Almost a year ago, on its anniversary, established music writers the world over revisited a love affair that begun 25 years ago with the eighth studio album, Disintegration, by British alternative-gothic rock band The Cure. The reviews (there are several immersive, beautifully written ones – do have a read) reflect the nostalgia of youth, and the importance of the album in the writers’ wild years. Writers and fans reminisced about falling asleep to The Same Deep Water As You and recalled the surprising comfort that came with what was arguably, an album that singed of frustration, melancholy and mid-life angst. But 25 years on, the album is still making hearts ache. Simply put, it’s a beautiful, enduring and important album.
While I won’t pretend to have the breadth of musical prose to do justice to an album review, I was keen to reflect on the importance of this album in my life. I was a mere three years old when the album came out in 1989, which makes me 28 years old today – a trickle away from the symbolic turning-point of 30. This was an important age for frontman Robert Smith. While The Cure was already well established in popular culture through albums like Kiss Me Kiss Me Kiss Me, Smith imploded upon himself with the terror of tipping into his fourth decade, perceiving himself to have not yet created a masterpiece, and holed himself away into a cauldron of dark ideas and gloomy sounds which formed the glistening core of Disintegration.
I remember, as a child, my parents playing Disintegration at dinner parties (the appropriateness of which we could argue for days.) Reflecting back, I didn’t know the name of the songs, the band name, or the album’s critical acclaim – I just knew the sound, and the feeling that accompanied it. The feeling of being up past my bedtime, of the sullen darkness that the night brought, and the perverse awareness of adult conversations fuelled by wine.
Looking back, I can see the foundations of a musical love affair crystallising. With every second as the album ticked over, from the ironic grandeur of the opening track Plainsong, with its ethereal chimes, to the solemn promise of Lovesong, to the sexually-infused, nightmarish terror of Lullaby (and yes, I am sure I fell asleep to this as a child) and the rickety, seething pop of Fascination Street (the lyric “Pull on your hair, pull on your pout” is intoxicating, and the glittering keyboard lifts my soul.) I didn’t know it then, but it was the foundation of everything that was to come – a musical obsession with rich, layered synths, dark lyrics and effervescent keyboard.
The album itself is complex; sprawling and yet dense. There are moments of intense, poignant warmth (Pictures of You), crushing weight (Prayers for Rain) and dreamy obsession (The Same Deep Water As You.) Sounds, too, are used beautifully to add texture – such as Smith’s breathless, panicked whispers and eerily plucked violin in Lullaby and the haunting end-note of Closedown, a slam of fingers on an organ which reverberates throughout your brain long after the song has ended.
[youtube http://www.youtube.com/watch?v=ijxk-fgcg7c]
The videos themselves are fascinating; delightfully simple, visceral and visually saturated. In Lullaby Smith lays in bed, frozen in a spellbound nightmare, his lips pressed to a heaving spiderweb which covers his mouth. In Fascination Street, wind ruffles through his hair while his lips curl into a smirk, streetlight chaotically flickering in the background. The band’s aesthetic reflects the androgynous, gothic look that they were famous for (and let’s be real, Smith’s eyeliner and lipstick still makes my heart skip a beat.)
[youtube http://www.youtube.com/watch?v=7ZsQdLlvuk4]
Although the record label wasn’t quite sure the world was ready for Smith’s morose, introspective creation, Disintegration was critically acclaimed; described deservedly as getting things “unequivocally, utterly and completely right”. Indeed, Disintegration pulls you in and makes you feel things – warmth and comfort, bitter, torturous, heart-wrenching sadness and beautiful, spine-tingling joy. Smith did what he set out to do – create a masterpiece. As the seconds tick over – and paranoia increases – towards my own symbolic ‘coming of age’ (August 2016, in case you’re interested,) I take stock in what The Cure delivered, and am vicariously fuelled through the ambition of Robert Smith that, perhaps surprisingly, created the moody magnificence of Disintegration.
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Disintegration aside, if you feel like a few blissful sidesteps, a handful of other personal favourites include:
- The romantic nostalgia of Robert Smith’s collaboration with Crystal Castles on the song Not in Love
- The weird, odd-ball mash of disjointed pop through Why Can’t I Be You? from the Kiss Me Kiss Me Kiss Me album
- The light, sparkly (and yet oddly pithy) Close to Me from The Head on the Door
- A Forest from Seventeen Seconds (where we get a real tease of what’s to come in Disintegration – moody, dark, atmospheric sound)
We’re going more than a little crazy for Client Liaison of late over at Howl & Echoes. But can you blame us? They have a feel-good, throw-back disco sound (brought to life on their self-titled EP) and theatrical, unapologetically camp stage shows (complete with kitsch 80s paraphernalia like fax machines and water coolers), and they’re two nice, cool dudes to boot. We had the pleasure of speaking with Harvey Miller, one (blonder) half of Client Liaison, ahead of their upcoming Pretty Lovers Tour to talk about musical-origins, Sizzler, the renaissance of swinging and the perfect Valentine’s Day date.
H&E: How’s everything going? Are you back in Melbourne?
HM: I’m good! I’m in Sydney and Monte’s in Melbourne but I’ll be heading back on Saturday to do some more rehearsals for the upcoming March tour.
H&E: Big congrats on the EP – it’s fantastic and a lot of fun.
HM: Thanks, appreciate it!
H&E: Wednesday night was your Art After Hours gig at the Art Gallery of NSW in Sydney. How was it?
HM: It was fantastic. Obviously it’s a bit more civil – there were people sitting down in chairs, the volume was at a more audible, gallery-level, but we got everyone up at the end for a dance. It was good to play to a different crowd like that, a bit more intimate and sophisticated. We both have an Arts background and we’ve played at galleries before like the MCA Social last year, and it’s just a great thing to get involved in, not to mention it was highly appropriate with the Pop to Popism theme.
H&E: One of the things that struck me about your EP is that it’s a compilation of songs you’ve produced over quite a number of years, even going back as far as 2006 and 2007 (for Groove the Physical and End of the Earth). When you revisit those songs, does it take you back to a different version of yourself? What are your memories from who you both were at that time?
HM: Groove the Physical was the first song that Monte and I did together. At the time I was living at my Mum’s place at Elwood Park in Melbourne, in this Victorian house with a turret on the top and it was one street back from Port Phillip Bay. They’d have these turrets on the tops of the houses looking over the beach, so you could get out the binoculars from how-many-hundred years ago and see ships coming in, race down to the docks and get first pick on the cargo, whatever was coming in from the trade routes. That was the location where I had all my keyboards and computers set up, so we would sit in this little turret and record music up there. We did End of the Earth and Groove the Physical there – it was a great little studio, with good tunes and good times. When the wind was in a certain direction it would smell like the ocean, and when the jets would fly over for the Formula 1 Grand Prix every year I’d stick a microphone out the window, so I have 6 years of jet recordings. It was really cool. Those songs were quite a while ago so we do feel that the stuff we are working on now is a bit more contemporary sonically and we’re looking forward to sharing that.
H&E: I’ve heard you talk several times about a specific love of a certain classic restaurant.
HM: Would this be Sizzler?
H&E: It might be Sizzler – home to the infamous crunchy, cheesy bread. How would you summarise your strategy for tackling Sizzler?
HM: Definitely avoid the cheesy toast, as tasty as it is. They try to fill you up on it. There are some more premium, gourmet (hard T) foods that you can dedicate the room in your stomach to. Interesting Sizzler have started to modernise their interior and update the décor, to our disappointment. We think it should be heritage listed – the décor and the cuisine is totally of the era that informs our music, the 80s and early 90s. It’s a bit of a shame when we seem them posting photos – “Come see the new fresh Sizzler” – we are quite up in arms about it at the moment.
H&E: The video for Pretty Lovers is an all-night breakfast party, reminiscent of the times of dinner parties and adult-sleep overs complete with bubble baths. Do you wish people had more of those – are they having a renaissance?
HM: Definitely – adult sleepovers, even swinging. It’s something we didn’t address in the video clip – maybe it would’ve been cool if we’d had a shot of keys getting thrown into a bowl. We just got a bunch of friends together and threw a party and felt that it was kind of situational in its incarnation, and did it from the perspective of a home video using a mid-80s VHS tube camera. It was a lot of fun and it was a party that we all thoroughly enjoyed.
H&E: Did you end up eating all the food?
HM: Yes, we did! Well, actually, I don’t think anyone had any of the burnt toast, but otherwise there were mini croissants and seafood. We did the whole clip ourselves at a low budget – the biggest expense was the lobsters, and of course the ice swan. We went to the market and bought all this seafood which was terribly expensive, and when I was editing the clip Monte pointed out we didn’t even have a shot of the lobsters we spent all that money on, so we had to forcefully cut in the lobsters – and then we realised we could’ve just gotten rubber lobsters because you can’t even tell they’re real lobsters. That’s something we learned – if we ever film again on a camera that doesn’t have the highest of definitions you can just use rubber props.
H&E: I love the attention to detail to the whole retro experience, even down to what’s on the walls. It makes it a very immersive experience.
HM: We like that quite a lot in the sense that you can freeze each frame and it’s quite visually rich, for example when I’m in the bath tub there’s a bouquet of native flowers behind me and a couple of Fosters – every moment there’s something on the wall, or a special piece of detail. We made a real effort to have polystyrene cups which we thought was quite neat.
H&E: It’s Valentine’s Day. What’s your idea of the perfect Valentine’s Day, what soundtrack is playing in the background?
HM: Probably a bit of Michael Bolton’s How Can We Be Lovers If We Can’t Be Friends? I think the weather will be nice in Sydney so I reckon a long picnic or a day at the beach, or a classic date of a reasonably fancy restaurant and champagne. I’m quite traditional in that sense.
Client Liaison are embarking on the Pretty Lovers Tour which kicks off with Secret Garden Festival on February 28.
[youtube http://www.youtube.com/watch?v=jfSSthwlhkA]
If your weaknesses include nostalgic, synth-pop feels and a frontman with smooth moves and a haphazard arrangement of curls, there’s a gig with your name on it. Client Liaison’s Pretty Lovers Tour kicks off at the end of February with a peppering of shows around the country, and we already told you you’d be a right fool to miss it. Don’t want to dish out? For those more frugally inclined, the Art Gallery of NSW has invited you to a free gig, featuring the effervescent sounds and gloriously kitsch stylings of the Melbourne duo comprising Harvey Miller and Monte Morgan. It all goes down this Wednesday 11 February 2015 from 7:30pm in the Entrance Court; bring dancin’ shoes, don’t get mud on the walls.
Back to the tour – presented by MTV Dance and supported by special guests Retiree and Wrooks, Client Liaison will be taking you on a journey through their self-titled EP that includes the inspiration-infused disco-jam Queen (that painfully, beautifully-retro riff always gets me at the end) and the glittering midnight secret Pretty Lovers (which there’s a new video for – who totally wants to resurrect the ice-sculpture party centrepiece?).
First cab off the rank in the Pretty Lovers Tour is the Secret Garden Festival alongside Parquet Courts, Oh Mercy and The Griswolds (lucky you if you have tickets, it’s sold out), followed by a handful of highly anticipated shows around the country – see below for more deets, and book yesterday.
Irony and complete fan-girling aside, it’s probably time to crimp my painfully straight hair and throw some shoulder pads on so I can get down and dirty when Client Liaison bring their sweet beats to Sydney.
[youtube http://www.youtube.com/watch?v=jfSSthwlhkA]
Saturday 28 February,
Secret Garden Festival (SOLD OUT)
Thursday 5 March
Black Bear Lodge, Brisbane (SOLD OUT)
Friday 6 March
Secret Venue TBA, Perth
Tickets available here
Saturday 7 March
Pirie & Co. Social Club, Adelaide
Tickets available here
Saturday 14 March
Oxford Art Factory, Sydney
Tickets available here
Friday 20 March
170 Russell, Melbourne (SOLD OUT)
If you haven’t heard of Kwabs (born Kwabena Adjepong), 24, flip out your moleskin and take note. 2015 is Kwabs’ year; he was announced as one of 13 British acts in BBC’s Music Sound of 2015 and his debut album Love + War (which features collaborations with Cass Lowe, Al Shux and Royce Wood Jr.) is arriving on 18 May 2015.
Ahead of the album release, Kwabs has released a single. Perfect Ruin is a heart-wrenching ballad, heaving with bewilderment and sadness and showcasing Kwabs’ brooding baritone. That sense of melancholy is ever-present in his songs: “I love the contrast between those two sides, the light and the dark, the gloom and the hope. It’s a necessary part of life for both things to be there.”
Described as being able to transition seamlessly between music genres, it remains to be heard what sounds the album will comprise of, but for Kwabs, that’s part of the journey: “Any style of music is on the table.”
Having studied at the Royal Academy of Music, and with connections like Austrian producer SOHN (who produced the haunting, futuristic gospel-soul of Last Stand), we think BBC has pretty much got it right – Kwabs is one to watch in 2015. He’s apparently pretty excited too: “There’s gonna be an album… This is crazy…”
Crazy awesome, Kwabs. We’ve bookmarked 18 May.
Check out the inimitable Kwabs on Walk:
[youtube http://www.youtube.com/watch?v=TW9uj83Vq-0]
I’m only a handful of songs into Uptown Special, the recently released 2015 album by super-duper producer Mark Ronson, but it’s already an irresistible mix of retro funk and something that feels fresh and contemporary. It’s hip-shakingly, knee-wobbling dance-worthy – so good, in fact, that I felt the need to jam-out to it while in the kitchen making peppermint tea. Of course, I don’t need to explain all this – you’ve been gettin’ down to Uptown Funk since its release in November, and finding a new (or renewed) appreciation for Bruno Mars and his retro moves that feel straight out of a Michael Jackson video (think The Way You Make Me Feel, with less night-time, back-alley-stalker-creep). Or perhaps you’ve been hustling to the dirty, psychedelic groove of Daffodils, with Tame Impala’s Kevin Parker. There’s a lot to like on Uptown Special, and that’s only two singles in.
Feel like moving the boogie from the kitchen to the dancefloor? The super-sharp Ronson is putting on an intimate DJ set next Wed, Feb 4: Oxford Art Factory, Sydney. The pre-sale allocation is exhausted, so you better be quick-sticks when general release tickets go on sale tomorrow, Friday 30 January 2015 at 9am. With an 11pm set time it might be way past your bedtime on a school night, but if there was ever a reason to miss your ZZs, it’s a funk-fuelled DJ set from Ronson.
[youtube http://www.youtube.com/watch?v=-OWkLF2HLp0]
Gather, my fellow over-planners – let’s converse. Field Day – long forgotten. The Hottest 100? Lukewarm leftovers on the counter. Laneway? More like Lame-way.* It’s time to focus on what’s ahead – Splendour in the Grass.
Isn’t it a little early you say? After all, the dates just came out (if you missed it, the last weekend of July, at its rightful home, North Byron Parklands). There isn’t so much as murmur about who the lineup might be, and the weather bureau is months from being able to make a call about whether you’ll need your gumboots (and if it rains, I’m telling you, you do).
But the time is now, my friends, to start over-planning the shiz out of Splendour. Because by the time tickets ARE on sale, you’ll be sitting pretty, smug in the knowledge that your epic 4 day weekend is all set to go.
Who am I to tell you how to plan for Splendour? Well – aside from my own experience from the past two years (more to come on that later), I’m an over-planner to the extreme. I blame it on my Dad, who used to make us show up over 4 hours early for any international flight “in case of traffic” (I still get anxiety when I am not checked in over an hour before the flight).
So let me share with you a few ideas.
*admittedly Laneway will be really cool, so you should definitely still hit that up. Also, I tested the “Lame-way” joke on my friend at work and he gave it 10/10, so that’s why it’s in here.
1. Decide how you’re going to get there. Decide on the day you’ll head up (the Thursday or the Friday morning?) and pick a transport option. The drive is always fun (it’s about 10 hours from Sydney) and if you and your homies want to try out a few days in a camper, it’s a perfect time to book it (leave it too long and you’ll probably end up with a Wicked campervan with the word “fuck” emblazoned over the back of it.) But if you’ve got spare Frequent Flyer points lying around, I reckon a $45 flight each way (Sydney to Byron – Jetstar have a sale on right now) is hard to beat. Plus, the likelihood of picking up a hot festival go-er sitting across from you in the exit row is a lot higher (did I mention Splendour 2014 was a great year?).
2. Book your accommodation. I’ve camped one year and gotten a house the other, and I’m going to go out on a limb and say that camping is the way to go. If you’re considering the camping route, there are many options, including DIY, camper vans and TentCity (they set it all up for you). You’re right in the thick of it and although sleeping can be a bit of a pain (bring earplugs), it’s great being able to duck back to the tent throughout the day and NOT have to do the daily shuttle in and out of Byron. Thinking you want a house? Start looking now and dear God, get a house close to the shuttle, or you will almost certainly end up paying a toothless man $30 to drive you home at 1am because there are only 3 cabs in Byron.
3. Get your crew together. Festivals are about sharing good tunes with good company. Start getting your peeps sorted now, because it will take them a full month of fussing about, booking leave, and generally being fence-sitters until they commit. Make sure you think outside the box too – don’t just invite your hipster gig-going friends, but think about people who might not’ve ventured to Splendour on their own accord. Last year my friend Richard came along, who didn’t know a single act on the lineup, and spent 3 weeks responding to people’s questions of “who are you looking forward to seeing?!” with “The Foals” (word to the wise, Richard had never heard of Foals in his life). Needless to say he had a brilliant time (and did indeed enjoy Foals). Alternatively, be brave and consider heading up on your own.
4. Get social. You’ve got 6 months until this shit goes down, and that’s plenty of time to engage in the online social community of Splendour before you even arrive in sunny Byron. Start by liking the Facebook page and enthusiastically tagging your friends in various announcements (“OMG guys, here we go again!”). Start engaging in speculations about the lineup (hell – start some rumours of your own). Follow music and festival blogs. Share thoughts on the lineup when it’s announced. React with dismay when bands inevitably pull out (the crap that went down when London Grammar pulled out and The Presets stepped in was ridiculous).
5. Embrace some epic tunes. Planning for a 4-day festival like Splendour is a great opportunity to (re)embrace music. Once the lineup is out, immerse yourself in some new sounds or revisit some old ones (who TBTd to Outkast last year?). Play the Spotify lists and start pencilling out your favourites. Think about checking out something different from your usual fare (for me it was psy-trance in the Tipi Forest). You’ve got a few months to really test out your faves, and who knows, you might end up going to some unexpectedly awesome sets.
6. Figure out your festival fashion. Byron in Winter ends up being a weird mash – part Summer in the day, and part Winter at night. Now’s a pretty good time to sort your Summer gear, but I’d say it’s even better to get your Winter gear sorted soon – get a good, lightweight jacket, a handful of ponchos, and of course, some gumboots (if you want your friends to pay you out, buy Hunters from The Iconic – otherwise Bunnings can sort you on the cheap). Of course, invest HEAVILY in the obligatory glow-stick bangles, John Lennon sunglasses and those metallic, fake tattoo things that every chick was wearing at Field Day. These all tend to sell out about a month before Splendour.
7. Calm the fuck down. OK – admittedly this is an over-planner’s guide to Splendour. But relax, you’ve got time (we are probably looking at tickets coming out in May) – and to be fair, you may want to wait until you’ve got tickets in your grubby little hands before you book things willy-nilly. But hey, I say go for it. Take a gamble that the lineup – and weather – will be awesome, and just book it in. Trust me, it will be awesome.
Hope to see you there.
While the rest of us are struggling to get back into the depressing reality of work routine, Scottish synth-pop trio Chvrches have evidently jumped right back into it with the announcement they are working on their sophomore album, the follow-up to their acclaimed debut album The Bones of What You Believe in September 2013.
Before you get too eager, don’t expect it to be out anytime soon. Keyboardist Iain Cook previously told Classic Pop: “You often see bands with a successful debut who get cocky, so they hash out something sub-standard and nobody gives a shit again. So we’re not over-confident, but pressure can work against you too. We’re not going to put out anything we aren’t happy with. That could take four months, it could take two years.”
Right, well I guess that probably rules out using Splendour 2015 as a springboard for launching a new set of sparkly synth-laden tunes into the world. Speaking of gigs, once the new album is out, expect to see a mega-watt tour in the works – the trio previously managed a whopping 365 shows in two years. You can bet they’ll send some more love (partly in the form of Lauren Mayberry’s cherubic face and epic eyeliner) down under.
With any luck, the new album will include a rework of this glorious beast from the 90s.
