Page 17 - The Noise November 2016

MUSIC REVIEWS BY BEVERLEY NAPALM
The Goon Sax
Up to Anything (Chapter Music)
I’m not sure if having a famous father is a help or a hindrance. In the case of The Goon Sax, for now, I am sure it’s a bit of a leg up in terms of visibility. My own interest was piqued when I became aware of the connection. Singer Louis Forster is the son of Robert Forster, singer with Australia’s beloved Go Betweens, and musically, they aren’t that dissimilar. Both bands possess similar qualities in terms of melodic structure, fragility and whimsy. However in terms of uncrushable youthfulness, The Goon Sax effortlessly makes an art form of their naivety; which, I may add is given as a compliment. Staring out from the LP sleeve, they look like a bunch of cute geeky school kids, (which I think they actually are), with a combined age pretty darn close to my own actual age I imagine. The songs are a joy to embrace. Basic three piece band with straightforward chords on a rhythm guitar and no-frills drumming. The bass is the main counterpoint melodic instrument, and used in a similar fashion that early Go Betweens records embraced. The lyrics are under-developed in places, which far from irritating I find delightful. Many songs of Louis’ are that of the classic confused teenager. In “Sweaty Palms” for example Louis sings “The man at Seven- Eleven charges me $12.50 / I never thought I’d find myself wishing he’d walk home with me.” The delivery of singing is joyous also, especially when drummer Riley backs up the boys with her
delightful sugary vocals. Standout track for me is “Boyfriend”, with
its spectacularly catchy riff and sing-a-long chorus. I’m interested
to see how the band progresses after this impressive debut. Will growing up in the shadow of the Go Betweens legacy will become a burden on expectations, or push the band blossom in a different direction? We shall see. After all, time is unquestionably on their side.
GENE TRIP
“Happy Plaza” 12-inch EP (Self released)
From Phoenix, Gene Tripp embraces a late night beer and heartache vibe in a laid-back country fashion. They must be one of the few bands I can think of that sound even sparser and fragile in a live environment. On this record Gene Tripp knows the value of, and embrace and revel in the space their music creates. It is well constructed, uncluttered and uncom- promised. Yet there is more at work than first listen would suggest. Beneath the layers of reverb, much melody lurks. A audible focal point, (mainly as it is one of the few instruments not bathed in reverb), is the note perfect pedal steel guitar, a truly wonderful compliment to singer Jay Hufman’s somnambulant vocals. There are some eerie atmospheric drones and background noise that weave in and out of the songs, creating an overall compelling sonic texture. This is the perfect record to reach for — to accompany that last beer of the night, before hitting the hay. Genetripp.bandcamp.com
CC Dust
“Never Going to Die” 12-inch EP (Perennial Records / K Records)
Olympia’s CC Dust may just have made what I consider the contender for ‘record of the year’ with this, their debut offering. It’s upbeat and an updated take on analog sounding disco electro pop. More importantly, it’s a lot of fun. I defy anyone unable to sit still to the lead track “Never Going To Die”, with it’s pulsating infectious solid four to the floor disco beat and melodic bubbly se- quenced bass. Mary Jane Dunphe, (who also sings in acclaimed underground grrl-punkers Vexx), has a vocal approach that is raw and passionate and ever so slightly skew-whiff. It’s just enough to create an embracing and unique twist on a familiar Electro-Pop duo formula. It doesn’t matter the record harkens back to that of a past era, because it is so well crafted. And most importantly, this record just sounds so vibrant and alive! The keyboards are icy skyscrapers, cinematic in intent, the beats clinical with no flab. These kids must have been trawling through some serious minimal-synth classics before hitting the studio methinks. Side Two opener “Baby Boy” could indeed be a long lost unheralded minimal synth masterpiece, or an early OMD b-side possibly. “Mutiny” interjects some neat New Order-esque Peter Hook inspired bass melody. The EP’s closer “Abra” makes use of minimal reverb-ed beats that allow Mary Janes vocals the space to shine over a bass line that brings to mind classic era Siouxsie and the Banshees. It’s euphoric stuff, start to finish. The only detrimental thing I could possibly say about this record is at only five songs, it is such a tease! Cannot wait for a full length!
17 • NOVEMBER 2016