ALBUM REVIEW: Weezer - Hurley

(released on Epitaph, 2010)

Review by: Michael Bird

                                            

3.5/5

Weezer seem to want to tie themselves to their past, or at least let it be known that they have a perception of themselves as a band over time. There’s a fair amount of self-referential content to most of their albums, and there’s no reason to release more than one self-titled album unless you’re interested calling attention to the shifting shape of your own band. Hurley was going to be self-titled (again), apparently, until Rivers and Co. realised that people would just call it ‘the Hurley album’ anyway in reference to the cover, and it’s clear that this latest offering is still Weezer on Weezer, but thankfully in a more enjoyable form than the last few records the group has put out.

Rivers is a master of the niche Weezer occupies in alternative music, and Hurley showcases his capacity for catchy choruses, lyrics that are humorous but still introspective, and a bizarre knack for throwing about cultural references that might seem immediately dated or opportunistic coming from anyone else. Michael Cera, wearing his Scott Pilgrim pants, guests on ‘Hang On’. Nine out of ten bands would be ridiculed for this move on the grounds that it compromises the album’s artistic integrity, cashes in on a fad, blah blah blah, but Weezer somehow remain the effortlessly cool kids at your house party who are allowed to sing the ‘Fresh Prince’ theme without being dorky or ‘scene’, they’re just above it all.

With this in mind the strange collaborations, Youtube obsession and seriously, SERIOUSLY hip album name/cover shouldn’t have much of a bearing on how the album is received. It’s all just Weezer being Weezer, and no matter how aware the band wants you to be of how aware they are of how you perceive them, in the end it should be (at least mostly) about the music. Hurley does call back to the beloved early Weezer albums a bit more than Raditude or Make Believe, and this is definitely a welcome change. ‘Where’s My Sex’ is as dweebishly rockin’ as anything off Pinkerton, and there are definitely echoes of the offhand sort of irreverence Weezer used to exude throughout Hurley. The guitars are plenty rough, and the hooks (Memories) are about as memorable as they used to be.

It’s probably a mistake to take Cuomo’s lyrics particularly seriously, so to characterise Hurleymeasured album, insofar as fans of the power-pop, party time Weezer should be just as satisfied as fans of the more experimental, grown up Weezer (if there are any). The latter half of the album does venture off into some strange sonic spaces, especially the closing Time Flies, but not at the expense of the power chords and shout-along choruses you know Weezer can deliver. It’s not the Blue Album by any stretch, but it shouldn’t have to be. Hurley is a return to form for Weezer, and a damn good time. as a ‘mature’ album might be unwarranted. It’s definitely a more

ALBUM REVIEW: Philip Selway - Familial

(released on Bella Union, 2010)

Review by Michael Bird

                                              
2/5

It’s hard to approach a solo album from a member of any band without some preconceptions, especially when the band is a capital ‘B’ band like Radiohead. You assume (rightly or wrongly) that the record might be an attempt to either cash in on or distance oneself from the output of the band, and often you simply know too much about the person putting the album out and it unfairly colours your opinions.

Of course, it’s unlikely that Phil Selway would want or need to cash in on anything at this stage in his career, and it seems equally unlikely that he’d want to distance himself from Radiohead’s sound (whatever exactly that is). Being a fairly quiet member of a somewhat private band, it might also be the case that we don’t know enough about him to write the album off completely. Personally, all I know about Phil Selway is that he seems polite and reserved, he can keep time and he plays in a band with Thom Yorke. Having said that, after giving Phil’s debut solo effort Familial several spins, I would sum it up as polite, reserved and partially about Thom Yorke (it is also largely in time, but that’s not so interesting).

Selway opts for largely acoustic, stripped back and muted instrumentation and production, and the album remains staunchly pop throughout (think Finn brothers pop though, not Damien Rice). It’s personal sort of content, I suppose, but personal vague and forgettable terms. It’s easier to characterise Familial in terms of what it isn’t than what it is, and despite the presence of some whispers, sparse acoustic guitars and earnest self-assessment, Bon Iver it ain’t. It ain’t Iron and Wine either, and perhaps where Selway falls down is in sticking too close to a safe formula, refusing to push any boundaries at all in any direction, ultimately making Familial a completely forgettable exercise.

‘By Some Miracle’ and ‘Broken Promises’ are highlights insofar as the album has any highlights, where Selway proves he can do more vocally than contribute the occasional backing to Yorke. Several songs seem to reference Radiohead and Yorke in particular (‘All Eyes on You’ might be introspective or a study of Yorke from behind the kit), and this is where one of the disadvantages of taking a break from a successful band to release a solo album surfaces. The world does not need any more famous people complaining about being famous, not even if they’re mild mannered drummers. The songs themselves are entirely inoffensive musically, but by the time it’s “So frail and small, so scared you’re terrified by all” and “We’ll turn out the lights, we just want a simple life”, the line from earnest to tedious and whiny is crossed and much of the appeal of the album is lost. 

What Selway chooses to do on Familial he does well enough; he has decent control over a decent voice, he can pick his way through some occasionally interesting chords with ease, and the polished production of the album suits a quiet, intimate half hour (most of the songs are quite short) with an able singer/songwriter. The problem however, is that there just isn’t enough of anything to make the album interesting.

CHILDREN COLLIDE - The Corner Hotel, Richmond 02/09/2010

Text by Matthew Hallett

Photos (in-text) by Matthew Hallet

Photos (below article) by Creep Box Photography [link] 

                                                                                                   

Momentum is not always a word associated with live shows these days. So often bands simply play with idle breaks in-between songs peppered throughout a show that refuses to build anywhere or amount to something astounding. The art of achieving a well-structured live show is half the problem.

Children Collide encountered no such problem in just the second show of their ‘Theory of Everything’ national tour. The eager crowd erupted as the curtains parted, and Frontman Johnny Mackay greeted the fanfare with a hushed “Shut up” which was the first glimpse of a sense of humour prevalent throughout the night. The Melbourne lads began playing an instrumental jam, with the opening song being anyone’s guess, before Johnny launched into the surf-rock riff of Chosen Armies followed by Across the Earth and Jellylegs which received a very warm reception from the grateful crowd.

Throughout the night Johnny would crack jokes, and interact with punters showing an amicable side, that isn’t always present in a live show. He was clearly grateful for the crowd’s interaction and enthusiasm joking, “You guys obviously didn’t get the memo about Melbourne audiences standing there with their arms folded”.

The energy from the Children Collide boys was electrifying onstage and they kept the momentum going through little jams and ditties that bridged directly from one song into another, but there was still a healthy amount of banter, jokes, & responses to punters that made it a truly interactive and intimate show.

Skeleton Dance was probably one of the highlights of the show with its infectious groove and the crowd emphatically chanting “hey” during the bridge. Farewell Rocketship­ prompted a mass sing-along from punters, and My Eagle went down a treat. Although the set was only an hour in duration, not a minute was wasted, and by the end nothing was left wanting from a truly satisfying show that felt a lot longer than it really was, due to a well-structured setlist flowing perfectly between old and new material, as well as a healthy dose of Mackay’s warm personality. 

Children Collide

Opening for Children Collide were Howl and Teen Archer