The Sand Pebbles - Ghost Transmissions (2004)

The Sand Pebbles, a very cool band from Melbourne, Australia, have been making music together in various line-ups, since way back in 1999. Ghost Transmissions, is the album that brought them to the attention of various tastemakers in the Melbourne scene, though not before a cover of Julian Cope's Out Of My Mind On Dope And Speed saw them written up in various influential publications in the U.S. back in 2002.
Ghost Transmissions is a shining gem of psychedelic-pop-rock. Perhaps, like me, psychedelic conjures images of the band disappearing up their own collective-paisley-coloured Khyber at some point in the proceedings, venturing off on their own - never to come back down again - trip, man. I can assure you that this is not the case. From the slow burn of the opening track, The Day Summer Fell, Ghost Transmissions is, for the most part, a mellow, groove-ridden, journey, through which the band happily plays the part of the pied piper, leading the ever-willing listener.
There are some excellent instrumental tracks on the album, including the 'perfect for driving along the coastline' rock-out of Hanging Out, and the 'this song is making me all warm and fuzzy' groove of Sioux City Falls. The track, Black Sun Ensemble, clocks in at just under twelve minutes, and encompasses all of the best elements of The Sand Pepples sound (i.e. psychedelic-pop-rock). With awesome lead guitar, that is never over-indulgent, and the bass and drums rhythm section locking onto a solid groove throughout, this has to be the standout track of the album.
Finishing with the loose, rocking All My Life (I Love You), Ghost Transmissions is a an awesome listening experience from beginning to end. The Sand Pebbles - who released Atlantis Regrets Nothing - the follow up to Ghost Transmissions - in 2006, are definitely a band worthy of your attention.

Check Out: http://www.myspace.com/sandpebbles

The Devastations - The Devastations (2003)

My introduction to The Devastations came late last year, when I was lucky enough to see them play the support slot for The Drones' show in L.A.. As I arrived at the venue quite late in the evening, I missed the first few songs of their set, though I certainly heard enough to convince me that The Devastations had a great sound and were a band that demanded my further attention. After my initial listen to this album, I was convinced that my earlier conviction had been accurate.
The Devastations play music that can be tender and somber one moment, raucous and nettled the next. The album opens with the slow, plaintive instrumental track, He Wasn't Like That When I Knew Him, which features piano, a quietly plucked banjo, violin, and drums. The pace soon picks up on the rambling, break-up themed track, Loelene, which, among other things, features the sultry, French sung vocals of Emilie Martin.
While the album as a whole is excellent, there are two stand-out tracks that stay with me each time I listen to the album, long after the last song has played. The first, is the sublimely brilliant, Previous Crimes. With lines such as "I do not believe in forgiveness/Or setting suns/I cannot conceive your setting sun", this is perhaps the most tender moment of the album. It is a track that would not be out of place among Nick Cave or Leonard Cohen's song catalogues, two people with whom The Devastations share a similar musical aesthetic.
The second track that has chosen to imbed itself deep within my psyche, is the beautifully restrained, We Will Never Drink Again. Here, we find the songs' protagonist sorting through the broken pieces and unanswered questions of a failed relationship. Rarely has someone else's heartbreak sounded so delicate and, oddly, comforting.
The Devastations play the type of music that is perfect for dark, wintry days; perfect for days when your in the mood for a glass (bottle) of red wine and some healthy introspection; perfect for days when you are happy being sad.

Check Out: http://www.devastations.net/music

Cloud Cult - Advice From The Happy Hippopotamus (2005)

As you may be able to guess from the title, this album is a little bit 'out-there'. However, it is 'out-there' in a really good way. I bought Advice From The Happy Hippopotamus back in April of this year, and have found myself returning to it constantly since then. It has worked its was into my psyche, planted itself under my skin, and has become one of my favourite records of 2006.
Cloud Cult is a collective of musicians, based around the eccentric song-writing talents of one Craig Minnowa. The music they make is playful, poignant, life-affirming, sad, boisterous, and pretty. Across the twenty-three tracks on this album, there is a quite a lot of genre-hopping, although it is quite safe to say that, for the most part, it is rooted in the kind of eccentric pop-rock made by the likes of The Flaming Lips and others. Comparisons are odious, however, as Cloud Cult have a sound that is all their own. Transistor Radio is, for me, one of the stand-out tracks on the album. It is a beautiful track that always reminds me of a Jonathan Safran Foer novel (particulary, Extremely Close And Incredibly Loud, which happens to be my favourite novel of 2006). Other favourites from the album include What Comes At The End and The Man Jumped Out The Window, although each and every song has a way of attaching itself to you.
As they release albums on their own label, Earthology Records (www.earthology.net), and have little or no marketing budget to speak of, it would be very easy for this album to slip between the cracks. However, people have been taking notice, because it is an album full of wonderful songs, created by people who truly care about their art. Plus, it is the sort of album that just makes you feel good. It would be well worth your time and money to seek Advice From The Happy Hippopotamus, you won't be disappointed with what he has to say.

Check Out: http://www.myspace.com/cloudcult

Tom Waits - Orphans [Brawlers, Bawlers & Bastards] (2006)

If you are looking for an objective review of Tom Waits' latest 3-disc album, Orphans, I suggest that you stop reading and look elsewhere. In my humble opinion, Tom Waits is a musical genius, one of the greatest songwriters of all time, and quite possibly, the coolest person on the planet. As I expected, Orphans serves to reinforce my opinion.

Tom Waits has had a long and varied recording career, dating back to his first release, Closing Time, in 1973. Orphans serves as an almost complete overview of his career, however, it does so using new (30) and rare (24) tracks, as opposed to a 'greatest-hits' collection of his previous album songs. Orphans is comprisedof a total of 54 tracks spread over 3 discs. Each of the 3 disc's titles (Brawler, Bawlers, Bastards), giving an indication of the type of Waits songs we will find on each.

Brawlers displays the more raucous, juke joint, blues stomp, rockin' side of Waits' multi-faceted musical persona. In addition to great new tracks, such as Lie To Me, LowDown and Bottom Of The World, there are also covers of The Ramones and bluesman Leadbelly. One of the most interesting tracks is the poignant Road To Piece, which uses the conflict between Israel and Palestine as its subject matter.

Bawlers reflects Waits' time as a blooze-soaked, love lorn, troubadour. I dare say that fans of 1970's Tom Waits who were unable to make the leap with him into his more experimental days, will be able to find solace in this disk. Long Way Home, which first appeared on the soundtrack of Big Bad Love and has since been covered by Norah Jones, is a touching song of devotion, as only Waits could pen. Bend Down The Branches and You Can Never Hold Back Spring are what Waits' wife (and creative partner) would call Grand Weepers, and set the mood of this disc early in the piece. Comprising twenty tracks, there are a number of gems on the Bawlers disc, of which Never Let Go and Waits' cover of Young At Heart are just two more.

Bastards is a particular treat! This disc will appeal to both long-time Waits fans, and those who are fans of left-off-centre, odd-ballism. The disc is comprised of both songs and a number of spoken word pieces. Some of the spoken word pieces are extremely touching, such as the Bukowski tale of a young, lonely man riding a bus through North Carolina (Nirvana); while some are rather disturbing in true Waitsian fashion (Army Ants, Children's Story). Much the same could be said of the songs. One of the songs I particular like, is Dog Door, which first appeard on Sparklehorse's 2001 album, It's A Wonderful Life. One of the other standout songs, is the bastradization of Disney's Heigh Ho. In Waits' hands, it doesn't sound so much seven dwarves, as diamond slaves in the Sierra Leone. Needless to say, it would frighten small children.

It is difficult to do justice to any Tom Waits release, particularly one of this excellence and breadth. The music is excellent, and the packaging of the limited edition release (with a 90+ page booklet) is outstanding, if for the rare photos alone. If you know and love Tom Waits, you need this album. If you are looking for an introduction, this is probably the best place to start. If you don't like Tom Waits, perhaps it is time to re-evaluate your stance.

Check Out: http://www.anti.com/catalog.php?id=69