We don’t often do “part 2” of New Borns each week. There were 2 new albums that nearly got away and given the fact that they are both from Melbourne Artists we confirmed them as worthy for your ears. The Paper Kites, have been the quiet achievers of the Australian Music Scene, but with their brilliant new album TwelveFour, that will no longer be the case. We are excited to be seeing them play live in a few weeks. As for Drunk Mums, well if you havent heard these guys and you fancy a bit mayhem punk, trust as, you have found refuge here. See you next week.
Album Title Twelvefour
Label Wonderlick Recording Company || Nettwerk Records
Genre Alt Folk, Alt Rock
Moments Of The Whitlams, Crowded House
Stand Out Too Late
It’s been two years since we last heard from Paper Kites. Their 2013 debut studio album ‘States’ received international recognition with their indi-folk stylings that nestled into our hearts. Paper Kites have now returned with a twist on their previous musical inspiration. A concept album entirely written between the hours of midnight and four am over the course of six months. The intent to capture a more subtle and complex human dynamic is clear from the first resonating note. Their tale of unanswered musings may just lead you through your own personal inner monologue.
From humble beginnings on the Melbourne scene,The Paper Kites success has been one of well-paced, deliberate actions. Pursuing creativity and artistic growth over fame. This has allowed the band to experience a success built upon word of mouth before they had even dropped ‘States’. Since then we have seen them become a staple in the Australian music scene and now, at last, they have returned with their sophomore album Twelvefour.
This is unequivocally an Australian album. Despite its production taking place in America Paul Kelly, Courtney Barnet, Crowded House and a host of smaller suburban Melbourne bands will spring to mind throughout. Their drawl, lazy articulation and somewhat apathetic expression of deeply held views are very typically Australian and it’s fantastic.
Twelve Four, lyrically, offers the listener a sincerity and intimacy that feels refreshing. The Paper Kites don’t shy away from self-reflection that may not always look so pretty as Sam Bently candidly explains ‘Took the razor in my hand, now I could draw a line or I could cut my hair but it don’t change who I am’. Bently frequently manages to pull off expressing the common indulgence of self-pity while avoiding the kind of pretentious pitfall of martyrdom or romanticism many musicians succumb to.
The time and effort put into the construction of the album pays off in dividends. Continually shifting in tone from sleepy electric moods to more upbeat acoustic rhythms to keep you paying attention.
Bently’s tell-tale finger picking has been imbued with haunting delays and David Powys’s simple but precise lap steel. Creating tension that accentuates the weariness felt but our protagonists in these late hours of the night.
‘Revelator Eyes’, one of the most energetic songs of the album, picks the pace up with the iconic 80’s snare and stunning vocal harmonies. Fun lyrical pacing and galvanized hopes make this track one of late night inspiration rather than melancholy.
Moments of more classic country rock appear in ‘Woke Up In A Dream’. Starting with smooth, electric picking that builds with the gradual introduction of each instrument incrementally. Culminating into a short but welcomed rock lick that sets the pace for the rest of the song.
The Paper Kites see us off with an extraordinarily fitting track ‘Too Late’. Reminiscent of Phil Collins and Jeff Buckley while maintaining that Australian twist all at once. Undoubtedly the saddest track ‘branding your fire on my lips, but this still won’t work, no’. We see our protagonist facing hard truths. Christina Lacy’s synth washes over the listener, accompanied by electric flourishes, slow, off kilter drums and exhausting vocals that linger on well after the song has finished. Leaving a deafening silence in its wake.
If you have ever been left alone with your thoughts as the world slumbers, you will find something special within the tracks of Twelvefour. They may have kept us waiting but it has certainly been worth it.
Album Title Gone Troppo
Label Piss Fart Records
Genre Garage Rock, Australiana
Moments Of Cosmic Psychos, The Meanies
Stand Out Plastic, Pub On My Own
Drunk Mums are here to show you who they are, with a swift kick to the groin, a face full of spilt beer and a generous helping of cheap drug fuelled rock and roll. With a true heart in the garages of Melbourne’s inner suburbs (with a country town heart), Gone Troppo is the second full-length release from the local boys. Sticking true to a formula that works very well for them which in turn has earned them a legion of devoted fans from around the country, album number two doesn’t disappoint.
If you’ve ever had the chance to see Drunk Mums live, you’ll immediately have a pretty good idea of what these guys are about. It’s undoubtedly high energy, unstoppable Aussie rock and roll with a very strong pub-rock, garage made ethic. If you were lucky enough to catch them with their part-time tambourine man with a hysterical presence and energy, it’s something I’m sure will not be forgotten an time quickly. Gone Troppo provides the perfect fodder for such a raucous live show, with the songs ensuring sing (yell!) alongs a plenty, crazy mosh worthy fast paced songs and swaying mid tempo offerings. The recording quality of this album does a pretty decent job too of representing the vibe offered in a live setting – 14 songs of relentless pace, massive guitar tones, rich, distorted bass and tight as hell drums.
That’s not to say that Gone Troppo is a one way street. There are a number of influences worn and displayed in the songs here, everything from T-Rex inspired riffs on album opener Stinny’s Brain, stepping back to 1958 for a Rumble on Girls On Their Sides, all the way through to 90’s pub rock on Nanganator (take that Kevin Parker, you weren’t the first person to write a song about Glastonbury’s favourite party drug). It makes for an unrelenting album that is sure to impress your mates down the pub but probably not your mum. We are talking about the band whose music was banned from iTunes in 2012 (which was soon restocked) for their self titled debut album cover that depicts a pair of “haggard, aged titties” on the cover. You get the picture.
While there’s no doubting Gone Troppo is choc-a-block full of fun tunes and good times, don’t expect any lyrical genius. It’s pretty obvious from track names like Pub On My Own, Pretty Shitty, Piss The Bed and Dirty Birmy that these guys are also here for a good time, free beers and all without a single flying f*#k about what anyone really thinks about them in the mainstream music industry world. And why would you, when there’s not much better in life than hanging with your mates and playing in a touring rock and roll band?