I decided to review this one before even hearing it, because I figured if I had anything crap to say, it wouldn’t matter. These guys have more than enough fans who will go out and buy the album whether some reviewer says it sux or not, coz’ that’s just the way the world works. So I waited for a morning where I hadn’t had a coffee, and felt like being an asshole to give this disc a first listen, only to find myself completely disappointed. There is absolutely nothing bad I can say about this album. In fact, I love it and it has very quickly become one of my favorites of the year.

Now, incase you’re suffering from amnesia and have forgotten about The White Stripes, the opening track, Blue Blood Blues will provide an instant reminder. Guaranteed you’ll be convinced with signature guitar accents teamed up with delectable lyrics like ‘Crack a window, crack a broken bone/Crack your knuckles when you’re at home/Lick an ice cream cone.’ I’m smitten already. Slithers of funk are added into the mix with Hustle and Cuss, which is partly written and sung by Mosshart.

I’m Mad comes from the combined efforts of this handsome four-piece, and is my absolute favorite on the disc. Again, Mosshart is the centre of attention with vocals bordering on the edge of insanity, bringing to mind all kinds of evil and hatred. It is indeed, how you say…finger licking good. I Can’t Hear You is one of the slower songs on the album, but is unforgettable all the same. With lyrics blurted out in the most creepy of fashions, ‘I’m gonna teach you, and keep you for myself’, this is most certainly a winner.

The venomous, Gasoline again possesses squealing and strong lyrics enough to make a grown man quiver like, ‘I don’t want a sweetheart/All I want is a machine’. No Horse follows which moves into the psychedelic rumblings from previous tracks, but it is Old Mary that truly shines on the latter part of this masterpiece. Beginning with White poetically reciting his lyrics before the piano ballad comes in turning this into a package of pure haunting pleasure.

And that’s exactly how I’d like to describe the entire album…a package of pure haunting pleasure.

 To win one of these sweet packages, just become a fan on Facebook or follow them on Twitter.

Now I know you should never judge a book by its cover, but in this case I think you’d be forgiven. The cover art for this CD is truly magical with the red headed beauty standing amongst lavender in the sunshine. It’s gorgeous and matches the music that graces the album, ever so golden and delicate. It has already been described as ‘an accomplished yet pleasingly unpredictable blend of melodies and beautiful production,’ and I have to agree on that one. Ultraviolet is stunning to say the least.

You’re in for a real treat right from the start with the first song, Ghosts, which feels musically similar to that of ever-popular Liam Finn. It’s bubbly and will have you hooked in seconds. Equally as catchy comes Friday Boy, which boasts a sweet behind-the-scenes story of musician and producer, Jol Mulhollond. Apparently during the recording he built and broke the instrumental several times before he was convinced. Mid-way through the session he picked up a Ganjo, which is what you’ll hear on the final recording. This led to Morrell creating layers of harmonies to get the chorus full of love that you can truly feel in the finished product.

Let Me Go and I Fly Away are full of sunshine and simplicity, which is exactly what the lady behind the album was aiming for. “The vocals are much more upfront with this album. With Goldenhorse I was always battling to compete with the other main instruments. That was the beauty of Riverhead and Out of the Moon to a certain extent. This is a solo album and lyrically oriented.” Again, this shines through in popular single Cherry Coloured Dreams, which has featured on numerous radio stations and on music television right here in Aotearoa.

Cold Spoilt Girl takes the listener on a previously unexplored journey where Morrell becomes a little colder in her vocals. With finger clicking and subtlety haunting music, this is definitely a standout on the album, which builds up to Wandering Hands. With a wonderfully dark intro, again you’ll be hooked – but this time on a whole other level. The last track on this wonderfully compiled disc, titled He Walked In brings you right back to the beginning with that summery feel that is now so familiar. There’s nothing I don’t love about this album, and recommend it to anyone in need of some shiny pop to sing along to.

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The EP was a success across the board, so it was time for the members to finally meet each other. They were flown to Los Angeles in early 2009 where they wrote and recorded material for their debut album, My Own Private Amsterdam.

Their earlier music was likened to US popsters Weezer, but with time, they’ve developed a sound that is truly unique to them. It’s more refined which is undoubtedly the result of their being in the same country for most of the recordings.

The first single to be released off the album, Frankfurt is a definite standout on the disc, which proves that simplicity is always a winner. The intro to Beautiful boasts catchy – and again, simple drum beats to perk up the ears of listeners before getting into a slightly rockier sound, previously unexplored.

Fans of the group’s debut EP will be delighted to see that When I Go Out made it to the final cut – and a little FYI for you – the video for this track documents the band’s first meeting and working together on recording the album. It’s pop-rock at it’s finest, as is Happy Pills, which has a familiarity to it that makes me wonder if this will be their next radio hit? You’ll hear hints of Steriogram in songs like Symphony Brother and In My Eyes, which is comforting to know that Mr Carter is still the same man with the same style.

If you’re into finger picking, Fragile shares that enticing simplicity that is all too beautiful, mixed with strong vocals and backed with pain. Slowly is much rockier and comes as a bit of a shock after such a controlled track prior. I don’t think I would have put this one in this place, but maybe it was their intention to wake people up. Last song on the album, Central Park is charming and will leave you wondering what’s next for the band. Apparently a NZ tour is on the cards. Watch this space, and while you’re watching, listen to My Own Private Amsterdam.

“Everyone wants to make their Berlin record, and everyone’s got a Berlin album in them, so we wanted to put ours out,” !!!’s lead singer Nic Offer says, with tongue partially in cheek, of the group’s fourth album, Strange Weather, Isn’t It?

Following in the footsteps of artists like David Bowie, Iggy Pop, Depeche Mode, Nick Cave, U2 and Peaches, who have flocked to Berlin in order to mainline the city’s legendary dark energy, !!! traveled to the German capital to produce a record that is simultaneously brooding and their glossiest, most immediate record yet. On the one hand, Strange Weather, Isn’t It? is !!!’s most texturally rich record to date and is filled with deep, galvanizing grooves. On the other, there’s a dark undercurrent running through the record that acts as a counterpoint to the glittering surfaces.

The result is an album that is richer and more detailed and less spiky than any of !!!’s previous albums.

Listen to the opening track AM/FM here

Practicing here under  hot lights in a shoddily lit westside cupboard, things are sounding unreal. The soundtrack to this video is a lost recording of a new song called ‘your sweet boom’… never heard before and never to be heard again. 1,2 Zen explosion and we out!

Bad Buzz takes its musical direction of harmonised 1960s British rock: The Kinks, The Animals, and later, Supergrass at their melodic best. The eponymous opening track speaks of the drug addled selling of sex and it is the thing that perfectly crafted pop song dreams are made of, from its haunting harpsichord opening through to its heavy guitar crescendo.

Say Goodbye, the second track builds with its one simple guitar hook, a perfectly harmonised chorus and a movement that builds and loops, its beautiful simplicity never getting boring. The closing track You’ve Got Spray Paint in your Third Eye draws the Minties firmly back in to some of their better worn territory, all staccato drums and pop riffs and distorted guitars.

This EP once again proves the Mint Chicks are ahead of the game, creating music that is incredibly infectious, intelligent and always informed by but never superseded by their influences.

Get the album here.

More info online here 

 The Mint Chicks and MusicHy.pe have partnered to release the EP “Bad Buzz” on a limited edition USB stick.

Designed by Ruban Nielson the 1GB stick contains the full EP in MP3, Apple Lossless and FLAC files, along with some band photos and artwork.

 Get yours now – not many left!

Buy now online 

Describing their work on the LP as ‘coming from the idea of caring for a terminal patient who’s mentally abusive, and eventually realizing that this person is just destroying you.’ The album is instantly attractive with its honesty and purity, and it’s hard not to find yourself at least a little curious of what this band has to offer.

So, what exactly does Hospice sound like? A little haunting. A little sickening. A little depressing. Actually it’s more than just a little of those things, but that’s what makes this an incredible listen and one that is entirely worth lending your ears to.

The journey begins with ‘Kettering’, which becomes mind blowing, unforgettable and more intense as the track goes on. Mixed with unique vocals and dark theatrical music, it’s easy to imagine a sullen hospital filled with dungeon like surroundings and little to do but watch your hours pass slowly and painfully.

Following on is Sylvia, which is by far one of the standout tracks on the LP. It includes more incredibly dark imagery along with a particularly excruciating chorus provided by a howling Silberman. The song describes what is said to be Syliva Plath’s suicide – made memorable with a glorious ending including an array of horns.

‘Wake’ is slow and beautiful boasting Silberman’s howling vocals before leading into the epilogue; an acoustic version of ‘Bear.’ It’s a definite standout for me from this truly stunning album. As a whole it’s deeply disturbing and raw, but I can say in all honesty that these guys have really hit the nail on the head in relaying a story that deserves to be told.