyrics that got me hooked on The Radio Dept but rather their gentle, dreamy melodies. The vocals of Johan Duncanson are an integral part of the band's sound
Art Brut – Art Brut vs. Satan
Eddie and the bruisers return with their third long player of songs about love and hate. And comic books and chocolate milkshakes.
Glasvegas – Glasvegas
Columbia, 2008 [9/10] From the Jesus and Mary Chain through to Franz Ferdinand, every once in a while the sound of Scotland will seemingly unleash an act that will take the music world by storm.
Splendour in the Grass 2009 (Day 2)
The second splendid day of Splendour in the Grass 2009. We catch Kram, Jack Ladder, Bob Evans, The Gutter Twins, White Lies, The Doves, The Flaming Lips and er, Grinspoon.
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.
Who The Hell Are… Pris?
Uh-oh, here comes trouble. Pris are a four piece from London featuring Cat on vocals, Agatha on guitar, Mary on bass and Sam on drums. Imagine Blondie with an attitude problem, Manics before the middle life spread and Kenickie without the big bones.
Deerhunter – Sydney – 20 June 2009
Having caught them a few weeks earlier in London, it was like witnessing an entirely different band in the throes of conquering new territory and playing to new audiences.
The Pains of Being Pure at Heart – Australian Interview (Static, 2010)
A firm favourite last year with those of a pop persuasion was the debut album of Brooklyn four-piece, The Pains of Being Pure at Heart. An example of youthful exuberance and melodic indulgences, The Pains (is it ok to call them that?) were as easy to swallow as a chocolate sundae with all the toppings -- and just as addictive and in no way fattening. Recently on tour in Australia, we spoke with guitarist Kip Berman.
The Gaslight Anthem – The ’59 Sound
SideOneDummy, 2008 [9/10] The ’59 Sound starts, fittingly, with a sound of romance and antiquity -- a needle laid to vinyl. A spindly guitar riff echoes faintly in the distance, then suddenly erupts into an
Webcuts Top 20 Albums of 2007
We graze of the green pastures of 2007 and find the cream of the crop including Damn Arms, Grinderman, Spoon, The Concretes, Feist, Faker, John Doe, The Shins and more.
Bauhaus – Go Away White
Cooking Vinyl, 2008 [rating:1/10] Bauhaus' original swansong, released almost 25 years ago now, was a recording halted and hindered by singer Peter Murphy catching pneumonia and being hospitalised, meaning the finished product, entitled Burning From
Who The Hell Are… Villa Cola?
Having lived through the 80's, witnessed the birth of Wham!, the ascension of Kylie from Neighbours mechanic to pop princess and the rise and fall of the Stock, Aitken and Waterman (s)hit factory, intelligent, well-crafted synth-pop has had a tough (but not impossible) road to climb to redeem itself. It's easier done now for those with little memory of the 80's, who can mine the decade of its untapped wealth and pull influences from The Human League or Gary Numan or even further back without being mocked, all the while creating something new and exciting. Having a rough guess at their ages, London's Villa Cola could surely fill these shoes.