Local Adelaide duo Horse & Cart have released their first EP Olfactory. Having played in local haunts for a bit over a year the instrumental post-rock pair have begun to develop a small cult following; one that will definitely not be disappointed by this promising release.
Each track is a slow burning melody that builds into an evocative atmosphere and mood. With subtle textures, detracting little from their minimalist live sound, the band gently adds extra threads to weave a somewhat optimistic, despite their ominous song titles, collection of gentle guitar driven songs.
The opening track On Bouge begins with a sweet chiming guitar melody, accompanied by a tender brushing rhythm. Lingering for awhile the atmosphere slowly breaks down, before reappearing with a much firmer ending. Throughout the EP, following the curse of many post rock bands, are the slow build ups and layered peaks, sharply countered with sudden lows or vise versa. However, on Olfactory these musical motifs are not as intense nor pronounced as the likes of Explosions in the Sky or Mogwai, but more reminiscent of the smoother interplay of This Will Destroy You.
The introduction of a trumpet adds a needed dynamic element to the marching Guards of Honour, with its grinding distorted climax. Track three, Church Cables, holds a more dynamic consistency, with an infectious rhythm complimented by a pulsing heavily reverberated guitar. Rather than build up in intensity, the song progressively creates an encompassing ambience without being overwhelming.
The haunting Das Einhorn broods with the solemn cello line of guest Xavia Nov (of BrotherSister). The EP is rounded off with the brilliant final track People in the graveyard, the most progressive and indeed the most full sounding song on this release.
Though this is not going to push the genre forward, nor break any musical boundaries, Olfactory it is still a solid outing, and a bright speckle in the Adelaide scene. The EP is a beautiful depiction of the band’s original inspirations, a skin which has been appropriately shed with its release. Having laid to rest their past, Horse & Cart are now able to enter the providence of their more recent, darker, and evocative songs unabashed. By no means am I suggesting that there is anything wrong with this EP, for it is great, but for anyone who has recently seen them live, the future looks far better.
I don’t think I need to tell anyone here about: 1) the second coming known as the reunion of My Bloody Valentine, and 2) the futility that is trying to capture the loudest music sound known to man on a mobile phone video.
Thank God Kevin Shields for Japanese TV then, who give us this masterpiece from the recent Fuji Rock Festival.
TheWunderTales, the second release by sibling duo BrotherSister, is a distinct album of intricately crafted songs embroided with a sincere sense of melancholy and nostalgia. With an outstanding blend of electronic drumbeats, vibrant keyboards and warm cello lines, this LP is a promising release from a band with a lot to offer.
The journey begins with the haunting Lome, were a synthetic harpsichords provides the basis for Xavia Nou’s firm vocal presence. The dry husky voice of brother Dante soon takes over the lead with Drop, were the processed drums become more prevalent. Guin is a highlight, with a dirty guitar countered by a floating melody, indicative of the intricate song-craft from the sibling combination. With this in mind it is amazing to believe that this album has been conceived by siblings often oceans apart.
The pace slows down towards the centre of the album with Given Truth, which perhaps lingers a little too long. Garden Moon is a sweet song, and one of the more youthful and consistently optimistic songs in this journey. The LP picks up with Still Run, full of intertwining pianos and dual vocals. This is followed by We Hung which has a sinister edge contrasted with a distinct melody. Long For provides a comic relief; a bright and cheerful song defined by its ‘chipmunk’ vocal line that may have been better served with a something more natural.
The spooky Neverhead with its swaggering air and complementing string movement features Dante’s voice at its best. With a jittery bass line and dirty drums In out presents a moving instrumental, evoking a sense of isolation and uncertainty. Finishing off the album is Xavia’s tender and delicate singing in Autumn Leaves.
However, even though the music is evocative, it lacks the sense of desperation and thematics insinuated in their live sound. It is much less challenging and more conventional than anticipated. Similarly the vocal tracks at points are limited. Regardless, this is still an excellent record and a clear gauge that there is an abundance of talent beginning to develop from this promising duo.
On Friday July 25, Coopers Alive will be presenting 3 of our favourite Add-Delay bands as part of the SA Live Music Showcase. Mr. Wednesday, Lumonics and BrotherSister will be demonstrating the depth of fantastic music here in Adelaide, at the Jade Monkey from 8pm
The ‘Coopers Alive’ SA Live Music Showcase is a new initiative that aims to encourage local artists to actively participate in planning, promoting and evaluating their live performances, as well as providing an entertaining and creative showcase for all music-lovers to enjoy.
Taking the opportunity, BrotherSister will be using the night to launch their new website/exhibition space, and will be further fleshing out their performance with additional musicians and projected visuals created for the night.
Having played around Adelaide for several years predominantly as a solo act, Aviator Lane’s atmospheric pop hue has begun to expand it horizons both musically and with the recent development into a three piece. On the verge of releasing their third album, we at ADD-DELAY were able to have a bit of Q&A session with their singer/songwriter Michael.
Where do your draw you inspirations for writing music?
I tend to generally have no set source or muse for songs. Most of my lyrics tend to be an amalgamation of things I have ripped off from books written by people much smarter than I. I would like to also point out that despite my wimpy baritone, not every single song I write is about girls.
What is the writing process; do you primarily write for the studio or for live first?
Recently, since we now have a rather handsome young drummer, we have started writing songs as a band for the first time so I guess you could say that the live sound is foremost at the moment. However, most of the songs on the album we’re currently finishing mainly evolved from my writing them at home, strangely enough, and then bringing them to the band at rehearsal. Not a particularly strange way for a megalomaniac to operate. I don’t really tend to write for the studio or for live shows. However, having said that, the instrumental tracks are often just for the albums since they can be a touch difficult to recreate live. Lacking 17 guitarists and as many keyboard players, as we do.
