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ALTERNATIVE |
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 NEWS...
Nathan Lockwood of Brisbane band Halfday had a pleasant surprise waiting for him when he returned from a recent promotional tour of Europe: hearing his band's latest single, You Make Me Want To Clean My Room, on Triple J. Nathan's successes abroad included popular performances at Oslo's prestigious 'Oyafestival', where filmclips for Heavy and You Make Me Want to Clean My Room (directed by Norwegian Anja Oesterli) were played as part of the festival. Here at Whammo we were impressed by the seductive sound of the Brisbane act when they released Downstairs King, a fine EP that displayed the writing talents of Lockwood, formerly of Pretty Violet Stain; one of our favourite Brisbane acts during the 90s. After the popularity of their album Now We're Happy and the return of their singer, Halfday are ready to join forces with fellow Brisvegans, Denvar and Shifter, on the Brisvegan Invasion Tour, which will travel from Adelaide to Cairns, dropping in to say hello to Melbourne, Wollongong, Armidale, Brisbane and Townsville plus a number of regional centres. To check the dates for the 'Brisvegan Invasion Tour', click here. To order Now We're Happy, click here.
(posted: September 23, 2004)
Something For Kate have decided on a novel approach to their 10th Anniversary celebrations, reforming their original line-up to play a one-off gig and relive the early days of the band. Julian Carroll will be back on bass guitar as Something For Kate Mk #1 play songs from their early EPs. It's a fitting time for the Emo-rockers to remember the past. The band is now a truly international entity with the recent international release of The Official Fiction and here in Australia, their collection of B-sides Phantom Limbs, was released this week as a special 2 CD box set including 29 rare tracks. Something For Kate are renowned for the quality of their b-sides; in fact, they've withheld songs from album releases in order to include interesting tracks for their single releases, as Stephanie explained in our recent Whammo interview: "We dictate what we do: every aspect of it. We do the artwork, we decide what goes on the album, we decide what kind of videos we make: every single thing. There were songs on the single (Deja Vu) that the record company would have liked on the album but we made them b-sides instead. It’s really good to be able to make those decisions." To read our Something For Kate feature (including an interview and all available titles), click here.
(posted: August 23, 2004)
WHAMMO'S ALTERNATIVE 10 (MARCH/APRIL 2004)
TOP 10 ALTERNATIVE SINGLES/EPs
1......DAPPLED CITIES FLY PEACH
2......THE DISSOCIATIVES SOMEWHERE DOWN THE BARREL
3......THE SLEEPY JACKSON COME TO THIS
4......LITTLE BIRDY LITTLE BIRDY
5......THE SLEEPY JACKSON VAMPIRE RACECOURSE
6......ESKIMO JOE FROM THE SEA
7......LITTLE BIRDY THIS IS A LOVE SONG
8......LAZY SUSAN SOMETIMES
9......THE SLEEPY JACKSON GOOD DANCERS
10....YOUTH GROUP SHADOWLAND
TOP 10 ALTERNATIVE ALBUMS
1......THE DISSOCIATIVES THE DISSOCIATIVES
2......YOUTH GROUP SKELETON JAR
3......BLUEBOTTLE KISS COME ACROSS
4......BIG HEAVY STUFF DEAR FRIENDS AND ENEMIES
5......ISIDORE ISIDORE
6......LAZY SUSAN NEVER BETTER
7......THE GIVEGOODS I WANT TO KILL A RICH MAN
8......SOMETHING FOR KATE THE OFFICIAL FICTION
9......GERLING BADBLOOD!!!
10....GASLIGHT RADIO Z-NATION |
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ABATTOIR BLUES / LYRE OF ORPHEUS
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 NICK CAVE & THE BAD SEEDS
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2 cd pack
I must admit, after being a massive Birthday Party and Bad Seeds fan, I drifted away from the fold. I simply didn't perceive Nick as 'intense' anymore. But the act's performance at the 2003 Homebake festival caught me by surprise. The band played passionately and Nick...well, he hadn't lost anything. Enter: this double album pack, Abattoir Blues/The Lyre Of Orpheus. Abattoir Blues is one of the best albums released in the short history of the 21st century. It comes at you like a hellish punch in the face; more confronting and intimidating than the last few LPs but also more capable of admitting hope. That 'hope' may be too much for some fans to bare and the surprising single Nature Boy is not an aberration; there are a few tracks with the same lighter production. But Nick Cave fans will be blown away by the opening half of Abattoir Blues; an aural onslaught of dark gospel that is so intense, it's quite shocking. If you're a real fan, which I now realise I am, your collection won't be complete without Get Ready For Love, Cannibal's Hymn and Hiding All Away. After having my fix of Abattoir Blues I was ready to drift into The Lyre Of Orpheus, which features every possible variation on a lighter Bad Seeds sound, presenting a richly diverse collection of brooding tales. Easy Money and Carry Me will probably emerge as favourites. They're great examples of a very compelling vocal talent, supported by an equally qualified team of musical freaks of nature, always displaying the rare ability to play as a collective, contributing to the seamless ease of The Lyre Of Orpheus. As anticipated, this release is a combination of two quite different LPs and the pure volume allows Cave to explore the full gamut of musical styles Nick Cave & The Bad Seeds can offer. That depth is the major reason Abattoir Blues/The Lyre Of Orpheus has re-converted me into a Nick cave & The Bad Seeds fan.
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 NICK CAVE & THE BAD SEEDS
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Nick Cave & The Bad Seeds fans could be excused for being perplexed about the up-tempo new single Nature Boy. It sounds like Nick's been on the laughing gas, offering the pace of Deanna with a commercial appeal that hasn't been a feature of his music since his successful collaboration with Kylie Minogue. It's definitely the most approachable and optimistic release from Cave, possibly ever. One thing must be said in defence of this fresh - and possibly unwanted - approach; it's a particularly catchy song. Long-time fans will be relieved to know that a double album is on the way, so they can expect Nick to be back to his usual morbid self, but for a whole new generation of potential fans, Nature Boy could attract new recruits to the dark but beautiful world of Nick Cave & The Bad Seeds.
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 MINT CHICKS
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cd single
New Zealand's Mint Chicks impressed with the Octagon Octagon Octagon EP, which featured one of the most outstanding tracks of the year, Licking Letters. With a refreshing take on Stooges-style musical excess, this self-destructive combo have attracted glowing reviews for their intense live shows, which tend to leave crowds completely spellbound. But none of that matters without good tunes and thankfully The Mint Chicks have delivered another fine dose of punchy hardcore/rock fusion that still retains an element of Kiwi influence. Anti-Tiger adds to the blistering set that was Octagon by offering more diversity, from the montage of blues riffs on Prelude, to the wandering pop-fused 80s sounds of Opium For The People. Anti-Tiger, the title track, is true to what fans expect from this act: punchy, sharp riffing and driving rhythms, garnished by Kody Nielson's jagged vocal technique. It's hard to imagine The Mint Chicks becoming a massive commercial success, but in terms of quality, originality and energy, Anti-Tiger proves why this band is Whammo's favourite emerging act.
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 DAVID MCCORMACK
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At first I was a little perplexed by David McCormack and the Polaroids' new album, The Truth About Love. I was not only expecting some furious doses of fuzzy rock; I was demanding it. But there's only one decision maker when it comes to the ex-Custard singer's musical direction and that is the man himself. On closer scrutiny, you begin to ascertain the difference between this album and its predecessor, Candy, and once you understand the thrust of The Truth About Love (pardon the pun), its appeal begins to grow. This collection of tunes is not a departure; it's a step forward, offering a more creative interpretation in the studio, partly thanks to in-form producer, Wayne Conolly. Some of the more percussive sounds add an extra dimension to tracks like If You Leave Me (I Will Hunt You Down And Kill You) adding texture and a few rough edges to sweeter songs. David either wears his heart on his sleeve or does a damn fine job of giving that impression, so The Truth About Love is presented as a sober slap in the face to lovers, possibly giving us a taste of disillusionment. The title track, complete with a string section, presents a rich and dramatic sound, but contradicts that beauty with a little lyrical cynicism. On I'm Going To Execute Yr Ex-Boyfriend, another progression becomes clear; powerful dynamic bursts giving way to subtle minimalism, providing a real roller coaster ride. Another plus is the contribution of The Polaroids. Shane Melder, Cameron Bruce and Dylan McCormack have mastered that psychic bond that good players develop and The Truth About Love certainly benefits from their experience and energy. If Candy was instantly likeable, The Truth About Love takes a little longer to make its mark, slowly wooing the listener. Then again, all good things take time.
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 NULL SET
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The Null Set play that brand of fuzzy, noisy guitar pop that can be quite hypnotic, creating a layered slab of distortion that has more flavours than my Aunt Delphene's Christmas trifle. From Sonic Youth to Swervedriver to Polvo, we've embraced the loose sound of competing duel guitar bands that create these massive melodies and The Null Set sound like the result of puting them all through a mincer. As with the afore-mentioned acts, lyrics and even vocals don't really matter to The Null Set's sound; it rarely comes to the fore, seeming like a contractually obligated effort rather than a foreground entity. The laconic tones help to remind you about structure and occasionally help the mood, as on All Day Sucker, but the music definitely takes priority, enveloping the listener; sometimes as warm as an old friend and other times as abrasive as your worst enemy. Kate Wilson's shuffling snare work is a musical strength that sounds like it would fill any sized venue while the three guitar-pronged attack of distortion will challenge many mixers. Return To Highway Speed is an impressive introduction and with a little time; a few more songs like these; and a decent producer, you can be sure that The Null Set are heading for a top-class debut album.
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FLIPSIDE - CANDLE RECORDS REMIX ALBUM
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 VARIOUS ARTISTS
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A Candle compilation? I think this may bring me closer to these artists because previously I've only really fallen in love with the music of a few notables like Richard Easton, Jodi Phillis and The Guild League. I'm right; straight from the outset I'm hit with Owen Bolwell's remix of Ruck Rover's Wealth, Fame & Happiness: a killer tune. I also had to completely review my opinion of Anthony Atkinson after hearing his Break In The Weather filtered through the supreme musical mind of J Walker (Machine Translations). In fact, my only criticism of this album is the fact that nowhere does it clearly state that this is a remix album, apart from the title of Flipside. It definitely made me more interested when I discovered the remix credits on the liner notes. And if I get into an artist's music via a remix, so be it; the end result is the same: I like the music. The electronic edges help me to approach acts that are diametrically opposed to me personally. It all just seems too nice and cuddly over there in Candle land, but a few added beats and textures made me feel at home in their warm fuzzy ideology. The more the disc plays, the more I'm lured, feeling uncharacteristically whimsical during Golden Rough's Provenance (Jason Blackwell remix) and even Darren Hanlon, who I'd all but written off, left me stunned, remixed by a producer who is fast becoming the most impressive in the country: Qua. Flipside does more than introduce the Candle roster, it represents the turning point for acoustic and light pop as the music is absorbed by the electronic community, with startling results.
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 RED SUN BAND
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The Red Sun Band impressed me with their previous single, Pavement, but as is often the case with young bands, the b-sides outshone the title track. Sleep Forever is a more clear-cut standout on this disc, a dreamy study in distorted melody that benefits from the main marketable factor of this act: those Mazzy Star-styled vocals that enchant despite the raw nature of the music. Drink The Wine focuses more directly on those vocals, shifting the gear stick down a few notches and only building for a few brief moments before sinking back into its own trance. It's that lulling, stumbling rhythm and the plodding riffs that are becoming a feature of the bands sound, as on Take Down, but rather that leave you bored, it acts to intensify the sentiment of these songs and I belive The Red Sun Band have hit another check-point on the road to greater exposure. I look forward to the next installment.
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 BLUEBOTTLE KISS
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Jamie Hutchings loves to tell stories and Bluebottle Kiss' latest cut from Come Across transports us to a small town, giving the listener an insight into the mind of a forgotten hero; the big fish in a small pond, lamenting a lost youth and reminiscing over 'what could have been'. It's a sparse example of Bluebottle Kiss in laid-back mode, barely moving from neutral but adding to the melancholy lyrics by matching the pace of the protagonist's location, wandering like the mind of the character. Hutching's natural flair for writing tunes results in reams of unused material and six b-sides add to the value of this release, including 3 4-track recordings that give fans an idea of the humble origins of Hutchings' compositions. B-side highlights include the brooding Love Me To Death and organ-powered The Record Company. Last Playboy In Town suggests the future for Bluebottle Kiss as the distortion pedals are put out to pasture and subtlety replaces angst, perfectly showcasing the talents of an act that has grown and matured with its fanbase.
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 THE DEVOTED FEW
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The relationship between urban and rural Australia has always been tenuous but if local acts have their way, the differences may soon evaporate. It seems that 5-piece melodic rockers, The Devoted Few, have opted for the jingle-jangle of country twang on the latest single Desolation Angels, an early hint of the quality we can expect from their forthcoming album, Billboard Noises. ARIA Award-winning producer, Jonathan Burnside opts for a clean sound on Desolation Angels, and why not? There's no need for gadgets and cut'n'paste production when you've got the voice of Ben Fletcher (Bluebottle Kiss) and fine songs to work with. Desolation Angels, a story of destined love, may be the catchy title track to this short collection, but the release is well-rounded with b-sides that include the evocative It's Over, reworked by Jamie Quasar (Patriarch), who's remix reminded me of Machine Translations or Qua's work with Architecture In Helsinki. It's Over may be hidden in the middle of a strong tracklisting, but you can expect Australian radio to take notice of it's appealing blend of human sentiment and digital rhythms. Make sure you watch out for Billboard Noises, including cameos from Glenn Richards (Augie March) and Peter Fenton (Crow).
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 GUS & FRANK
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Gus And Frank are so nice I'd like to 'can' their single, but there's something infectious about their optimism. Maybe that's why their humble origins in a pizza shop were always destined to develop to the point where they were guests on national radio and television, while their debut album Confessions Of A Rooftop Killer chalked up enough sales to make it one of the biggest independent hits of 2003. Having left the old open mic days behind, Gus & Frank are using their full 5-piece line-up to maximum effect with sold-out tours and this single should keep them on radio where their ditties have struck a chord with national audiences. Wonderful Life is as hopeful as this act gets, but b-sides reveal a slightly more adventurous group that have some diversity in their repertoire. It's a little too clean and fun for my liking but the snowballing success of Gus & Frank proves that plenty Aussies are ready to enjoy fresh tunes from this group of extremely merry men.
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 YOUTH GROUP
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I think Youthgroup write songs to rival any of their peers in Australia and Skeleton Jar certainly hasn't let me down. Wayne Connolly's production is crystal clear to compliment a band powered by melody and lyrics. The rhythm section has been given a bit more punch while vocals remain sweet giving the band an extra edge, just in time to capatalise on some interest in the US. Skeleton Jar features the previous single Shadowland, which highlighted the band's talents for charming radio audiences, but there are many low-key highlights including the title track and See-Saw, that transmit powerful moments and show Youth Group's diversity. In terms of indie pop, this recently trimmed 3-piece cover the gamut from subtle minimalism to moments of unadulterated rock, but it's the emotive lyrics and ability to write a good tune that set this band apart from the dirge of guitar pop coming from Australia's indie scene.
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 THE DISSOCIATIVES
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This is certainly not what I expected from a collaboration between dance guru Paulmac and Silverchair frontman Daniel Johns, but in hindsight it only seems fair that both collaborators should forego their traditional genres to produce a unique sound. In other words, don't expect to mosh or dance while listening to this beautiful debut. Johns seems to have reignited his love for music since Diorama's experimental sound charmed Australian audiences. The fantasia element and orchestration continues on The Dissociatives, but this time Johns doesn't have the added pressure of a huge fanbase with massive expectations. Ideas can flow, however wacky, and that fact becomes blatantly obvious when you hear the sombre opener, We're Much Preferred Customers. Just when you think that Johns is at the steering wheel, you begin to notice the more subtle influence of Paulmac, as the production commonly focuses on lighter electronic sounds that reminded me of keyboard pop in the 80s. Lifting The Veil From The Brail has that same blend of sing-long country fused with rock that The Sleepy Jackson have brought into the spotlight; but it's the melody that will hypnotise fans of the duo as songs like Forever And A Day make a lasting impression. I'm not sure if I've ever heard this many emotive chord progressions on one disc. The Dissociatives is definitely pop but presented with an experimental flair, enhanced by an attention to detail that often verges on experimental. If you can put aside the trendy sounds of now and open your mind, you're guaranteed to discover a rare beauty on The Dissociatives' impressive debut.
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 ADAM SAID GALORE
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The current obsession with retro-rock is taking the emphasis away from what's really happening now. Adam Said Galore's Of Lost Roads is one of the great things about 'now'. Sure, I can still hear influences - to me, they seem like a beautiful cross between Polvo and Bluebottle Kiss - but that's how music evolves; not through pseudo cover bands, but through a mixture of adoration and exploration. Perth's Adam Said Galore have everything I currently need in order to get lost in songs: intelligence, dynamics, drama, intensity; plus an ability to rock out with crunchy riffs or restrain the feedback to offer lyrics that provide a crystal clear image of scenes and characters. Drive-In Scene just became my favourite song. Well, to be honest, it's been my favourite song for the last two weeks. Its arguing guitars and schizophrenic rhythms have me captivated. When it breaks down to subdued and emotive minimalism...well, that's when it really hooks me. These lads seem to be at the mercy of their own music. It's like a badly behaved dog, sometimes heeding the call of its masters, but never really convincing anyone of its obedience. From the most fragile scraping of a single string to monstrous walls of distorted mayhem, Adam Said Galore are constructing a new sound-scape and Of Lost Roads is a testament to their architectural skills.
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 VARIOUS ARTISTS
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cd
Well, I'm still recovering from this year's Homebake Festival so I'm in the perfect position to remember the day's festivities, including a consistent bombardment of intense performances and the obligatory serving of brilliant Australian music. The lingering hangover continues to connect me to the event. The headaches and nausea were kick-started by Magic Dirt, intensified by Spod, exacerbated by Katalyst, tortured by Gerling, condensed by Beast Of Bourbon and compounded by Nick Cave & The Bad Seeds. That was my personal agenda but looking at the tracklisting of Homebake 2003 instils a slight feeling of loss: the one's that got away. This disk proudly displays another progression for the local scene, which - with the current rock revival - is fast approaching the quality of the mid-90s indie boom that helped the popularity of Homebake while in its foetal stages. The pioneers are still rockin (Nick Cave & The Bad Seeds, The Church); the fat distortion of 90s acts continues to shock the youngsters (Magic Dirt, Screamfeeder, The Superjesus), quality electronic acts dragged many rock fans to the Big Top (1200 Techniques, Resin Dogs, Gering, PNAU, Katalyst); and the rock revivalists were in fine form (The Vines, The Casanovas, The Mess Hall). These acts, once again, have made a mockery of the term 'alternative' with approachable and chart-topping tunes that provide an intelligent option for music fans, so often sold tripe by the media and labels. If you're curious about Aussie music, Homebake 2003 is a perfect introduction regardless of genre. Blues, roots, rock, house, breaks, art rock, psychedelic, punk, electro, hip-hop, jazz, pop: it’s all covered on Homebake 2003.
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 THE CHURCH
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Forget Yourself proves the impossible; that a band can exist for 23 years, consistently producing credible sounds without disappearing up their own backsides or tarnishing their name with transient musical whims. This album represents the veteran troupe as a unanimous agreement on ideology; the same idea we loved in 1980. Forget Yourself blends a magnetic brand of pop, crushes it with raw distortion and adds a psychedelic garnish to arrive at the definitive trademark sound that has attracted a truly global following for this seminal act. Recorded at Spacejunk and produced by Tim Powles, the whole LP is beautifully tarnished by a raw edge that contradicts the sweet harmonies and melodies. It adds credence to the notion that The Church's career is working in reverse, powered by a DIY philosophy that protects the group from outside influence and purifies the sound. But the true appeal is always in the combination of 4 fine songwriters blending their best ideas to arrive at a supreme compositional quality. Sealine's opening wall of distortion is the most epic sound I've heard this year. It literally left me dazed and prepared me for the 14 prime tunes on Forget Yourself. After the first single, Song In Space, I discovered my new favourite song, The Theatre And Its Double, which breaks down to hushed vocals and lightning finger-picking to achieve the level of quality I call 'goose bump material'. Lay Low finds The Church rolling like a well-oiled machine with Powles driving the chorus and adding some lush offbeat snare-work to the quiet moments. It's the carefully planned dynamics and variety of textures that makes this LP one of the best albums for 2003 and there's no doubt the obsessive fans will be sated, at least for the moment. Forget Yourself, rather than exhibiting the craft of an act in its twilight years, suggests that The Church have much more to offer: much, much more.
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 BLUEBOTTLE KISS
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2 cd pack
Jamie Hutchings rambles through another gripping set of stories, feet stomp, saws whine, acoustics battle beats, darkness eats light. Yep, it's another beautiful release from Bluebottle Kiss. From the eerie atmos of Scouthall to the manic guitars of Crawling With Ants, this well-established Sydney act adds to the quality achieved by 2002's Revenge Is Slow. This is a band that has grown from humble, indie-rock/pop beginnings to be one of the heavy-weights of the independent scene. With Come Across they flaunt the experience that has lead to intricate production techniques, the cohesion of a concept album and a quality of song writing that can't be taught; it must be honed by the sands of time. Bluebottle Kiss have paid their dues and the rewards can be enjoyed by their snowballing fan base. Depth and darkness rival Nick Cave or Tom Waits and if those two seminal acts can be used as a comparison, the quality of Hutchings stories can also be lifted to their level of expertise. You get the feeling that lyrics flow comfortably- there's no sense of trying to be clever but, naturally, rich images emerge and are framed with the exact musicianship and the confidence of a band that always threatens to reach their prime, yet better their previous efforts with each new release. Come Across is no exception. Die-hard fans will love the limited edition version with a bonus disc treating them to 8 unreleased tracks from the Revenge Is Slow sessions.
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 SPOD
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Can it be true? Is this the future of music? It's a frightening thought but this extraordinary solo artist's tongue-in-cheek fusion of harsh electronic sounds and cock-rock is brilliant satire while also teetering on the edge of critical acclaim. Like a cross between T-Rex and Peaches, this pink-clad, self-made sex symbol struts on stage, flanked by dancers; an act born from guest slots between the performances of local rock acts. It's got to be one of the most extreme and gutsy acts on the scene at the moment and after initial confusion in the industry, the media are leading the way and finally getting the joke. With production assistance from Decoder Ring's JohnBoy Rock, Spod's debut, Taste The Radness is...well, I guess you'd have to say that it's ‘totally rad’.
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 GERLING
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In the last 12 months we've seen the electro-clash and garage-rock movements gain a stronghold on popular music culture but it would seem pure madness to glue those styles together. Luckily Gerling are completely mad. This twisted hybrid of guitars and electronics finally achieves what so many current acts are failing to produce: a completely new sound. The point of fusing opposing elements isn't to produce aural Siamese twins but sonically meld styles in the hope that a new music emerges. BadBlood!! combines rolling rock, squeezed through all manner of digital and analogue toys, presented to the listener as pop-sensible, catchy and revolutionary sounds. From the very first track, Blood On The Microphone Pt1, I was in Gerling's zone, experiencing flashbacks to the era when real bands began to emerge from the territories of electronic music; acts like Cabaret Voltaire and Nitzer Eb. The chorus is a killer; a huge wall of vocals and keys bending in unison. You'll find the two teasers released prior to BadBlood!!: Who's Ya Daddy (from the EP of the same name) and the first single Get Activated. In the City, another highlight, transports the listener on a chugging bass line through distorted vocals and ancient keyboard sounds. The Sydney 3-piece thrashed out their earlier gigs with guitars/drums (no bass!) and developed a unique guitar sound. That sound is now synonymous with Gerling and returns on Bad Blood!!! and Wacked Light. For those who most enjoy Gerling's own brand of acidic beats, We Got Venom will inspire you to worship your nearest disco ball. BadBlood!!! may be the end of Gerling's evolution; it seems to be a full stop (or should I say exclamation mark) at the end of several years-worth of intense audio research as the band have constantly moved boundaries and acted as musical clairvoyants, always hinting at the next possible trend. Now it seems that Gerling are beyond the role of reflecting music's fashions. With BadBlood!!! they signal their intentions to lead the charge into the future. Who knows what future sounds may emerge from Gerlog studios? Maybe even Gerling don't know.
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 THE SLEEPY JACKSON
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Every time The Sleepy Jackson release new songs I cringe. As a musician and songwriter, nothing makes me more jealous than hearing fresh brilliance from songwriter Luke Steele. With Lovers this annoyingly gifted genius has done it again. After hearing the blissful beauty of Good Dancers I felt like selling my guitar; the raw energy of Vampire Racecourse made me consider giving up my own music and joining a covers band; the half-spoken lament of Rain Falls For Wind forced me to consider other pursuits like karate or perhaps jigsaw puzzles. My prospects were even worse: there were still another 9 songs to listen to. How depressing. Among the songs remaining I noticed This Day, previously included on the acclaimed Let Your Love Be Love EP along with the morbid but lush Fill Me With Apples. Lovers is an album that seduces you with whispers before berating you with thumping drums and finally ending the relationship with bitter prose. You can't trust this album or rely on it; Lovers will constantly surprise you but the most puzzling factor is the untouchable essence that escapes language; that certain 'something' that luckily exists within the music of some acts, yet is sadly missing from others. If I was asked to describe my favourite style of music, I would say that it must express sadness, power and beauty simultaneously. The Sleepy Jackson's Lovers, regardless of its meandering path through many genres, epitomizes that sound.
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