Blog - Page 4 of 5 - Sean A’Hearn

Wyndham Rising Star Semi-Final

August 22, 2015
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A project that I’m involved with, the Wyndham Rising Star Competition, which is a singing competition run by Universal School of Music, had its Semi-Finals on Thursday night at Hotel 520 in Melbourne’s west. I’ve been writing articles for the local, Wyndham Star Weekly Magazine (Casey Wows at Wyndham Rising Star Contest) but I thought I’d share my personal reflections on the night at was and the talent on display.

Coming down to 5 contestants, there was only 3 spots available for our Grand Final on the 17th September. All 5 have different ages, backgrounds and musical styles and all 5 have had quite the journey.

Taylah Jade is our youngest singer, at 17, but she already has universal fan appeal and is an instantly likeable young lady. She can also draw a crowd which is a big plus and something record labels and music execs really look out for.

Casey Freeman has certainly been our most original artist throughout the entire competition with no professional training which makes her all the more remarkable. Coming all the way from Benalla (a 2 hour drive!), Amber King is our country artist with a really down to earth, wholesome vibe.

Joanna Millett came in late but was easily the most seasoned competitor. With a cabaret and jazz background she added a touch of cut and polish to some of our more inexperienced singers. Last but not least, with an incredibly inspiring backstory, Claudia Appaduray arguably grew the most of all the artists as the competition went on.

The final verdict saw Claudia 1st with 300 votes, Taylah 2nd on 220 and coming in 3rd was Amber King on 157 votes. Regardless of the overall result though, the competition has been a win for talent in Melbourne.

As a music journalist helping to bring emerging artists into the spotlight, it’s simply a joy to watch these up-and-coming singers and I hope they keep up with their passion. I’d love to see a better connected music industry in Melbourne and one where these artists can thrive. Next stop, the Grand Final!

Rise of the Digital Age: Death of a Golden Era

August 18, 2015
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I’m sure we all lament the ‘good old days’.

Every generation thinks they grew up in the ‘golden age’ of music. I’m only 27 and I am guilty of doing this at times. We talk about how today’s ‘kids’ only have a 30 second attention span and how fickle the music industry is. Bands come and go. Youtube sensations pop up then disappear into obscurity.

Technology has improved so much that it’s much easier to be a musician without actually being a musician. Anyone with a laptop or a guitar can create a song. In one way it’s fantastic. Music should be something we can all create and share with one another. Real talent however, is much harder to find. Longevity for a band or artist, is much more difficult to achieve.

Like most Gen Y’ers, I grew up listening to Dad’s CDs in the car or at home. Artists like Joni Mitchell, Sting, Steely Dan and of course the Beatles were on high rotation. My Dad also liked fusion/jazz music. Artists like Grover Washington, Dave Grusin and the fabulous Weather Report appeared frequently too.

While I may romanticise these artists and long to have lived in a different era, I am also glad that I’m alive in such a time as these. There is so much good music out there these days that it’s incredibly hard to keep up. Blink and you’ll get left behind. Still, I will always return to the classics of the bygone eras, which I’m not sure I’ll do with anything released post 2000s (at least not to the same extent). Then again, who knows with the passage of time…

The Vendettas @ The Retreat Hotel 13th August

August 14, 2015
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Local Melbourne rockers, the Vendettas launched their sophomore album, Bystander and Destroyer earlier this year, after 10 months of blood, sweat and tears getting it ready. Having seen them twice before, once at the Tote and the other at the iconic, Cherry Bar, I knew exactly what I was in for: raw, unadulterated rock ‘n roll.

Forming back in 2009, the chemistry between Snuz (lead guitar), Steve (vocals), Jazz (rhythm guitar), Lee (bass) and Aled (drums) is undeniable. Steve and Snuz are the band’s centrepieces, without taking anything away from the other members. Snuz’s rip snorting guitar riffs roar and Steve’s raw, pitch-perfect vocals soar while the rhythm section keeps them in check. Jazz’s rhythm guitar is fluid, Lee’s basslines are solid and Aled’s drumming is tight.

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Playfully interacting with each another on stage, the band has a great sense of camaraderie. Seeing a band having that much fun is an infectious and positively joyful experience. Steve is undoubtedly the charismatic leader of his motley crew though, jumping around on stage like a trained boxer (or a rabbit on steroids). At one point he even unhooked his mic from the stand so he could jump off stage and get up, close and personal with his fans on a mellower track.

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There were hard rock anthems (‘Hard Times’, ‘Wake Up Call’), softer ballads, (‘Blackened Heart’) and even a bit of slide guitar action on the dirty, bluesy, swamp-rock of ‘Paid Your Dues’. With such an explosive, high octane set, my ears were ringing by the end (in a good way), as the Vendettas’ songs were well and truly burrowed into my head by the end. They even ushered in fellow rock-n-rollers, The Black Aces, on ‘Shot in the Dark’, a tribute to the camaraderie that exists amongst the close knit community of heavy rock bands in Melbourne.

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The band jokingly refers to their hometown as “Helburn” on their facebook page but the title is apt; their music ignites a fire inside and is sizzling hot. Appropriately all dressed in black, the 5-piece bashed out fast, loud, ballsy rock n’ roll that seemed to hark back to the 90s yet still sounded resolutely modern. Their sound is raw but polished. Unhinged yet unwavering. This is rock with the roll, in all its ragged glory.

For all the Vendettas updates, check out their socials:

The Dandy Warhols Come Down… Under

August 12, 2015
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Live Review of the Dandy Warhols @ the Corner Hotel, 2nd September 2014

Seasoned veterans of the 60s to 90s psychedelic scene, the Dandy Warhols promise much but ultimately fall short of the mark

In a blistering run of Australian shows, including an unprecedented 5 sold out gigs at the Corner Hotel, the Dandy Warhols have truly hit our shores with a vengeance. I managed to get tickets to the fourth show in Melbourne and was expecting big things. When it comes to the Dandy’s I must admit, I’m a bit of a late-bloomer, but I’d heard they were a force to be reckoned with on stage.

Well, it must be said, the band are certainly not lacking in charisma. As soon as they entered the stage, they had an almighty presence that immediately commands your attention. And so, Courtney and co began with a no-nonsense attitude. Mohammad was first, a mellow opener, followed emphatically by We Used to Be Friends and Not if You Were the Last Junkie on Earth. A very solid start, and the musicianship was tight. Please don’t plateau now Dandy’s…

Well folks, they did exactly that. There was better to come but by that point it was almost too late. Maybe my expectations were too high. Perhaps the kind of set I had in mind was unrealistic or unfair. Then again, perhaps not. There was a touch of restlessness in the air; everyone could feel it. The crowd wasn’t totally invested in the set. What started so promisingly began to wander aimlessly.

From the outset there were two major problems. The first was the set-list itself: an uneven, mixed bag of gems and rough cuts. I mean, finishing with the so-so Country Leaver after the brilliant, slow-burning, psych-out rock of Boys Better, c’mon! Ride rocked hard but newbie, Sad Vacation lacked imagination. It was the order of the songs as well as the choices themselves. With fans of all ages, the difficulty for the Dandy’s lies in juggling songs that suit the older and younger generations equally. Aiming for the best of both worlds, it ended up falling somewhere in-between.

The second major let-down was the band’s attitude and crowd interaction, or lack thereof. Secondary guitarist Peter Holmström looked like a stunned mullet for the most part, a separate entity from his counterparts. Band leader, Courtney Taylor-Taylor mumbled a few, incoherent words here and there. His somewhat dismissive response to the crowd’s final song requests totally caught me off-guard. At least Zia McCabe tried to be engaging on some level, at one point calling for the legalisation of pot as wafts of that, oh so familiar scent filled the air.

Overall though, it felt like business as usual for the band, another night, another pay cheque. These guys can play and the chemistry was undeniable but a certain intangible excitement was missing. They were almost too professional, no sense of playfulness or fun. Maybe they could’ve cut out 2 of their shows in Melbourne, a suggestion for future tours perhaps. Still, they are a powerhouse band and highlights such as Godless and the evergreen Bohemian Like You were enough to outweigh the underwhelming moments. The Dandy’s didn’t hit it out of the park, but they did enough, just.

Live Review: The Perfections @ The Post Office Hotel

August 7, 2015
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The below is a review I did of emerging garage/soul outfit, The Perfections at the Post Office Hotel back in Feb this year. I’d highly recommend catching them live, the 6-piece are full of energy and just generally a fun band.

Playing a two set gig is bold, particularly for a band with only a six track, self-titled EP and a newly minted single to their name. Filling out two 45-minute sets is one thing, capturing and holding the audience’s attention throughout, is another matter entirely. Melbourne garage/soul 6-piece the Perfections had well and truly thrown down the gauntlet at the iconic Coburg pub on Friday night.

Opener, “Playboy” set the bar high and had the crowd drawing their collective breaths, due in no small part to lead singer Christina Arnold. The voice that erupted out of her pint-sized frame was totally unexpected, combining the sultry, soulful charm of Amy Winehouse with the raw, raspy vocals of Janis Joplin.

Christina might have been the drawcard but the rest of the band was every bit as good. Shane French brought a frenzied intensity on drums, saxophonist Richard Giles and trumpeter Ben Street showed their improvisatory chops with solos galore while the solid rhythm section of bassist Ben Joss and guitarist Fabian Pisani kept the band from running off course.

There were nods to Sly and the Family Stone and Betty Davis but the band proved to be more than the sum of their influences. Working as a cohesive whole they transitioned seamlessly between songs, while creating their own blend of rock n’ roll, funk and soul music. A unique, sped-up cover of Rolling Stones classic, “(Can’t Get No) Satisfaction” drew the first set to a raucous, chaotic close.

The ambitious “GITA”, picked up the second leg where the first had left off, even entering moments of free jazz. Every song became an absorbing, extended jam as more and more people got up and danced. At one point, Miss Arnold decided to walk off stage and join them, letting her band have free reign.

Hearing the Perfections on record is a world away from seeing them live, raw and uninhibited. This was unrestrained musical fusion and we were all lost in a glorious trance right to the end. Mission accomplished.

Favourite Festivals: Splendour in the Grass 2010

August 6, 2015
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In light of all the major festival line-up reveals in the last few days, including Falls, Paradise and Out on the Weekend, I’ve decided to re-live some of my favourite festivals in my short 27 years on this planet.

What better place to start then my all-time favourite: Splendour in the Grass circa 2010. This also happened to be my first camping experience at a festival.

Far removed from the mud bath that was (and consistently is) the festival’s traditional home in Byron Bay, 2010’s festival was held at the mammoth expanse of land known as Woodfordia (near Woodford QLD, home of the Woodford Folk Festival). It was the 10th anniversary of the staple Australian Festival and the first time it’d been held over 3 days (instead of just the 2).

The line-up was the most ridiculous I’d ever seen (up to that time) and excluding the fact that I’ve still, as of yet, not been to a major international festival such as Glastonbury, Coachella or South by Southwest (all on the bucket list of course). Bands like Passion Pit, Temper Trap and Mumford and Sons had all released incredible debut albums (the Sons’, ‘Little Lion Man’ had reached the number 1 spot for Triple J’s Hottest 100 the previous year). There were the relative newcomers (The Drums, Washington and Cloud Control), International superstars (Ben Harper, Pixies, LCD Soundsystem and Goldfrapp) and Indie legends (Grizzly Bear, Ash and Foals). Then of course there were two of the biggest acts on the bill: Florence and the Machine (whose album, Lungs, is still one of my all-time favourite debuts) and the friggin’ Strokes!!! We’re also forgetting Angus and Julia Stone, Jonathan Boulet, Hot Chip, Scissor Sisters, Tame Impala, Broken Social Scene, Two Door Cinema Club, Paul Kelly, Boy and Bear etc etc etc…(the list goes on). It’s worth re-iterating, 2010’s Splendour in the Grass line-up was the best I’d ever seen in a festival, ever! What are your favourite festivals?

P.S. I’ve written a full (unpolished) 6 page word doc, articulating my feelings in greater detail but this is just a taster. I may eke out more details in the coming days or months depending on how much interest there is!

Album Review: Paul Weller – Saturn’s Pattern

August 5, 2015
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The evolution of Paul Weller continues. In a career spanning 39 years, the Modfather is back with his first new record since 2012’s adventurous, Sonik Kicks. Weller is one of the most original artists of his generation and Saturn’s Pattern is proof the man can still make quality and relevant music.

Easily the most ambitious track on the album, ‘White Sky’ really sums up the experimentation that defines this record. Layering jazz cymbals with lush orchestration (looped backwards), crunching guitars and most notably a gospel choir, the song never sounds overwrought. Luckily for the listener, the rest of the album doesn’t try to outdo this opening statement.

‘Going My Way’ is a deceptively simple piano ballad that gathers momentum as it goes on. ‘Pick it up’ features Weller’s underrated guitar prowess (both on the electric and the acoustic) in a bed of stuttered percussion and vocal harmonies. As varied stylistically as sonically, the album offers plenty of light and shade between songs.

‘I’m Where I Should Be’ has an atmospheric/dreamy vibe, which leads straight into the dirty blues of ‘In the Car’ (featuring slide guitar for good measure). ‘These City Streets’ continues the laidback vibe with stretched out guitar lines (maybe stretching out for too long at 8 minutes) whereas ‘(I’m a) Roadrunner’ has a bluesy, Rolling Stones feel to it, circa Exile on Main Street. ‘Dusk Til Dawn’ closes out the album on a mellow note, with an acoustic lament.

The production values are slick, if a little over processed at times, but the music stands tall overall. Weller has utilised all the technology at his disposal including distorted vocals, electronic sound effects and synthesisers. The instrumentation is beautifully balanced too, never hitting you too hard in the face or becoming too predictable either. An album borne of tireless work, Saturn’s Pattern feels like a labour of love for Weller and the team behind him.

Despite all the elements Weller has thrown into the mix, Saturn’s Pattern is an accessible album. As much for casual music fans as it is for fans of Paul Weller himself.

7/10

Album Review: Joakim – Tropics of Love

August 4, 2015
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French electronic musician, Joakim is a man of many talents. A producer, DJ and high-profile remixer (Tiga, Air and Goldfrapp), he also runs his own record labels, Crowdspacer and Tigersushi. He’s even a self-taught graphic designer who does most of the artwork for his own record sleeves and labels.

Truly, Joakim is an artist with an eclectic taste and this bleeds through in his music. There was the synth pop lushness of 2011’s Nothing Gold, the weird and wonderful experimentation of 2006’s appropriately titled, Monster’s & Silly Songs, right back to the jazz house stylings of his first release back in 1999, Tiger Sushi (the title of which sprung the aforementioned record label). For Joakim, nothing is out of bounds it seems.

Tropics of Love seems to be a culmination of Joakim’s entire career. Indeed, so texturally complex is the music that it defies categorisation. Yet, once packaged as a whole, it instantly makes sense. Moody, atmospheric and dream-like, the record is definitely designed for the bedroom, best listened to with headphones on. The songs are lovingly crafted, the musicianship is deft, the arrangements are intelligent and the mixing is spot on. Even the instrumental interludes (Chapters 1-3) are pleasant necessities to break up the album.

Conceptually covering love at its most forlorn and melancholy, the songs reflect this in both their length and style. Luke Jenner of the Raptures lends his vocal prowess on lead single, ‘Bring Your Love’. ‘Heartbeats’ has a pulsating rhythm, which acts like a metronome that becomes well and truly burrowed into your head (or your heart). There is a definite LCD Soundsystem vibe about the narrated, ‘This is Life’, as we get up close and personal to the life of Joakim (or as close as you can get with a text-to-speech generator).

A reworking of Neil Young’s desolate, ‘On the Beach’ sees Joakim’s vocals put through a Vocoder to give the song an even bleaker, more isolated feel (listen out for the brilliant sax solo too). The 10 minute, slow burner, ‘Hero’ overstays it’s welcome by the end, but this is the only weak point of an otherwise, very fine album. The smooth 80s/90s sounding synths which define the album are given a modern touch that would feel right at home in an indie/art-house film soundtrack.

A classically trained pianist from the prestigious, Conservatory of Versailles, Joakim skilfully executes his music with vision and purpose. A record for musicians and fans alike, Tropics of Love rewards repeated listening and is a joy to listen to from start to finish.

8/10

Facebook: https://www.facebook.com/joakimbouaziz/
Website: http://www.joakim.tv

Lepers and Crooks Ignite at the Vineyard

July 20, 2015
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Sydney band, Lepers and Crooks are a hard-working bunch. Taking on the mammoth task of a 60 date, nationwide tour in the first four months of the year is no mean feat by any stretch of the imagination. I checked out their gig at the Vineyard, St Kilda, on Thursday, only really aware of the title track off their debut EP, Her Kiss.

Chatting with bassist, Nick Burg, before the gig, he tells me the band are loving touring the country. “You meet so many different people along the way. Everyone has a different perspective, a different view of the world. It’s cool.”

Lepers and Crooks

Kicking off proceedings with a slow burning, as of yet, untitled number, the band quickly transitioned into the faster paced, dirty, blues-rock groove of “Gypsy Eyes“. It was immediately obvious the chemistry the band have after months of touring. There was a definite Stone Roses/Brit-pop vibe to “Wanna Make Out” and the set was well paced overall.

Each song seemed to lovingly evolve into a life of its own while the band still maintained structure to keep them grounded. Throughout the set, quirky front man, Sam Baker was literally hanging from the rafters. The man is definitely not short on charisma either, charming the ladies and winning the audience over with his quick wit and infectious energy.

Closing off with the riff-heavy, Rage Against the Machine-esque, “This System“, was the perfect way to end the set: the furious build-up of Damien Jones’ drumming leading into Alex Court’s powerful guitar licks and Sam’s half-rapped/half-sung lyrics.

I’m not the first to say it, but I will go on the record and categorically state that I expect big things from Lepers and Crooks. A band on the rise and one to look out for.

Socials below!
Facebook: https://www.facebook.com/LepersandCrooks/
Website: http://www.lepersandcrooks.com.au

Farewell to Bennett’s Lane: Māyā by Gian Slater

June 2, 2015
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Bennetts Lane Last Friday night I ventured down to a Melbourne institution for one last time, Bennett’s Lane, for the World Premiere of the 2015 PBS Young Elder of Jazz Commission, Māyā, composed by award recipient, Gian Slater.

Fusing two of Australia’s most singular musicians, Andrea Keller and Simon Barker, into an utterly unique vision, Gian Slater is certainly one of the most innovative composers and vocalists in the Melbourne jazz scene.

What an unusual piece of music, it totally caught me off guard (in the best possible way). Consisting of a lead singer (Gian), 3 back-up singers, a percussionist and a pianist, the music was like nothing I’ve ever experienced.

Gian was the star of the show in a performance that really utilised the voice as an instrument. The primal, wordless vocals were juxtaposed with the stuttered and seemingly offbeat drum rhythms and jaunty piano chords.

Very different to anything I’ve ever listened to before, I was definitely richer for the experience. It’ll be sad to see the famous jazz club go.

Check out the Melbourne Jazz Festival’s website for more info:
http://melbournejazz.com/

Gian Slater