Gig Review: Parachute Youth (LONDON)

Parachute Youth
Friday 7th June, 2013
KOKO, London

On Friday the 7th Of June, Australian duo Parachute Youth took the stage at KOKO in Camden, to share with Londoners what Australian Indie-Electronic music is all about. 

Parachute Youth perform at KOKO in Camden, London. 

The atmosphere was electric, full of energy driven by the performance of Matt and Johnny. Performing on  a stage that has seen everyone from Charlie Chaplin, to Madonna and The Rolling Stones, the boys certainly rose to the occasion with smiles plastered on the faces of hundreds of dancing fans, wall to wall, on all four stories.

Parachute Youth sees Matt mixing it up while John rocks the keyboard and lead vocals (in fact, Matt and John are both on Keys and Matt uses a controller to sequence drums/midi) - which allows John to come out to the front of the stage and really interact and get the crowd going. 

Best known for their hit "Can't Get Better Than This," Parachute Youth took the opportunity to showcase more original material as well as covering Daft Punk much to the pleasure of concert-goers. 

"We're only a two piece but we make a lot of noise..." Aussies Mathew Gill and John Courtidis met at boring house party. They left half an hour later and started working on some tunes. Since they first met, Matt (a former airforce avionics technician – hence the group’s name) and John (a producer/muso in the band Def Starr) signed to Aussie label Sweat It Out (home to Ajax and Yolanda Be Cool).

Johnny from Parachute Youth

Throughout the high energy performance there was a sense of appreciation throughout the venue both and off the stage - the boys themselves saying they were "humbled" at the audiences' positive response.  With a lot of love in the room, all of the tracks performed were so well received that when the boys finished their set with a flawlessly performed "Can't Get Better Than This," we were all left wanting more. 

 Parachute Youth still have a number of shows coming up across Europe and if their KOKO gig was anything to go by I strongly recommend getting along to see them.  Whilst "Can't Get Better That This" and "Count to Ten" are their better known tracks, they are but a small representation of this duo's capability and experiencing the on stage chemistry and performance quality will, if not already one, convert you into a Parachute Youth fan.

Parachute Youth perform to a packed out venue (image: facebook)

I honestly cannot give Parachute Youth any higher praise for this concert.  As far as I could tell in the audience, the show ran smoothly, the sound quality was excellent and the energy was non-stop.  Admittedly, I did see them briefly at last year's Splendour in the Grass Festival at Byron Bay, but this show was truly on another level and if this is where Matt and Johnny are at this early on in their career, I have no doubt we can expect so much more from them in the future, both as individuals and together as Parachute Youth. 

 

For all upcoming tour dates check out Parachute Youth's website.  You can also Follow Parachute Youth on Twitter and Like Parachute Youth on Facebook.

Pre-Order/ Download Can't Get Better Than This - EP

Festival Review: St Jerome's Laneway Festival

On February 8th, 2013, Adelaide Laneways were graced with the likes of The Rubens, Flume, The Japandroids, of Monsters and Men, Bat for Lashes, Chet Faker, Alpine, Alt-J  and many many more musicians, both local and international for the St Jerome's Laneway Festival. 

A smorgasbord of indie / folk/ rock acts assured that the event was a sell-out with many punters arriving before 5pm to enter the venue, suss out the situation and plan their attacks on how they would venture from stage to stage to see their favourite acts. (time of course would assure that this was not up to individuals but rather the incompetent security staff and systems put in place by event management.)

The Divine Fits - up close and personal

Nat and Brit - Awesome!
 Follow @natbrunoli on twitter.

But first; the music.  Whilst many were unfortunately unable to access stages to watch musicians play (we thought this is what the $120.00 was for?...) this music blogger, was more fortunately familiar with the venue and "laneways" and was one of the lucky ones.  Alpine were first on the agenda - drawing in a reasonably sized crowd it was clear from the get-go that many festival goers were those who listened to entire albums rather than the singles alone.  Dancing and singing along was madatory and the Alpine singers Phoebe Baker and Lou James were flawless - the bands live rendition of their biggest hit "Gasoline" was pure bliss to listen to. 

Next, we caught Yeasayer, Cloud Nothings, Chet Faker, The Rubens, Of Monsters and Men, Flume, Japandroids (AMAZING), A little bit of Alt-J, a little bit of Bat for Lashes and finished then night with the Divine Fits - Cudos to Miss Natalie (who often writes album reviews for RTM), who managed to sneak backstage to hang out with non-other than front man Britt Daniels.  

image: boudist.com

All artists were incredible, performing to a tee - This was the fourth time I had seen The Rubens (although at about 5'5" I use the word "seen" loosely) and the boys did it again, melting hearts or girls (and likely guys!) everywhere.

Unsure of what Flume would play and how he would perform, it quickly became evident that this young DJ has established his own sound signature as well as cult following.   His mellow beats and remixes are surprisingly refreshing in comparison to the dance music played on commercial stations, and it's for this reason it's a safe call to say that the best of Flume is yet to come.

Japandroids were my personal highlight and I think it was because this was an unplanned band to see - although in the lead up, many people had nothing but good things to say.  I was so impressed by the stage presence that the two (yes only TWO) band members gave off, and the racket of rock and roll noise they produced. 

the not so great wall of weslo.

Overall the music was fantastic and the line up did not disappoint.  The venue, security and management of the event however was poorly executed and even behaviour from SAPOL was misunderstood by the crowd, who by comparison to other music festivals were not that bad.  I witnessed one of the two arrests on the day which "required" 3 police officers and 2 security guards to aggressively pin down a young male who did not appear to be resisting in any way.  It was unclear why this arrest took place, including by fellow policemen who were clearly more flustered and panicky than general crowd members.  Further  embarrassment to the Adelaide festival is highlighted in today's Indaily, which reads:

"The locked gates meant the smaller stage inside Fowlers Live emptied out quickly and Brooklyn punk act The Men played to no more than 15 people on their first trip to Australia."

How the crowd control was conducted remains a questions for the authorities, however this was clearly a foreseeable problem considering the calibre of acts performing, in the highly condensed time table, in incredibly small locations.  An alternative to the City West Campus? Perhaps the Adelaide Show grounds.  Sure the "Laneway" concept is novel, however realistically this is people's safety we're talking about, and providing a product that is promised upon purchase of the ticket.  And the Showgrounds have plenty of "Laneway-esk" nooks and crannys more suitable for a 4000 people event.

Scathing reviews of the festival's management have flooded the internet with many vouching that next year they will be attending the festival in another state. 

The Divine Fits

I always say an event is what you choose to make it.  I enjoyed Laneway.  I had a good time with my friends listening to great music.  Money's worth? Perhaps not.  Unfortunately, I believe the Adelaide leg of this festival failed to deliver in many areas for both audience and artists, but I put this as a challenge to the event organisers and look forward to seeing how they will improve this 'boutique' festival in 2014.

Soundtrack Review: DJANGO UNCHAINED

Is it too soon to predict what the greatest film of 2013 is?  Those who are answer yes may just not have seen  Quentin Tarantino's latest masterpiece, Django Unchained.

Leonardo Dicaprio is both charming and
terrifying as Calvin Candie

The film is, in a classic Tarantino style, is a mashup of a genres and the soundtrack is no different.  From heart wrenching spanish ballads, to deep hip hop,  to one bad ass James Brown track featuring 2Pac, the music hits the nail on the head in every scene drawing the viewer into Django's story, his past and his revenge.

With western themes appropriately featured throughout the soundtrack, the collaboration of genres and languages means that the music is always keeping you on your toes, wanting to know what's going to be next, or rather who?

"Freedom" by Anthony Hamilton and Elaya Boynton encapsulates Django's position at the beginning of the film.  Constant repetition lyrically paired with rhythmic percussion that reflects the sound of stomping, - heavy chained steps - matched with deep male backing vocals which could almost be mistaken for groans, takes you back to the 1850's and the struggle that so many slaves  faced every day.

A particularly interesting and entertaining attribute of the DJANGO UNCHAINED soundtrack album are the dialogue clips featured between the emotive songs, telling the story as it would be told if you were watching the movie, adding emphasis and purpose to these already powerful tracks. 

John Legend features on the album performing "Who did that to you?"  A deep track driven by an organ in a slight twist from Legend's traditional instrument of choice.  Django's story is tale of revenge and this song in particular see's two different sides of this tale.  Anyone who has seen the Django Unchained trailer (below) will know that there is a somewhat romantic element to the story - without giving too much away, Django is searching for his wife.  In Legend's track we are lead to wonder whether this song is directed towards Django's love or Django himself.

The standout track (and there's always one) is the James Brown and 2Pac mash up "Unchained (The Payback/Untouchable)".  When this track comes on in the film,  Jamie Foxx has never looked so good.  Sampling, what will be in years to come, a stand out one liner from all of Tarantino's films, "i like the way you die, boy," these horns and quick spit lyrics will have you feeling your own satisfaction's from Django's revenge.  It's so dirty.  Dirty satisfaction.

Unsurprisingly, the composer behind the Django Unchained theme has worked with Tarantino before on both Kill Bill films.  Teaming up with Robb Boyd, behind the soundtrack listing of action films such as the X men and Fast and Furious series joined by Mary Ramos - who had also worked on previous Taratino films including Pulp Fiction and Inglorious Basterds - it's no surprise that this soundtrack has come out as fantastic as it has. 

If you are yet to see this movie I strongly encourage you get along asap,  and after you walk out, reflect on how the music contributed to the story, and think about the last time music has done that in a movie for you. 

Django Unchained is currently screening throughout Australia. 

Django Unchained Soundtrack - Track Listing

1. Winged
2. Django (main Theme) – Luis Bacalov, Rocky Roberts
3. The Braying Mule – Ennio Morricone
4. In That Case, Django, After You…
5. Lo Chiamavano King (his Name Is King) – Luis Bacalov, Edda Dell’orso
6. Freedom – Anthony Hamilton & Elayna Boynton
7. Five-thousand-dollar Nigga’s And Gummy Mouth Bitches
8. La Corsa (2nd Version) – Luis Bacalov
9. Sneaky Schultz And The Demise Of Sharp
10. I Got A Name – Jim Croce
11. I Giorni Dell’ira – Riz Ortolani
12. 100 Black Coffins – Rick Ross
13. Nicaragua – Jerry Goldsmith Featuring Pat Metheny
14. Hildi’s Hot Box
15. Sister Sara’s Theme – Ennio Morricone
16. Ancora Qui – Ennio Morricone And Elisa
17. Unchained (the Payback/untouchable) – James Brown And 2pac
18. Who Did That To You? – John Legend
19. Too Old To Die Young – Brother Dege
20. Stephen The Poker Player
21. Un Monumento – Ennio Morricone
22. Six Shots Two Guns
23. Trinity (titoli) – Annibale E I Cantori Modern

Big Day Out 2013 - Back, Bigger and Better

Last year it was easy to rip into what some may call Australia's "first music festival", the Big Day Out.  From headlining acts pulling out weeks before scheduled concerts and stages being replaced by skate ramps, for many it appeared to be the beginning of the end of this much loved celebration of music. 

Vampire Weekend were one of the first
confirmed acts of 2013's lined up

But prayers were answered, complaining blogs were read and Ken West, one of the key organisers of the BDO promised that in 2013 the original music festival would be back to its former glory.  Early leaked line ups had social media commentators skeptical at first but it wasn't long until acts including major names The Killers, Yeah Yeah Yeahs, Vampire Weekend and The Red Hot Chili Peppers were confirmed as headliners for 2013s tour. 

Whilst Sydney experience it's hottest day ever on record for the Big Day Out at a whopping 46.5 degree peak, this reviewer hit the Adelaide Show Grounds for the first time in a few years, to see if the Adelaide BDO could compare to the big guns along the east coast.

The Friday before the Australia Day long weekend certainly set the tone for the festival with festival goers either partying hard or taking the opportunity to relax and soak up the sun and some tunes.  With the main stages offering well known acts throughout the day, many found a nice patch of grass early and settled in for the afternoon. 

Grinspoon were one of the first acts on the orange stage and with patriotism and nostalgia in full flight, Phil and the guys had the crowds moving in no time to their rock and rolls melodies - as with many bands, showcasing some of their new work - as well as having crowds belt out the classics together, flawlessly playing "chemical heart" and "no reason" amongst many.  As regulars of the Big Day Out it must be handed to Grinspoon - the energy was high and despite being one of the earlier acts in the day, this translated to the crowd.  Once Grinspoon were done festival goers wanted more.

Of course, the fantastic thing about music festivals like the Big Day Out is the number of stages showcasing both local and international talents.  One can simply stroll up to a stage and immediately be educated in indie rock, dubstep or dance, hip hop, reggae or blues.  But whilst the genres vary, the musicianship always remain quality.  Friends of the RTM Full Tote Odds featured on the Red Stage, whilst international Comedian/Up-and-coming Hip Hop act Childish Gambino took his flavour to the Converse Essential Stage, playing with a live band featuring one bad ass violinist.  Not bad at all Childish, not bad at all. 

Karen O of the Yeah Yeah Yeahs
 took no prisoners

Band of Horses were the smooth cats of the day on the main stages, entertaining the substantially smaller crowd that hung around for their set.  Regardless to this they were not disheartened interacting with the audience and taking the opportunity to showcase their talents across their broad range of bluesy instruments.  The crowds we however present for Vampire Weekend and they certainly got the crowd moving.  It seemed even those who weren't familiar with Vampire Weekend (yes - there were some who had emerged from their rocks) couldn't resist the urge to run around in circles during songs like A-Punk and their breakthrough hit Cousins.

Mainstage antics continued with the Yeah Yeah Yeahs bringing down the house - Karen O's insane voice proving that their is room or real rock chicks in this day and age.  The dirty gritty deep pitch Karen creates works perfectly with the instruments in the band contributing to the overall finesse of the band.  Only days after their new album cover art caused a stir online, the band showed no signs of moving backward and reminded everyone why they were headliners for the 2013 Big Day Out.

Crowds gathered together for The Killers, who were set to perform immediately before The Red Hot Chili Peppers.  While the girls were swooning over Brandon Flowers and his pearly whites, The Killers showcased every song they were known for and did so effortlessly.  With fireworks and confetti guns, festival performances don't get much more spectacular than this.  As someone who remembers when The Killers first emerged, there was something quite satisfying about seeing them perform as band that had truly mastered their craft.  

Finally, the Red Hot Chili Peppers hit the stage and if The Killers had mastered their craft, the RHCP had created a whole new level for their own.  Seeing the Chili Peppers was a personal treat; Chad Smith has been an idol of mine from a very young age, which was emphasized by how old all the members of the band looked.  Looks aside the RHCPs smashed our their set, with riffs, grooves and solos in between to demonstrate what years of playing music can lead, inspire and allow you to create.  The sing alongs were a plenty - anyone who has heard Triple J's live recording of Under the Bridge will know that almost all Australians know (almost) all the lyrics to this and almost all other Chili Pepper songs.

The Big Day Out was exactly that, and I forgive you, event organizers for last years almost disaster.  The festival seemed to have been reminded of its roots and what real musicianship and talent is.  However whether this is a one off or a promise that will be maintained is only something time can tell.  In the meantime we have a whole year of festivals coming our way so stay tuned for all you're festival updates right here on Ran Type Music.