Post #13 - Misery - Victor Murdaca (2014)
Misery is the debut single from Australian born/New York based singer and song writer, Victor Murdaca. Late 1970’s funk disco has undoubtedly experienced a resurgence in the last couple of years, evident through the release and success of Daft Punk’s Random Access Memories, Bruno Mars’ Treasure and Nile Rodgers recent collaboration with Tensnake on his track Love Sublime, just to name a few. Murdaca is clearly experimenting with this retro sound in Misery, and ultimately pulls it off remarkably well. The song has all the trademarks of an infectious disco tune - a warm, grooving bass line, lush yet cutting guitar chords and an understated synth hook; an aspect of this genre which is often overlooked in modern times. However, Its Murdaca’s vocals which truly stand out on this track. Throughout Misery, he effortlessly explores his vast vocal range, and delivers the lyrical content through his unique sensually husky yet soulful tone. The end result is a well balanced, syncopated, and catchy tune which is sure to bring the listener anything but misery.

Post #13 - Misery - Victor Murdaca (2014)

Misery is the debut single from Australian born/New York based singer and song writer, Victor Murdaca. Late 1970’s funk disco has undoubtedly experienced a resurgence in the last couple of years, evident through the release and success of Daft Punk’s Random Access Memories, Bruno Mars’ Treasure and Nile Rodgers recent collaboration with Tensnake on his track Love Sublime, just to name a few. Murdaca is clearly experimenting with this retro sound in Misery, and ultimately pulls it off remarkably well. The song has all the trademarks of an infectious disco tune - a warm, grooving bass line, lush yet cutting guitar chords and an understated synth hook; an aspect of this genre which is often overlooked in modern times. However, Its Murdaca’s vocals which truly stand out on this track. Throughout Misery, he effortlessly explores his vast vocal range, and delivers the lyrical content through his unique sensually husky yet soulful tone. The end result is a well balanced, syncopated, and catchy tune which is sure to bring the listener anything but misery.

Post #12 - Supermodel - Foster the People (2014)
Foster the People set the bar high for themselves after the release of their debut album, Torches, which spawned the insanely popular hit, Pumped up Kicks. While I’ve never been the biggest fan of their sound, I could appreciate that these were three highly talented musicians, evidenced by some impressive musical arrangements featured on Torches. Said talent is still prevalent throughout their second album, Supermodel. However, it appears as though their many diverse influences and styles, ranging from indie pop to electronic psychedelia, for the most part, fail to gel successfully. When they do achieve this fine balance, the result is quite rewarding. This is most notable on tracks such as the melodically intricate Are You What You Want to Be?, The Truth and the upbeat, funky  jam, Best Friend, which features a damn sharp horn section. Other tracks such as Pseudologia Fantastica, and Fire Escape would work wonderfully as stand-alone songs, yet in the context of the entire album, sound out of place and haphazard, while tracks like Goats in Trees and The Angelic Welcome of Mr. Jones sound entirely forced, unnatural and psychedelically obscure just for the sake of it. Supermodel definitely features some memorable moments and presents interesting possibilities as to where the band will take their sound in the future. The problem is that apart from these “moments”, Supermodel sounds largely inconsistent and incoherent. 

Post #12 - Supermodel - Foster the People (2014)

Foster the People set the bar high for themselves after the release of their debut album, Torches, which spawned the insanely popular hit, Pumped up Kicks. While I’ve never been the biggest fan of their sound, I could appreciate that these were three highly talented musicians, evidenced by some impressive musical arrangements featured on Torches. Said talent is still prevalent throughout their second album, Supermodel. However, it appears as though their many diverse influences and styles, ranging from indie pop to electronic psychedelia, for the most part, fail to gel successfully. When they do achieve this fine balance, the result is quite rewarding. This is most notable on tracks such as the melodically intricate Are You What You Want to Be?, The Truth and the upbeat, funky  jam, Best Friend, which features a damn sharp horn section. Other tracks such as Pseudologia Fantastica, and Fire Escape would work wonderfully as stand-alone songs, yet in the context of the entire album, sound out of place and haphazard, while tracks like Goats in Trees and The Angelic Welcome of Mr. Jones sound entirely forced, unnatural and psychedelically obscure just for the sake of it. Supermodel definitely features some memorable moments and presents interesting possibilities as to where the band will take their sound in the future. The problem is that apart from these “moments”, Supermodel sounds largely inconsistent and incoherent. 

Post #11 - Jakubi - Feels Like Yesterday (2013)
Feels Like Yesterday is the third single from Melbourne electronic funk/pop group, Jakubi. From what I’ve heard so far from these lads, they’re on a winning formula. Their music is undeniably catchy, and their live shows are quite a spectacle too. Feels Like Yesterday follows in the same vein as their previous singles, yet noticeably more funk orientated, which is where the band sounds most comfortable and natural. Lyrically, the song paints a very personal account about childhood, brotherhood and growing up, and the lyrical content itself is a notable yet refreshing departure from their previous work. The song opens with a subdued keys intro, layered with front-man Jerome Farah’s sensually smooth vocals, before breaking into a groovy jam with a bass-line funky enough to turn the straightest priest into a flare wearing, coke loving, regular at Studio 54. The overall mellow yet driving vibe is maintained for the remainder of the track, with plenty to be discovered in the way of intricate instrumentation and an engaging chordal structure. The impressive work from Melbourne producer Malcolm Besley on this track should also be noted. Thanks a lot, Jakubi, I was planning on having a quiet Wednesday night, but now I’ve got my dancing shoes on. 

Post #11 - Jakubi - Feels Like Yesterday (2013)

Feels Like Yesterday is the third single from Melbourne electronic funk/pop group, Jakubi. From what I’ve heard so far from these lads, they’re on a winning formula. Their music is undeniably catchy, and their live shows are quite a spectacle too. Feels Like Yesterday follows in the same vein as their previous singles, yet noticeably more funk orientated, which is where the band sounds most comfortable and natural. Lyrically, the song paints a very personal account about childhood, brotherhood and growing up, and the lyrical content itself is a notable yet refreshing departure from their previous work. The song opens with a subdued keys intro, layered with front-man Jerome Farah’s sensually smooth vocals, before breaking into a groovy jam with a bass-line funky enough to turn the straightest priest into a flare wearing, coke loving, regular at Studio 54. The overall mellow yet driving vibe is maintained for the remainder of the track, with plenty to be discovered in the way of intricate instrumentation and an engaging chordal structure. The impressive work from Melbourne producer Malcolm Besley on this track should also be noted. Thanks a lot, Jakubi, I was planning on having a quiet Wednesday night, but now I’ve got my dancing shoes on. 

Post #10 - …Like Clockwork - Queens of the Stone Age (2013)
…Like Clockwork is the sixth studio album from the American alternative rock group, Queens of the Stone Age, and the first release of new music by the band in almost six years. Given the tumultuous and turbulent circumstances surrounding the band since their hiatus, such as the near death of lead singer, Josh Homme and the departure of long-time drummer, Joey Castillo, it’s a miracle this album was ever recorded. Joey Castillo managed to collaborate on four tracks before he was fired and replaced by David Grohl, and there are many other high profile artists who feature on this album, including Trent Reznor, Alex Turner and Elton John. Considering the vast array of personnel involved in the making of this album, and their different influences and backgrounds, one would expect Like Clockwork to sound confusing, disjointed, and mismatched. However, the end result is quite the opposite. For the most part, the album is well balanced, engaging and focussed, and this is mainly due to the collaborators successfully complimenting each track, instead of trying to impose their signature sounds or styles. Queens of the Stone Age have made a resounding comeback with Like Clockwork, and it’s refreshing, as well as re-assuring, to hear that many rock veterans of the 90’s have still got it. 

Post #10 - …Like Clockwork - Queens of the Stone Age (2013)

…Like Clockwork is the sixth studio album from the American alternative rock group, Queens of the Stone Age, and the first release of new music by the band in almost six years. Given the tumultuous and turbulent circumstances surrounding the band since their hiatus, such as the near death of lead singer, Josh Homme and the departure of long-time drummer, Joey Castillo, it’s a miracle this album was ever recorded. Joey Castillo managed to collaborate on four tracks before he was fired and replaced by David Grohl, and there are many other high profile artists who feature on this album, including Trent Reznor, Alex Turner and Elton John. Considering the vast array of personnel involved in the making of this albumand their different influences and backgrounds, one would expect Like Clockwork to sound confusing, disjointed, and mismatched. However, the end result is quite the opposite. For the most part, the album is well balanced, engaging and focussed, and this is mainly due to the collaborators successfully complimenting each track, instead of trying to impose their signature sounds or styles. Queens of the Stone Age have made a resounding comeback with Like Clockwork, and it’s refreshing, as well as re-assuring, to hear that many rock veterans of the 90’s have still got it. 

Post #9 - Leavn It All Behind - Harts
It’s been quite an eventful year for Harts, the young Australian one man band and producer. Since the release of his first EP, Offtime, earlier in the year, he has set the blogging world on fire, and has attracted the attention of world renowned artists such as Nick Littlemore (Pnau, Empire of the Sun), and most recently, Prince (yes, you read that correctly.) Not bad at all for someone who recently turned independent after parting ways with a record label a mere few months ago. Leavn It All Behind is his first single since becoming independent, and he is doing just as the title of the song suggests. Lyrically, the song deals with his frustration towards today’s music industry, and the growing trend of pigeonholing artists into a certain genre, rather than celebrating diversity and creativity. He beckons the listener to join him for the ride, and one can’t help but feel tempted to go along, as he lays down infectiously groovy, yet driving beats, funky guitar chops and a tight horn section to boot. His guitar work is phenomenal, as always, yet finally captures the grittiness and charisma of his live performances, which wasn’t as apparent on Offtime. It’s a shame that Australia hasn’t yet jumped on the Harts bandwagon, especially when he’s already received so much praise overseas. “Are we with you for the ride?”, we would be crazy not to be, Harts.

Post #9 - Leavn It All Behind - Harts

It’s been quite an eventful year for Harts, the young Australian one man band and producer. Since the release of his first EP, Offtime, earlier in the year, he has set the blogging world on fire, and has attracted the attention of world renowned artists such as Nick Littlemore (Pnau, Empire of the Sun), and most recently, Prince (yes, you read that correctly.) Not bad at all for someone who recently turned independent after parting ways with a record label a mere few months ago. Leavn It All Behind is his first single since becoming independent, and he is doing just as the title of the song suggests. Lyrically, the song deals with his frustration towards today’s music industry, and the growing trend of pigeonholing artists into a certain genre, rather than celebrating diversity and creativity. He beckons the listener to join him for the ride, and one can’t help but feel tempted to go along, as he lays down infectiously groovy, yet driving beats, funky guitar chops and a tight horn section to boot. His guitar work is phenomenal, as always, yet finally captures the grittiness and charisma of his live performances, which wasn’t as apparent on Offtime. It’s a shame that Australia hasn’t yet jumped on the Harts bandwagon, especially when he’s already received so much praise overseas. “Are we with you for the ride?”, we would be crazy not to be, Harts.