Sep
18
Thirsty Merc at BOTH
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by Jamie Penman
Wandering in to the Bar on The Hill last Thursday night, Iwas surprised to see a pretty full room for what was about to be the first band of the bill.
Local Indie Rockers The Common Code were about to kick off and the fans didn’t let the early time slot stop them from getting down to business and shaking their groove thing. The 4 strong outfit were impressive with their performance and put on a well rounded and tight set.
After a two and a half beer break, the next to light up the stage was Perth / Melbourne 4 piece The Hamptons. Having not seen the band before I didn’t have any expectations of what the show would be like, however I was simply spellbound by the angelic voice of Lead vocalist Susannah Legge and couldn’t take my eyes or ears away from the stage for the whole set (so much so that iIdidn’t even realise one of my friends standing next to me). Keyboardist Jules Hewitt added a very atmoshperic aspect to the songs and had the crowd enjoying every second. With their most noticeable song “Generation Y” helping round out a near perfect set from the band I was quick to make my way to the merch table and pick up a copy of the single.
The crowd then packed in even further as Thirsty Merc took the stage.
Having seen my fair share of bands play at the Bar on The Hill, I have come to realise (I think fellow BOTH punters will back me up here) that the venue is not always known for it’s super sound quality. So it stands to reason that i nearly fell over when the band blasted into it’s first song “In the Summertime” and the sound quality was flawless. This really made for an enjoyable set with the whole crowd singing along and grooving to the pop tunes the boys are known and loved for. Sean Carey was stylish as always on guitar and Phil Stack played his little heart out on bass with a cheeky little ( ok maybe rather large ) solo mid set. With massive versions of “20 good reasons”, new song ” the hard way” and an enourmous crowd sing along to “the vision” Thirsty Merc once again delivered a great set and superb show.
Sep
18
Kate Miller-Heidke’s Little Eve
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by Nick Milligan
When you mix an interest in opera with a love of Joni Mitchell, the result is something quite unusual – welcome to the stage Ms. Kate Miller-Heidke. After spreading her quirky folk-pop via two successful EP releases, 25 year-old Heidke (pronounced ‘hide-key’) is garnering wider attention with the release of her debut album, Little Eve. Nick Milligan caught up with the cute songstress to talk opera, over-acting and ducks.
What can you tell me about your song ‘Ducks Don’t Need Satellites’?
It’s a very simple metaphor, looking at the simple, uncomplicated life of a duck, and comparing it favourably against the complex, consumerist life of a human. That sounds very serious, but it’s really just a beautiful little fairy-tale – or a morality tale about how great ducks are.
The song contains the lyrics, ‘They don’t need satellites / They most likely think the sky ends blue / Don’t you wish you did too?’ What would be your answer if you were asked that question?
Yes, obviously there’s a big part of me that wishes that. There’s so much crap in my life – and probably in everyone’s life. I don’t like to give anyone advice, but I know within myself that there’s a lot of clutter and I sometimes try to get back to the real truth of things.
You could have pursued a career in performing opera – but what made you choose the music that you’re making now?
I always loved songwriting and making my own music – I was really passionate about that and I got a big kick out of it. I studied classical singing at university and ended up working as a classical singer – it was pretty good money for a teenager. I tried very hard, but I never really learned to love opera. I preferred playing with my band on weekends. That’s where my heart was.
Do you try to tell other people’s stories in your lyrics, rather than just your own?
Oh, yeah! I do that in a couple of songs [on Little Eve]. There’s a track called ‘Don’t Let Go’ which is based on an email that one of my mum’s friends wrote to her. She forwarded the email to me and it was beautifully written and poetic. I lifted most of the lyrics straight off that email. You can only go so far with personal experience – there’s a lot of things I haven’t experienced at the age of 25. I try and milk my own memories for all they’re worth, but telling someone else’s story is equally valid.
Was ‘Words’ a tricky song to choose as a first single, because it’s a very unusual song compared to most of the album.
Being my first album, I really wanted to come out and not be ignored. I think ‘Words’ is a song that people have strong reactions to, whether it be positive or negative. It was a good choice as a first single.
How old were you when you started singing?
Well, I sang before I spoke. I started getting seriously into it about 12 or 13.
What was your first public performance like?
I did a few school musicals when I was a kid. I was in Oliver! at the age of seven or eight. I won the ‘Hamlet Award for Over-acting’. I was very proud of that award.
Little Eve is available now. You can catch her at The Cambridge Hotel, Newcastle on Thursday October 4.
Sep
17
The Hot Lies - Ringing In The Sane
Filed Under Album Reviews | 1 Comment
After three years and two hit EP’s Adelaide rockers The Hot Lies have finally released their debut record, ‘Ringing In The Sane’.
Its taken me four days and countless hours with this record on repeat to decide exactly how I feel about it, and still even now I’m torn. On one hand there are some really great catchy tracks, on the other it feels a little too Panic At The Disco meets Good Charlotte.
I was hoping for an album length ‘Heart Attacks and Callous Acts’, and whilst this wasn’t exactly what I was given, I’m not necessarily disappointed. The album opens with August released single ‘Emergency! Emergency!’, with easy to remember lyrics and a typically pop-rock chorus, its not difficult to see why this track was the records’ first single.
I can easily see Track 3, ‘Can’t Stand The Heat’, being a massive crowd pleaser, packed full of hooks, and a dynamic that is perfect for jumping up and down to.
The band collaborated with seasoned performers Eskimo Joe on songs ‘Tokyo’ and ‘Under Your Skin’, the latter of the two being one of my favourite songs on the record. Slightly more awkward than the rest of the album, it’s slower paced, less dynamic and somehow more impacting. It contrasts the metaphor of the permanency of tattoos and memories, both which fade, yet never disappear completely. At times slightly haunting; like the songs meaning, the chorus stays with the listener long after the record has ended.
This is an album that isn’t necessarily a stand out record, there are some ‘filler’ songs that I found myself skipping every time I ran through the album, however in saying that there are also some songs I found myself pressing the repeat button for.
It’s a little left of field from what The Hot Lies fans are used to, however I don’t think that this will prove terribly detrimental to their following. Whilst I defiantly prefer the days of ‘One For The Memories’ and ‘Promise Me’, I appreciate and respect the developed musicianship of this band, and similarly one could only expect change after having been through two guitarists since their last release.
Ringing In The Sane is a very accessible record. I think that if anything it will find itself attracting a more diverse range of listeners. Personally I am very much looking forward to hearing the new tracks played live, because if there’s one thing The Hot Lies know how to do, it’s put on a brilliantly energetic show.
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