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By Michael Italia
For every successful rock act, there comes a point in time where a transition or transformation takes place. A crucial point where a band will have to let go of their roots and step up to bigger and better things. Where the kids next door suddenly burst from the shackles of small scale fame and mould into a much larger spectacle with a new found fan base and media circus trailing their heels. There’s no real telling when this transformation will take place but for Trial Kennedy, that time could be now. With a National tour underway, and a debut album titled New Manic Art about to be released, the Melbourne quartet is tipped to be – dare I say it – the ‘next big thing’.
Bassist Aaron Malcolmson is in a positive mood on this chilly autumn afternoon when he phones in from Melbourne, fresh from returning from a six-week recording stint in Atlanta, and clearly still riding the wave of excitement from his experience in working with renowned producer/engineer Nick DiDia (Rage Against the Machine, Powderfinger) and from what he cites as ‘a once in a life-time opportunity’.
“Working with Nick was such an incredible experience. He’s an amazing guy and he managed to bring out the best in every one of us”, Malcolmson muses. “He really does what a producer is meant to do, and that’s guide the band with creative ideas but in no way try to take over. I think the end result really shows and we’ve created an album that we’re all so proud of.
With a list such as Rage Against The Machine, Pearl Jam, Incubus and Powderfinger credited to DiDia’s resume, Trail Kennedy were, understandably, a little nervous before they boarded the plane to the United States. “We were all really stoked when we found out we were going to be working with Nick. But as soon as we showed up, Nick was cracking all these jokes and playing around. We immediately felt comfortable. He’s just a real laid-back guy and I think it’s reflected in his work ethic. He was always trying to get the right mood and get the right vibe. Yeah, he’s definitely a vibe guy.”
Living out of each others pockets for thirteen hours a day, over six weeks will indeed test any vibe and rattle the mood but according to Malcolmson there were ‘good vibes all round’ and the experience ‘strengthened the bond between everyone in the band’. “If you could imagine hanging out with your three best buddies everyday, doing what you love it do, it doesn’t seem like work. And there are no stresses you know, you don’t have bills to pay, or other life stresses on your mind, it’s just focusing on the music and having fun with your mates.”
Looking towards the tour and tomorrow nights show at the Evelyn Hotel, Malcolmson is quietly excited to be back in his hometown and playing to an audience where they ‘pretty much know everyone by their first name.’ “It’s always great to be playing in Melbourne and especially at an intimate venue like The Evelyn.” When asked about his thoughts on Trial Kennedy’s first ever headline tour, Malcolmson is typically humble and unassuming when pondering the turnout at their shows. “I really don’t know how the crowds will turn out. I know we have accumulated a solid fan base over the years, but I suppose you just don’t know if anyone will show. And that’s the thing, whether we have ten people in the room or it’s a sold-out gig, we’ll just go out and play the same show regardless.”
With a national tour currently underway and a second show just announced in Melbourne (Hi-Fi Bar), what can people expect to see at a Trial Kennedy show?
“Oh, that’s a tough one to answer because I’ve usually got my head down and I’m into the music”, Malcolmson laughs. “But from what I’ve been told from people who’ve been to our shows is we seem to put out a similar kind of vibe to a Cog show. Not that we sound like them at all but just in terms of the experience and the atmosphere. And that’s what Trial Kennedy is all about; we like to create an entire experience for those in the audience so that people can walk away with something more than just having just watched a rock band.”
Malcolmson then happily teases, “And without giving too much away, we have something really special planned for the gig at the Hi-fi Bar. But that’s all I’m saying.”
So I guess we’ll have to go along to find out.
New Manic Art is out Saturday May 31 through Gotham / Sony BMG. You can also catch Trial Kennedy at the Hi-fi Bar in Melbourne on June 20 and maybe catch a glimps of what’s in store!
By Michael Italia
Without doubt there is something enticing about the circus; watching a group of wild-eyed misfits, aka circus performers, hold an audience in the palm of their sweaty hands as they showcase incredible talent, perform tricks and escape near-death under a large canvas tent is enthralling, let’s face it. So when a band adopts the same alluring appeal and unprecedented reputation as a circus freak-show grotesquery of art, words and music, it is difficult to comprehend why there would be desire for change. But this is exactly what front man and master of ceremonies, Martin Martini, set out to do at the beginning of 2008.
In a bid to ditch the circus image, two talented performers, Peter Burgess (tuba) and Xani Kolac (violin) were unchained and set free from the Bone Palace camp and replaced with guitarist Natasha Rose and bass player Jules Pascoe.
So with a new line-up and a lot of hype surrounding their first gig in Melbourne for quite some time, an eager crowd crammed inside the warm confinements of the Ding Dong Lounge to see those menacingly attractive freaks and whether their unique brand of circus rock had altered. From the opening moments, their infectious, old-world grooves reeled fans to the front of the stage, all hooked on the music and unpredictable nature of their live show. For the first time, we are treated to cuts from Dream Until You Die with new guitar and bass additions giving their overall sound a somewhat harder, edgy vibe; some wickedly profane, some indignant, some playful and some gloomily pessimistic. Scathing of corporate culture and greed, Martini out-rightly condemns political hypocrisy and stomps all over sacred territory (this is the ‘I caught Jesus sleeping in’ tour after all).
Capturing the attention of the audience – and a few hats from unsuspecting punters – was madman trombonist James Macaulay, aka The Bison, tottering up and down the stage in a flimsy mini skirt like a seasoned burlesque dancer in between gulps of beer while Martini, donning a tattered old wife-beater singlet, projected his bawdy Australian roar of absurdist political commentary in his usual uncompromisable Aussie accent. With a set that fuses funk with jazz and everything from cabaret, blues and gypsy-rock in-between, Martin Martini and his mob of circus freaks – despite the new line-up – still know how create a similar sound so delightfully original and undeniably quirky; except now, it is, well, a lot harder.
Wall-to-wall with sweaty limbs, Festival Hall was crammed with anticipation on a particularly balmy night in Melbourne. Inside the pit, the temperature continued to rise as more people crammed their way to the front. Tightly packed bodies swayed in and out, all jostling for best position until a thunderous roar of screams filled the air - the Kings of Leon had arrived and I was pumped. And no doubt, so too were the 2,000 skinny black jean-clad fans that filled the hall. So how was it? How did one of the most talked about bands of late, perform to a sold out venue? Disappointing is
one word. Underwhelming, is the other. To put it in a sentence, a rather introverted half-hearted performance, which didn’t quite live up to the hype. For a start, nothing prepared me for their refusal to engage with a devoted audience, their lack of communication, and the air of “fuck we’re cool” which permeated the entire show. Where was the energy? The presence? The charisma? Weren’t the Kings of Leon here to give us something back for our hard-earned cash? In short, they looked tired and over it. Perhaps their relentless touring schedule finally got the better of them. Whatever it was, the performance seemed to lack the energy and punch that a headline act of this stature should possess. Obviously not priding themselves on showmanship, all four Fellowill brothers were oblivious to their onstage presence, or lack there of. For the entire show drummer Nathan perfunctorily tapped his way through each song, chewed gum and blew bubbles while guitarist Matthew brazenly lit cigarettes and devoted more attention to his straightened hair than his onstage performance.
Nonetheless, the gig did have its moments. This is the Kings of Leon after all – a band that, let’s face it, manage to write a foray of incredibly catchy tunes. The four lads opened up with Knocked Up, the opener off their latest album, Because Of the Times, then followed this up with Taper Jean Girl which successfully got the crowd to sing along. You could even argue that it was worth it all just to see Charmer, Molly’s Chamber and Four Kicks performed live, even if the band never dares deviate from the studio take on the album. They say every great band should leave you wanting more, but in this case a fair proportion of the crowd would have left feeling short-changed. Sorry, fellas, but simply turning up to perform does not constitute a good performance. Let’s hope when they return next time, they’ll give their fans something to actually sing about.
It’s no wonder Shimabukuro’s been hailed the Jimi Hendrix of the ukulele. His intricate, often speedy, and very diverse ukulele technique continues to push the boundaries of the 4-stringed instrument, and after just a few moments into his third full-length album, it’s easy to see how he came to adopt this reputation. While Shimabukuro’s earlier records have traditionally focused on original material, Gently Weeps consists of a mix between his own compositions and some interesting interpretations of songs such as Chick Corea’s Spain, Schubert’s Ave Maria and George Harrison’s While My Guitar Gently Weeps. The original tunes on the album showcase Shimabukuro’s vast variety of playing styles ranging from delicate ballads such as Wish on My Star to upbeat flamenco inspired songs like Let’s Dance to make this a well-rounded package with vast appeal.
debut album - on the rocks
While not a lot is known of this young Adelaide four-piece, their sound is a welcomed breath of pure rock. Forming in early 2004 at just 14 years of age, the four members from Adelaide are accustomed to the big bright lights of playing main stage having already shared the bill with prominent Australian acts such as COG, Kate Ceberano and Killing Heidi just to name a few. Souped-up guitar riffs reminiscent of the Zeppelin era drive the majority of the songs which make up on the rocks; however the album does mellow out with songs such as today is already gone and steps up the pace again with need for speed. With catchy melodies, big hooks and galloping rhythm that grow handsomely familiar with each repeat, on the rocks is a worthy debut album which may just spill over into chart success.
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Comments (1)
Comment by Michael Italia
on CD review - Grannyflat
Cheers, Michael