CD Reviews
Sydney Morning Herald
Friday August 28, 2009
kisschasySEIZURES (Eleven/Universal)Rating: 3.5/5Maybe Kisschasy are a victim of a poorly chosen band name because the Melbourne pop-rock quartet, whose last album debuted in the ARIA top five, should be huge. First single, Generation Why, typifies everything Kisschasy: a catchy, uncomplicated arrangement is augmented by deceptively thoughtful, and cutting, lyrics. It's an inspired moment on an album where most songs last barely two minutes, with the exception of a brutal kiss-off to an old manager, Turnaround, which guilefully channels fury. Frontman Darren Cordeux, an underrated lyricist, is the dominant songwriter in the band and Seizures, their third album, is basically a year in his life with the sparse album closer, Dinosaur, about Cordeux leaving his partner for three months to record Seizures, more moving than mawkish and proving his understated skill as a writer.Andrew Murfettlouie prezSCAM (qreleases.com)Rating: 3/5Louie Prez is an imaginary, scamming character who lends his name to this band - and probably hopes to profit on the deal. Melbourne's Leo Dale (saxes, flute), Doug DeVries (guitar) and Ray Pereira (percussion) are the guys taking the name and running with it, making light, relaxed music with a sunny disposition and a South American sway. Despite the calibre of the playing and a certain charm to the unadorned little compositions, it all feels as casual as a few friends having a blow in the corner of a bar where they serve long, cool cocktails under ceiling fans. The only criticism would be that it's almost too low-key - which makes it ideal fare for cafes and bars.John Shandpete yornBACK AND FOURTH (Sony)Rating: 2.5/5American singer-songwriter Pete Yorn has said his fourth album deals with the demons he faced on the road while touring his third. Who knew demons could be so dreary? Bright Eyes' producer, Mike Mogis, and his studio band provide a rich alt-country backing track but it's undone by Yorn's sentiments that boast little poetry or passion. With lyrics like ''I need time to figure out my shit'' (Shotgun) or ''Hey what's going on?/I could still be strong'' (Close), Yorn favours cliche over catharsis and sadly lives up to his last name here.Jason Treuenandy bullWE'RE TOO YOUNG (Universal)Rating: 3.5/5Our own Mika? There's no point pretending the thought hadn't occurred to Andy Bull and friends. There are diversions into territory more like Elton John's melodic cream but from the exuberance in his high voice and the cascade of (very '70s) sounds (which all seem to have an extra dose of sunshine) to the dips into soul reggae/fairground swirls and Stevie Wonder-influenced pop funk/Queen-influenced campy rock, the one key characteristic of Bull's album is an unabashed love of the idea of pop music. It's canny, too. Get a bright outfit and a high-energy film clip and Bull may be doing serious business.Bernard Zuelunder the covers vol. 2Matthew Sweet and Susanna Hoffs (Shock)Rating: 3.5/5Power-pop tragic Matthew Sweet and Bangle Susanna Hoffs' second album of faithful golden-age covers is more about affection than desperation. The 1960s playlist of Vol. 1 has graduated to the 1970s of the Raspberries, Todd Rundgren, Yes and Blondie. From All the Young Dudes to You're so Vain, few liberties are taken in tone or arrangement, the bonus being the pair's sublime blend of voices in pillowy piles of Californian harmony. Hoffs' pristine pitch and vulnerable sob are particularly affecting in Willin'. Sweet sneers a double-tracked storm in Here Comes My Girl. Good intentions and the indelible strength of the material sustain a solid 75 minutes.Michael DwyerSelley harlandRED LEAF (Alberts/Sony)Rating: 3/5Early listens to Harland's album suggest she errs too much on the side of elegant but bloodless, a la Wendy Matthews, whose voice she echoes. But that view changes when that elegance is matched with subtly powerful and quite moving feels, as with In the Dark, or classy mid-tempo adult pop, as in Another Broken Heart. There's also a skipping freedom in the shimmering pop of Friday (which feels more like Eddi Reader) and some fun in Clouds Disappear. It's a good balance, only tripped up by those made-for-all-audiences songs such as Panic to Control and the opening too-polite trio of Hourglass, Wonder and Stranger, the latter in particular promising Sarah Blasko atmosphere but coming out more Natalie Imbruglia.Bernard Zuel
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