ALBUM REVIEW: The Walkmen - Lisbon

(released on Fat Possum, 2010)

Review by Kim Larkin
                                            

3/5

Almost every aspect of Lisbon will remind you of another song or band, sometimes just proving that there is something else you could be listening to, including ‘old school’ The Walkmen. Leithauser’s vocal seem to be a combination of Dylan’s pronunciation and the presentation of risky range heard in the Cold War kids. Upon saying that, he does completely hold his own in comparison to the messy music (bringing us back to the garage aspect of The Walkmen). Let me just clarify as messy not being a bad thing, in Victory for example. There’s a pleasant delay to the sound, and it gives off the same charm as any Vampire Weekend song where, regardless of the intentions behind the lyrics, it seems like a decent ‘summer song’; see Woe is me, undoubtably the highlight of the album..

In all honesty, any sentiments presented in the album through the lyrics are lost as focus remains on the music, the melody of Leithauser’s voice turns purely into notes through his elongated vowels and lazy words, as the guitars normally remain quite sharp and almost piercing. There’s something simple and genuine about all the songs, and their earnest sound (yes, including the mariachi horns) will let you forgive the upcoming disappointment and listen to the album a second time (possibly more) without resentment.

While I Shovel the Snow is the main plateux of the album, where nothing seems to be happening, especially in comparison to the momentum in songs from the first half of Lisbon. It’s somewhat of a let down as The Walkmen seem to ignore the contrasting dynamics of songs such as Angela Surf City and Blue as Your Blood, which is what really makes the album. Listening to the last few songs on Lisbon just feels like a poorly staged concert where all the energetic songs are played at the start to get the crowed going, and all the lullabies are played at the end of the to serenade sleepy attendants to their cars. The song Lisbon itself is a big step away from The Walkmen fans knew from their biggest hit The Rat in 2004. It’s a decent song, but not worthy of being deemed the albums title.

Lisbon is a far lighter album than their earlier Bows + Arrows and You & Me, but with the same regal feel expected of The Walkmen and their use of trumpet processionals, vintage instruments and upright pianos. Combining what sounds like garage and folk (unsurprising as Chris Zane, Mumford &Sons producer also produced this album), The Walkmen return to their original roots as members from garage/indie bands Jonathan Fire*Eater and The Recoys. 

WHY YOU SHOULD GO TO BIG DAY OUT

Written by Michael Bird

                                                        

Sure it’s more or less moot at this point, as tickets for Big Day Out 2011 sold out in about 30 seconds, but it’s worth reminding ourselves why Big Day Out remains the Australian festival despite competition from Splendour, Falls, et al.

Where else would you hear:

Australian bands like Silverchair, Grinspoon and Powderfinger time and time again. Even when they’re not touring so much or jet out of the country for most of the year, there are some Aussie bands who have become regulars on the main stages (eventually), and you could pretty much trace the evolution of a band like Powderfinger by taking a look at their BDO shows. You could also trace the evolution of Daniel John’s hair, which is just as interesting. Outside of grassroots festivals, it’s hard to find an event in Australia that continues to showcase Australian rock like Big Day Out.

Political hoo-ha that everyone actually cares about. The infamous flag ban of 2007 ignited debate right across the social spectrum, with political heavyweights getting into it almost as much as the topless steroid guy who debated freedom of expression with you in line at the port-a-loos. Jet performed their set against an Australian Flag backdrop, and while not many people were offended by the flag, Jet’s music remains highly offensive to this day. 

Cedric’s sheep rant. Their truncated 2001 set is well worth checking out on its own merits (seriously, check it out on Youtube, Arc Arsenal is fucking insane), but perhaps the most memorable part of At the Drive-In’s Sydney performance was front man Cedric Bixler-Zavala insulting first the press gallery and then a large portion of the crowd in a bizarre anti-mosh rant. Taking issue with the amount of crowd-surfing that was going on, Bixler gesticulated, made some vaguely racist comments and then bleated like a sheep before the whole band left the stage. Tellingly, teenager Jessica Michalik was killed in the Limp Bizkit mosh later that day, in perhaps the darkest moment for the festival, adding a touch of prophecy to At the Drive In’s set.

YOUNG HERETICS - Purple Sneakers, Melbourne 19/11/2010

Text and Photos by Matthew Hallett
                                                                   

As the crowd gathered in anticipation of what was to come, beverages were consumed and cameras were at the ready. Word seems to be spreading of how amazing Melbourne duo Kitty Hart and Matthew Wright aka Young Heretics really are. As they setup their instruments, they look well-dressed and ready to go, along with the aid of a bass player and drummer; Young Heretics begin playing, their confidence and conviction highly evident throughout the night.

They opened with two new songs, which had more of a rock feel than some of the duo’s usual warped pop songs. The crowd was instantly hooked in, enthralled by what they were witnessing. That’s what is great about Young Heretics; their music contains so many different elements and is so unique that it draws you in. Their sound was a lot larger and more filled-out compared to their debut album ‘We are the Lost Loves’. Yet among all the great sounds and the hypnotisingly-brilliant stage presence (on what was a relatively small stage) the stand out factor was the duo’s amazing ability to harmonise so beautifully, even with the wall of sound from other instruments.

Fans were treated to the emphatic Risk/Loss and the stunning We are the Lost Loves, as well as another new song which Kitty called The Lion King Song announcing this would also be on a future album. Probably the biggest highlight of the night the set closer Bones of a Rabbit, a song that just continues to build, with beautiful harmonies and vocals that soar high into the heavens, taking you on an incredible journey, capped off by the duo’s floor-tom and cymbal attack at the end which was also enthralling to watch.

It was a shame the set was relatively brief because Young Heretics are an incredible live act with a brilliant set of songs, and with a taste of what is to come on album number two, one can truly be excited about what lies ahead for Young Heretics.