HEAR is the enema your iTunes needs. Bringing you the most thought-provoking and up-to-date music reviews this side of Lester Bangs, HEAR sifts through the ever growing mountain of press releases and promos to only feature albums, EPs, LPs and mixes that we want to, not that we have to. Also, we try and make things make sense in 200 words or less so that you can just listen to the music.
Sometimes I wish I didn't have to tell you about music via a flashing computer screen.
I wish I could just play you something at a party. Or make you a mix CD. Some things are better if you find them out by accident, or from a friend. The Besnard Lakes have too much personality for the impersonality of a computer screen.
Houlette is the sugar cube in your Stockholm Blend tea. Their French-pop, country-esque folk minimalism reminds you of better times, of simpler times when salt came iodised and men rode horses.
Bless Bless (which translates to ‘farewell' in Icelandic) is the band's debut album, following the successes of their precursor releases.
Words like magical, enchanting, and playful get used a lot these days. Unfortunately, they're often meant to endear you to bands whose work has more twinkling and twee affectation than real emotion.
These words could describe Holly Miranda's debut - yet DON'T be frightened by this (or the album's title or artwork.
"I'm not for sale. I'm fucking Love, do you understand what I'm saying? Like, the Beatles were for sale. I give it away." - Anton Newcombe, DiG!
Who Killed Sgt. Pepper? is not an Anton Newcombe ego jibe at the Beatles' classic Sgt. Pepper's Lonely Hearts Club Band and nor is it an ode.
When asked to describe the difference between ECSR's Primary Colours and their self-titled debut, guitarist Mikey Young said it was more '82 than '76. With their third album, Rush To Relax, I don't think Mikey would be able to sum up the difference so easily.
Rush To Relax picks up where Primary Colours left off.
Kieran Hebden has had a good time of it just lately. The guitarist turned much-feted producer and DJ has continued along the rosy path of critical adoration, and he’s done so by consistently straying from his comfort zone. Along the way, he has shed the long-standing ‘folktronica’ tag that dogged his early Four Tet and effectively reinvented himself.
Thirteen years is a long time to go without releasing an album. Thirteen years ago I had just discovered the joy of self-love. I had just stopped being afraid of the dark. I had just learned how to take those massive bong hits like Ghostface Killah. Back then, flute solos were a serious and beautiful component of a song.
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