They lyrically break free on songs like Little Sharkey & The White Pointer, probably the most Smiths-esque song on the record, which feels more personal than those that turn the personal into societal. The songs are not always so tunnel-visioned in their ideas. The added effect as the song closes of a saw cracking a skull hammers it home. Turning her gaze to the Christian preachers who flood their messages into the brains of the masses, there’s an attack to the song and the delivery that powers it through as she articulates the clash of cognitive dissonance, the individual over the collective. Christian Neurosurgeon kicks up more as the band roll as one from the beginning, although still the vehicle for Romy Vager’s guitar work and that affecting voice. There’s an air of isolation in the songs, but rarely of despair as the verve and energy pulsate throughout. It’s a plea for acceptance and a message of defiance, vocalising the need to escape and, as an album opener, hits you squarely in the jaw. What do you think about me?” It’s a powerful opener and once the lyrics hook you, they have you to the end. However, there’s always the hope of youth to come that will break the prejudice. Fathers who threaten to lynch, grandmothers who fear the devil. The verses build up with intensity, but the subtle music belies the powerful message behind it: the hate and violence towards people in the LGBTQIA+ community, from both strangers on the street to families whose shame turns to hate. The light chug of Alexandra starts up the record, propped up from behind with a subtle acoustic strum as the band slowly drift in. The combination ensures that the songs are cemented in a style and sound that feels both fresh and nostalgic at the same time. Romy Vager’s guitar chimes with Johnny Marr’s classic sound as spellbinding arpeggios run amock with joy over the songs, while her voice calls to mind a young and driven Peter Perrett. The record is built around a reverb-drenched guitar that pegs their sound to the shift from 70s new wave into 80s indie. On their second album, Melbourne’s RVG have written a long lost Only Ones record and it’s fantastic. Okay, will come right out off the bat with this. It does not store any personal data.Melbourne’s RVG return with their second album, a shimmering garage-pop record with doses of 80s new wave that brim with urgency. The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. The cookie is used to store the user consent for the cookies in the category "Performance". This cookie is set by GDPR Cookie Consent plugin. The cookies is used to store the user consent for the cookies in the category "Necessary". The cookie is used to store the user consent for the cookies in the category "Other. The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". These cookies ensure basic functionalities and security features of the website, anonymously. Necessary cookies are absolutely essential for the website to function properly. True Meanings is released on 14 September 2018. The double heavyweight vinyl edition is housed in a gatefold ‘tip-on’ sleeve (initial orders only) and includes an eight-page booklet, fixed inside the gatefold sleeve. The deluxe featurs five bonus tracks (making it a 19-track CD) which include “remixes from Richard Hawley, RaVen and The Reflex and instrumentals of Glide and Old Castles”. The 14-track CD is available in ‘soft-pack’ gatefold card wallet packaging, with a 12-page booklet or as a casebound book deluxe edition which features a bigger 28-page booklet. It was engineered and recorded by Charles Rees and mixed by Jan Stan Kybert.įormats are kept quite simple (compared to last year’s A Kind Revolution). The album was recorded in around three weeks at Paul’s Black Barn Studio and produced largely by Weller. Connor O’Brien wrote the words to The Soul Searchers, while Erland Cooper did the same for Bowie, Wishing Well and White Horses. Interestingly, lyrics for four songs were written – to Weller’s melodies – by others. True Meanings features many guests, including Rod Argent ( Hammond organ on The Soul Searchers, piano and Mellotron on White Horses) and Martin Carthy and Danny Thompson (picked guitar and double bass respectively on Come Along). The 14-track album is the 26th solo long-player of his career and is described as incorporating “lush orchestration” that contains a “dreamy, peaceful, pastoral set of songs”. Paul Wellerwill release a new album, True Meanings in September.
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