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This would be my first CD Review. I'm thinking of doing a couple over the next few weeks. Hopefully I'm doing it right. Anyway here it goes.
Quote:
From the Bluebottle Kiss website.
Somewhere in 1993, fed on a steady diet of Sonic Youth, Afghan Whigs and Dinosaur Jr, as well as classic Australian visionaries like the Church and the Bad Seeds, Bluebottle Kiss was formed. Across five albums, a handful of EPs and singles and hundreds of visceral live shows through Australia and the US, Bluebottle Kiss have carved out a loyal following through their uncompromising, heady and melodic sound. They have been described by Drum Media as 'arguably Australia's most idiosyncratic guitar band' while Rolling Stone gave their fourth album Revenge Is Slow a 4 star review, describing it as 'a storming piece of work beautifully composed'. With a sound that has always been difficult to pigeon hole, Bluebottle Kiss have played with the likes of Sebadoh, Bonnie Prince Billy, Morphine and even Silverchair.
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Come Across - Bluebottle Kiss
Bonus Disc; The Cutting Floor (8 Previously Unreleased Tracks)
Released 2003.
Album Review: Come Across
Track 1: Scouthall (2:57)
Opening with slowly picked guitar chords and faint activity from the drum kit in the background, as well as echoing and distant vocals, the track quickly develops a melancholic and sombre atmosphere by the time Jamie's vocals enter. The focus of the track is on the narrative of the lyrics, with the music forming a quietly moody backdrop for the story. Short instrumental interludes feature unimposing sampled noises (think crickets and muffled voices).
Track 2: Everything Begins And Ends At Exactly The Right Time (5:04)
Starting off with a familiar percussion rhythm, the track is soon complimented by a repeated riff pattern from the guitar that again sets a sombre mood. Jamie's vocals are deeper and rougher on this track, and like most of the songs on the album the emphasis is on the narrative and progression of the lyrics. Also featuring on this song is a slow keyboard progression that leads into the percussion entry and a change of mood and atmosphere when the electric guitar and bass enter, creating an atmosphere of slow, steady movement. During the song Jamie's vocals slip between styles, being both sonorous and melodic as well as rougher, which leads into a blues/rock inspired electric guitar solo that lasts the better part of the remainder of the song, which fades out amidst percussion and feedback before returning to a heady, moody riff that builds off the established energy to take the song to the finish.
Track 3: Something Tiny (4:07)
A steady drum beat and broken chords take up the first few moments before the vocals enter. Like many of the songs the bass isn't prominent, leaving the focus on the guitar and vocals to create the atmosphere. The bass enters almost unnoticed amidst the shift in drum patterns, with the guitar remaining more or less unchanged. Subtle changes in rhythm and texture are the hallmark of the album's sound by this point, and can be found here amongst the various changes, especially when the electric guitar sneaks in for another melancholic solo, which in turn bows out to a vocal harmony before the dynamics and texture build again to a heavier riff to finish off the song.
Track 4: Last Playboy In Town (3:11)
Again starting off with guitar and drums, this track also features a keyboard complimenting the guitar line and a more active bassline that has a traditional blues/rock feel. Jamie's vocals are more conversational and spoken this time, in a style typical of many Australian singers (think Paul Kelly). The melodic sections of the song build on eachother, featuring a nice all instrument build-up after the one minute mark. During the verses the instruments hang back as usually to bring the vocals to the foreground, with the rhythm of the song carried forward by cymbal and hi-hat activity from the drumkit. Towards the two and a half minute mark another guitar solo emerges, this time slowing the song down and fading out to the finish.
Track 5: Slow Train To A Comfy Jail (5:23)
Soft ambient noises open this song, allowing the multi-layered guitar part and drum kit to open the song loosely before the entry of the vocals draws a rhythm together. The drum beats are minimal to begin with, with the familiar sombre and melodic guitar parts complimented by a slow, unimposing bass line. Jamie shows his melodic singing style in this song, complimented by backup vocalists in sections. Underneath the vocal narrative can be heard a faster picking on the guitar, subtly leading up to a headier chorus of lingering melodies and vocal harmonies, after which the electric guitars round up another heavier, swaying riff that hints further at blues/rock influences as well as threatening to break into heavier riffs before restraining itself into repeating under straining vocals, before slowing down for a calmer ending, quietening the atmosphere for the next track.
Track 6: Can I Keep You? (3:34)
Sweeping synthesised noises, reminescent of electronic seabirds open the song, which provides a break from the established tradition - beginning with a slow keyboard melody over which Jamie's reverberating vocals enter, complimented before long by minimal guitar work and occasional offerings from the rhythm section. Lather, rinse and repeat before making a quiet exit.
Track 7: So Slow (3:56)
Picking up the pace from the previous track, So Slow begins with an active electric guitar, bass and drum riff before slowing down into sweeping melodies to let the vocals slip in between sliding guitar parts and a shifting rhythm that picks up again for the chorus, which has an active rock feel. The track features a subtle compliment of backing vocals, with the emphasis as always on Jamie's lyrics and vocals, before returning again to the active rhythms and sounds of the chorus, which then gives way to another guitar solo that carries the mood and melody flawlessy before being rejoined by driving rhythms for the climax. Overall a much less sombre and melancholic song than the established standard on the album.
Track 8: Sisters Head On (4:48)
Less sombre again, the song opens with broken chords on the guitar soon joined by a more forward drum beat that creates a slow driving feel for the vocals to enter over. This is one to tap your feet to, the rhythm providing a solid backbone for the song that is returned to several times. The half-conversational vocals that are again joined by backup singers during the more melodic sections. After the three minute mark the density increases with quiet distorted chords joining the guitar melody, after which a drum fill leads the keyboard into the melody before drawing the song to a close.
Track 9: Cross Purpose (7:08)
The epic song of the album at just over seven minutes, Cross Purpose draws together all the musical elements shown on the previous tracks into a smooth and flowing song that ranges between sombre and reflective melodies and driving guitar riffs. A must hear song from this album.
Track 10: Crawling With Ants (3:34)
More heady and not as soft as previous tracks, this track has an uncharacteristically confronting texture, which mellows during the verses but returns in full force for the choruses - a heady blend of high guitar parts, a driving and climbing bassline, and active drum work. The song features a guitar solo that is more dischordant and edgy than previous ones, played over an incongruently melodic keyboard line, to draw out the ending.
Track 11: Ministry Of Fear (3:47)
Beginning with a slowly building drum fill and multi-layered guitar melodies, Ministry Of Fear is a slower, more moody finish for the album. Jamie's vocals are again the focus, but share a more equal footing than usual with the interwoven guitar melodies and rhythms than in previous tracks. This track does a good job of showcasing the guitar activity on the album, by turns melodic, weaving, and driving according to the atmosphere. Keyboards and backing vocals complete the standard accompanient for the album, making this a good track for people interested in an example of the albums sound.
Overall rating: 4 / 5. Highly Recommended to those who already like the Australian Indy scene, or are looking to get into it.
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Somewhere in 1993, fed on a steady diet of Sonic Youth, Afghan Whigs and Dinosaur Jr, as well as classic Australian visionaries like the Church and the Bad Seeds
*drool*
I will definitely check them out.
| | | Album Rating: 3.5
Ah, im proud to be and Aussie! reminds me of silverchair somehwhat. I heard these guys on triple -j, i couldnt belive my ears, these guys are worth listening to!
| | | Album Rating: 4.5
Ah, the greatest band in Australia.
I'm quite comfortable saying that this is their best album. It's all pulled together on this one, lyrics, music, singing, originality, yet it's got something incredibly timeless about it. Or rather, it sounds like it drifts into another time, sometimes.
And good on Jamie for having the same hair-cut for a decade : )
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