The Kite String Tangle Live at The Corner Hotel

6^th September 2014

This is the sound of something big, something to look forward to.
Danny Harley also known as The Kite String Tangle, an electronic producer from Brisbane Queensland, invites a vast variety of fans, to experience a new and exciting artist.
Keep your eyes & ears open; watch this space.
Without a doubt, The Corner Hotel, wont be a secret for much longer, once this artist gathers interest and invites us to what future Melbourne tours has to offer.

The single silhouette offers an entrée into a feast of sight, sound & energy. The collaboration of creativity mechanisms of a group effort was only surpassed by one wholesome genius.
‘Vessels’ Danny’s debut EP has lifted the bar, a pedestal for his fellow peers to consider this artist as truly talented. The quality as a new EP bleeds style and individuality as displayed with the work of each mix.
Danny has shaped the importance and value of imposing a deliberate shock factor to the audience, acknowledging a new artist has a brief window of opportunity to leave an impact. I wasn’t disappointed.

Walking into a full house, capturing a better view was not an option, it was inevitable to get dirty and push your way into the experience. Taking centre stage, Danny took position between the TKST characters either side of him, creating the background for the show. Modest lighting began to detonate in front of him; this exposed us to his first track that effortlessly empowered our eardrums. My first impression of sound was the power board that switched the crowd on, to appreciate his pride and passion.
I was already on a rush.
His unique tone of music had an immediate effect on me.
A glass of red wine settled on top of his equipment projecting an almost “partnership” picture, which said a lot to me about the space this artist lives in. From a soothing clean synthesis sound, penetrating the stage and complete environment transformed all exposed to a trance composition. He made the transition look so effortless as he remained to keep his audience suspended moment to moment of the journey, hungry and eager to open themselves up to the impending tempo change.

Our introduction to his voice, his tone, I couldn’t believe his control with such poise as he kept in rhythm and alliance of everything technical, while moving around his art platform. This is, what is, all of Danny Harley. He continued throughout his set to engage with the crowd, clearly at ease with an ability to include us on his adventure. The modesty of his work and obvious talent only endeared the crowd more to him. As he felt compelled to share with us, he “doesn’t deserve all of this”.
The girls were well and truly on board, and the guys, not far behind.
As a spectator, he should embrace the moment more and relish it for what is. Talent and hard work should never be treated as a passenger.

Fragments of ‘Given the Chance’ began to flow; this was the hit song we had all been waiting for. With hands lifting one by one above the each other’s heads there was a distinct unity within the crowd. Smiles from ear to ear, this song brought a natural happiness and uncontrolled urge to dance, this is what music is all about. Danny expressed his appreciation to everyone coming tonight, with his last words being “Are you ready?” just before the build up of the last bridge, explosions of confetti burst into the crowd. While sometimes predictable with your average concert but nothing quite like this, nothing in such a confined space.
I’ve never seen so many people, including myself, so excited about confetti.
His last track began to conclude while parts of the crowd continued to throw more confetti into the faded light and grasp as much of that energy they could before closing. Screams and applause disappeared as the man himself Danny Harley exited from the stage.

Never before have I been left with a “longing” experience at a gig before.
I felt like I was at a party and everyone there were all invited. Everyone was truly enjoying themselves, relishing the music that was around us.

I had a blast; I’d insist others to check this man out.
I can’t wait to see what’s next.

Lorde Live at Festival Hall

16^th July 2014

The escapade began with the search for the appropriate gate, which was the entrance into what was about to be a show that would lock me on the fan train for Lorde eternally.

The bass of “Glory and Gore” vibrated the barrier of Festival Hall. I was powerless to the pull around the waist that drew me into the darkness to the floor filled with doted Lorde enthusiasts. Shoulder to shoulder, in stance with my competitors for the best view, it didn’t matter where you were, all seats in the house, I felt, gave you an experience in itself that would have you talking days later. Lorde has proven she isn’t your average seventeen year old. As screams created the volume of the hall, she carried herself with a natural, instinctive confidence, that wasn’t off-putting, but more enchanting; she was mesmerizing.

Lorde revealed you don’t need an elaborate set, or a huge band with back up singers to create an entertaining performance. With one drummer and one guy on a keyboard behind her, the whole performance was Lorde; no add-ons’ were needed to prove to the crowd she’s the real thing. Talented to say the least is an understatement, she had a way to put the audience under a hypnotic state that at times, it was really hard to move. It was one of those shows where you feel you need to ignite your lighter and wave it above your head to enhance the moment, but this was a perfect balance of bliss and contagion

No enhancements noticeable, Lorde’s voice was crisp and clear. Singing live needs to be heard by all, her digital works dont give her talent justice. With ‘Buzzcut Season’ and ‘White Teeth Teens’, I was caught in a rip that brought me out and then further in from her trance. Her pre-recorded backing behind her live vocals was pure artist genius. No back up singer would have been able to produce a natural assembled tone to match her own, except her own. The lighting involved in this production enveloped her work, not that it needed it, but the phantasmagoria light projection that rebounded from the ceiling was breath taking. You found the crowd immobile, it was a sight that had to be seen to be experienced.

New release, and never heard before by me “Easy” that is a feature song by ‘Son Lux,’ had me at the first trumpet beats. This was the perfect combination of jazz and barbarian stimuli, which was outside the circle of what Lorde had previously delivered. Easily my favourite song of the night, I made sure I didn’t forget the name she had introduced, I couldn’t keep the dirty rhythm out of my head. There weren’t many lyrics to this song, but she knew exactly what she was doing here, she was able to take this song to the next level, with her eerie edge that was only promiscuous and charismatic. I would pay just to watch her dance in the centre of the stage. She would throw her body around at the break of each thump of the drum line, with crooked pale arms that seeped through her big mop of curly brown hair, which created a monster-like illusion that restricted you to look away. As the music faded and applause grew, my hunger was still in place. With a strobe light projecting up around me, smoke curled around the silhouette of Lorde as she demonstrated a truly entertaining contemporary dance piece, that combined with this dark composition gave the perception of a forbidden village chanting an evil spirit around an open fire.

All I can say is “Thank you Lorde”. I’m so glad she decided not to do the cliché encore segment, but instead replace it with what a concert close should be all about, a celebration. Beginning with a ten minute closing monologue by talking to the audience, she expressed how she felt in that moment, making us aware how much she appreciated her fans. Fans holding on to every word and breath she conveyed, she suggested they stick around after the show, as she loves taking photos with them. This dedication and commitment to the people who have supported her, with getting her where she is today, is really both rare and heart warming. Most artists lack this loyalty, but even after all her worldwide attention she remains grounded with her true identity still intact.

She followed her monologue with her expression of the reality with having to grow up fast the past year being in the music industry. She related to the crowd at a personal level stating that “growing up sucks”, which introduced us to ‘Ribs’. Disappearing mid song, fast enough you didn’t notice know she was gone, we were presented with a Florence and the Machine influence of Lorde, all in gold. With shotguns of confetti bursting beside her, we found ourselves soon at the end of the show.

This was a concert that showed that her ‘Pure Heroin’ album had no one hit one wonders, but, it was a hit album overall.

I’m looking forward to the day I see her perform at Rod Laver Arena.

Ray LaMotagne

The voice from within

Ray Lamotagne gives the effect of the suns rays, gracefully setting over your face, bringing light into a dream, drawing you into a momentary realism of a new world, a new sensation, an instant serenity.

Persuasive acoustic sounds surround your inner intellect, as you’re taken over by a strong build up of miscellaneous inner moods. Lost in each breath that’s seeps through the cracks of each lyric conveyed, Ray has a way with words, not just by there clearly defined meaning, but the effortless tone that is the framework of each song.

Ray has a sound like no other, never disoriented under the umbrella of his fellow influences, with pressure to fabricate his original work. Other artists tend to fall under this pressure to enhance and dismantle their work, becoming later unrecognisable from their initial real identity. With five studio albums, one released as late as May 2014, Ray remains true to his unique sound with his work continuing to produce and manufacture authentic and moving art pieces incessantly. No composition uniform, we continue to stay enlightened with in each melody from any album, drawn to the next, instinctively taken into a new imagination.

‘Be Here Now’ one of his preeminent illusory songs from his first album ‘Gossip in the Grain’, transfers an impalpable essence within, that transports you through an alter universe of your own concentration, where your naturally following the trail of the guitar chords, harmonised with its orchestral alignment that flows in and out, faster than slower, keeping you in grasp of reality. Through his smooth delivery, these stimulating lyrics guide you fluently to live in today by not allowing things burden you, that are out of your control; have faith and push through life’s dissonance.

Never dull, ‘Henry Nearly Killed me (It’s a Shame)’ pulls delta blues, dirty roots and rock n roll together in to a captivating song that could be somewhat surprising to his earlier songs. We are introduced to his alter ego tone that is alluring and raspy which instantly screams for more. On constant repeat, an image of an old broken down bar or a goose chase down a dusty abanded highway comes to me, this song creates a character within your self that forms an escape from existence.

Each song tells a story, some of love with ‘You are the Best Thing’ and others of despair through ‘This Love is Over’. However you remain connected throughout each album, revisiting your very own memories and reliving feelings you may of forgotten existed, complementary to his expression. He is able to introduce his very own southern, country and blues sound and take it to new a level, opening the door to listeners who would not normally sit down and immense themselves to this engaging genre. Many have experienced the works of this brilliant artist, but others who haven’t, id advocate to sit down with a nice glass of a red, set the mood and make your own opinion, you may easily overindulge in what’s yet to be a forever love of Ray LaMontagne.

Arctic Monkeys Live at Rod Laver Arena

Friday, 9^th of May

Tickets were cleared and a beer now in both hands, the wait was over and tonight was the night I’d been waiting for, for months. Anticipation had kicked in as I walked through gate eight, an immediate clearance for a natural high had arrived; my mind was about to be blown.

Lights faded as the echo of the support act bounced around Rod Lavers walls. Distracted by how close we were to the stage, there finally was the possibility to see The Arctic Monkeys in the flesh; I couldn’t believe I was here! An electric rush flowed through my veins as I counted down the minutes until an experience was to be locked away for an everlasting memory.

Smoked filled the stage as a spot light led The Arctic Monkeys out one by one, with Alex Turner concluding the trail. As they got into position, my mind was running wild trying to predict which song they were going to play first or what album it was from, but, too excited to think straight the only feeling running through me, was the eagerness for them to “just start already!” The sounds of a kick drum pierced the crowd, as screams grew louder, joined by an applause assembled in sync with the beat of, “Do I wanna know?” Normally, a popular band like The Arctic Monkeys, wouldn’t begin their concert with one of their number one hits of today, but no surprise for them, they always do things their own way, and do it well. The electric guitar riff began, shooting a lighting bolt straight up, outlining the letters of ‘AM’ behind them. Mesmerized while hypnotised by Alex’s seductive unique voice, I officially had the colour in my cheeks he had asked for.

Arctic Monkeys have come so far since their first tour ‘Whatever People Say I Am’ in 2005-2006. No more jeans, sweaters and bad hair days. They’ve grown through their adolescence, with sex appeal taking over everyone individually, especially Alex, with his slicked backed hair whilst dressed in leather; it was hard to concentrate on the music.

As much as I love all that is Arctic Monkeys, I couldn’t help but notice their new album ‘AM’ being heavily promoted through this tour, this mirrored the younger female fan base that crowd around me. Craving for hits from their earlier albums, such as ‘Mardy Bum’ and ‘Old Yellow Bricks’ I was disillusioned to have these hits over shadowed by their better-known hits from today. ‘Brainstorm’ and ‘I Bet You Look Good On The Dance Floor,’ my two favourite tracks, caught my breath with the relief that they hadn’t completely lost who they once were.

I could only assume these weren’t old fans attending. Many looked under eighteen collectively with their struggle to put together the words of the hits that made The Arctic Monkeys who they are today. At times you would feel they were playing for those fans predominantly, but as their older collectables embraced our surroundings, those once twenty year olds had returned as they swung their guitars around followed by their bodies, showing us the real, true artists we originally fell in love with.

When you know you’ve inhaled this experience for over an hour, you cant help but try hold on to as much as you can now, before you sadly say goodbye.

Alex spoke to the crowd thanking everyone for coming to see the show, with his last words still imprinted in my mind today, he left us with the perfect last impression linked with a complete song “its Friday night and The Arctic Monkeys are yours, but, ‘R U Mine?’”

All in all, what a show!

Lykke Li – I Never Learn 2014

The cracks of a broken heart are projected loud and clear for all to hear in this record. This is the epitome of a breakup album, her final instalment from the three-album trilogy.

Lykke Li has arguably produced her best album yet, hollowing her core emotions by laying out her vulnerabilities, selectively within each song. The album cover is a flawless example of the attire a widower would wear to a funeral, holding her heart tight and effortlessly, continuing in context with dark tones of black and white in reflection of a melancholy art piece to come.

Lykke Li has grown immensely since in first album ‘Youth Novels’ released in 2008 and her second album ‘Wounded Rhymes’ released in 2011. Her previous music tendered to sway between dark and subtle overtones, however, no longer does she hold back her vocal range nor the lengths to write a heartfelt song. Her writing has grown and developed vastly with her lyrics sounding more realistic, constructed from raw emotion, straight from the heart. I feel she has found her artistic ground where she can now write freely with no judgment. This is a clear indication she is writing for herself rather than for the satisfaction of others, this is her therapy and I can take in her words humbly.

Lykke Li’s tortured emotions through her voice, are clearly from deep pain, which mirrors her writing. Lost in the first two lines of ‘Gunshot’, a replica to a shot of despair “firing to her heart”. She has created deeper than ever before expressions of a dark depression, “longing for a poison, like a cancer for its prey”. She has summed up in a few words how anyone can feel at their lowest point. She articulates an endless stream of ache, morning the loss of someone she “really loved bad” trying to accept she’ll “never get them back”. The simplicity of a solo drum with the echoes of her voice, combined with a harmonizing backing, we are able to listen and understand the lyrics, connect with her and live her pain when she wrote this.

‘Love me like I’m not made of stone’ is the home base to lykke Li’s heart. True feelings are evident within in her tone merged with the lyrics. Beginning with similar chords to ‘Yellow’ by Cold Play, she conveys this song in a pleading, begging manner through a wounded serenade that can only influence you. This is the one song that stands out from this album, where we are faced to witness the rare aftermath of a broken heart within a song. The crack of her voice in selective parts identifies to the listener that those specific words and lines mean more only conveyed when “reliving the moment of the specific emotion”. “Love me deep, until you can’t” is the perfect example, her strain to sing “until you cant”, reinforces that she is still is in love and wants to be loved, while fighting the probability of not being able to anymore and trying to “grapple” with the inevitable, while acknowledging it. This is a very empowering single, brilliant in some respects, the collaboration between her voice and sublime but dominant instrumentals, allows us to focus on what she is trying to say, using her tone to underpin the music.

Even though each song is a sad reflection of the low point in Lykke Li’s life, they also target the individual thoughts we are faced with during and after the reality of loss. We see her optimistic highs with the strength of inspiring tracks ‘Silver line’ and ‘Heart of Steel’, with guarded walls in “I never learn” and “I will never love again”, faced with the traumatic experiences she has endured.

These lyrics remind us, that some of us can be guilty of second guessing ourselves, ready to accept fault, imposing self “rehabilitation” steps to heal. Here is “thirty-one minutes” you owe to yourself, and feel inspired or even “awakened” as we come to a close of her album.

‘I Never Learn’ title is the perfect completion to her series. We have seen Lykke Li grow and mature through each album, voicing the “amazing highs” with reminders of the “ground zero of lows” which haven’t expressed quite so real or authentic, until now.
Lykke Li has laid all her fresh emotions on the table and allowed herself to grieve honestly and share with her fans by not holding back, producing a pure, untainted story in music form.

I hope she doesn’t have to go through another break up to make something as marvellous as this, but I can’t wait to see what’s next.

Listen to full album here