Hello fellow readers of The Rant, as your keen peepers have no doubt noticed, I haven't been as punctual lately with my posts. I assure it's not for lack of interest, or content. But more to the fact that my time has been spread thin with other endeavours. What are they?
Well, namely full-time work, and time commitments for a new comedy show (more shameless plugging on that soon but its called Occupation Ugly running as part of the Melbourne International Comedy Festival, more details at Comedicate).
That's not to say I've been cutting back time on music, oh lordy, no. I've continued contributions to Beat Magazine, MX and as of next month's issue, J Mag. That's right this humble writer's services have been added to the list for JJJ's official music magazine. Colour me excited. You can start reading my reviews in next month's issue.
All for which has meant for severely less bloggage time. One good thing all this published stuff has taught me is to be more economical with my writing, 170-200 word limits aren't the usual count round these parts (as readers of some of my more exahustive posts will know.) As such (after that rant of another kind) this month's post will be short and sweet, d.
A cheeky taster of what you can expect in my first published work with J Mag.
Two Door Cinema Club - Tourist History (etcetc/Kitsuné)
With their choppy guitars, dance-ready beats and indie credentials, this North Ireland outfit might have you groaning ‘not another fashionable guitar band,’ but Two Door Cinema Club may be swimmers, not sinkers.
Though they signed to the hip French label Kitsuné after only two singles and a single Glastonbury appearance, their debut draws from a more solid pedigree of proven musical styles.
I Can Talk’s fizzing energy picks up the skyscraping guitars Editors ditched when they went electronic. Do You Want It All? rings like Bloc Party’s This Modern Love, complete with tricky 7/4 timing; while This Is The Life, featuring Alex Trimble’s preening falsetto, sounds akin to Mew. They also recall Friendly Fires with their dual-guitar and bass setup, but the best indication of their appeal is that they’re due to support Phoenix on tour.
At 32 minutes over ten tracks, the album never lets off the setting marked ‘taut and lean’ but there’s still enough variation to its spry electro-tinged-indie-pop theme to captivate.
It may still be early in the year, but chances are you’ll hear a lot more of TDCC in 2010. And considering what’s on offer here, that’s no bad thing.
And there you have it, short, sharp, catchy and to the point. Much like the music.
Speaking of which, here's a random rundown on what I've been wrapping my eardrums around lately.
*Heaps of Wilco, who manage to convince me they are the greatest live act I've never seen whenever I listen to Kicking Television or the brilliant audio accompaniment to Ashes of American Flags.
*Plenty of Big Scary in anticipation for their EP Launch this Friday. The Newton Workers Club, Fitzroy. Be There. Need a reason? Their new single Falling Away is available as a free D/L over at JJJ.
*The new new solo album from Jón þor Birgisson, entitled Go, under the simple moniker of Jónsi - and it's all its cracked up to be.
*The new Lightspeed Champion. And yes, it's brilliant. I'll be covering that one soon for sure.
*Gone back to some classic prog-rock. We're talking Pink Floyd, Yes and King Crimson. In fact I've had Yes' Close To The Edge on high rotation, even despite the pile of CDs that need reviewing.
*Speaking of prog, a recommendation from Jem Godfrey (the amazing talent behind Frost*) led to me the little unsung band Halloween, Alaska and their brilliant little album Champagne Downtown. Check out their website for a few streams.
*and to top it all off, a small peppering of previews for some of 2010's most anticipated new releases via free mp3s from the bands themselves. Its good see major labels finally starting to catch on. We've had new cuts from the likes of Shearwater with Black Eyes, news of a new Broken Social Scene record (JOY!) with World Sick and Peter Gabriel's sweeping cover of Bon Iver's Flume. Taken from his new covers album, Scratch My Back, in which he reimagines all manner of musical heroes (Radiohead, Bowie, Arcade Fire, Elbow) with the backing of a complete orchestra.
Peow, so hopefully that'll tide you over 'till next we meet. Now if you'll excuse me I'm off to bed with the old ipey.