THE LIVING END: ALIVE IN A STATE OF EMERGENCY

By Tom Semioli

This feature appeared in Amplifier Magazine, June 2006.

“I bloody well hope we’ll be around in another twenty or thirty years,” laughs bassist Scott Owen from a land down under. “I saw the Stooges recently and they were still passionate and fresh sounding. I think there’s still a lot of musical ground that we can cover as well, so I expect we’ll have the opportunity to keep making music long into the future.”

Australia’s finest, fittest, and most fervent punk pop export (a quintuple-platinum album, two platinum and five gold discs plus three Australian Recording Industry Association Awards), the Living End’s latest release is fittingly entitled State of Emergency, a collection which finds the band stretching from its original retro revival posture into more musical and intellectually progressive pastures.

The trio’s singer- guitarist-primary songwriter Chris Cheney says of the title cut: “it felt like every time the news comes on, a ‘state of emergency has been declared. The song deals with the paranoia and uncertainty generated from this…it also has a very positive message and promotes unity and not being oppressed by fear, whether it’s a false alarm or the real thing.”

Returning to the producer’s chair is the legendary Nick Launay (INXS, Gang of Four, Midnight Oil, Silverchair). After rummaging through fifty or so of the Living End’s best demos, Launay conjured the arrangements and blended various ideas into a cohesive collection. Quite the perfectionist, Launay forbade the veteran ensemble from dropping any song in mid-progress until he was convinced that a particular track had been completed to his satisfaction. “His experience in recording techniques is what makes him amazing,” Owens reveals. “We set up in endless configurations in the studio before Nick was willing to even begin recording. He wanted us to all be playing at the same time rather than doing layered rhythm tracks. Of course, Nick’s got the ear to get the organic sounds of an instrument, which is exactly what we wanted.”

The Living End were among the numerous bands that came of age during the mid-1990s post-punk explosion which included a slew of California bred stalwarts Green Day, Offspring, and Rancid. Owens proclaims “I don’t think our style has changed much over the years, but we have grown as musicians.  The song writing and recording has definitely become more focused. We’ve worked hard to become more competent in the studio to produce the results we’d originally imagined.” State Of Emergency was released in Australia in February and debuted at #1. The band played a few anonymous gigs under the moniker “The Longnecks” to road test the songs. Cheney recalls “of course, our fans found out about it and blew our cover, but it was a great way to work out our ideas…perhaps we should have worn masks!”

Among the many stand-out cuts is “We Want More.” Cheney emphasizes “I find that in terms of where popular music is sitting at the moment, there is way too much style and not enough substance. That track is probably one of the more rockabilly influenced songs on the album, it has that ‘stomp’ element that I think is a bit of a trademark for us.”

With new fans constantly coming into the fold, The Living End’s oldies but goodies are seemingly always in demand. Owen comments on their impending US invasion via the Warped Tour and their own headlining trek which will take State Of Emergency coast to coast, south to north, and on to Canada “I am always amazed at the sheer volume of everything in America. It is the land of opportunity. Coming from a country with a much smaller population it just seems that everything is so big, maybe too big in some cases. But this is the charm of the States. I also love the way that in the same country, there can be cities that are so very different than each other. America, here we come!”

State Of Emergency is set for an August 14, 2006 release date on Adeline Records.

ARAB STRAP: SATURDAY NIGHT’S ALRIGHT…FOR SULKING

By Tom Semioli  

This feature appeared in Amplifier Magazine, April 2006.

"Welcome to the world of Arab Strap" coos Aidan Moffat with a nod and a wink following his world-weary reading of "Stink" from The Last Romance, released just days earlier in America. The intimate confines of lower Manhattan's rustic Knitting Factory, filled to the rafters with collegiate indie rockers pining for the Scottish "post-folk" ensemble's latest tales of pain and angst, provided the perfect backdrop for an evening of symphonic din and bleary visions aplenty. But don't let looks -or the music- fool you.

Arab Strap fans would be shocked to discover that Moffat, known for his bold lyrics depicting the darkest depths of fractured relationships, is actually a jolly lad in the flesh. Burly and bearded, he patiently waded through a nearly ninety minute sound-check simply to his please his partner, the equally confounding Malcolm Middleton.

In the rock tradition of Marr/ Morrissey, Ronson/Bowie, Mick/Keith, the introverted, ornery guitar genius Middleton ("Aw, he doesn't like to talk…let's have a chat after the photo session.") complimented Moffat's baritone delivery by way of spacey sound collages and linear counter-melodies throughout the early evening performance. To reflect their sixth long-player, the band's repertoire was delivered at a brisk pace. Reveals Moffat, “this album is alot more upbeat … like the dark side in Star Wars though – quicker, faster, and more seductive."

Fueled by a muscular backing band (Arab Strap is officially a duo) consisting of keyboardist/guitarist  Steve Jones, bassist Michael Scanlin, and Scott Simpson on drums, Moffat, the only animated performer among the group, served as an invisible catalyst on stage, egging his mates on with waving hand gestures and frequent gulps of beer. They didn’t seem to notice!

"We don't really play the songs live before we record them so we've got that special energy: it's all fresh. Plus, we've had so many different bands, o tour is the same. This time out we based the line-up on The Last Romance which was basically two guitars and a piano. I'm very happy that we brought exceptional musicians on this trip. All we did was give them a finished copy of the album, and told 'em to learn it and we'll see you next week. It's all worked out beautifully."

After a month of rehearsal and a brief UK tour, the '06 version of Arab Strap is a well oiled machine. Ironically, the tune which grooved the most was "Don't Ask Me To Dance." Simpson's primal disco beat sliced through Middleton's wavering arpeggios and Jones' cheesy string effects whilst Moffat warbled "you're no angel from above / you’re the last girl I will…" over a center stage cadre of hip-swiveling female devotees who called out for more, more, more!

"I'm never surprised at the requests" laughs Moffat, "especially the obscurities." Case in point: "there was a song, I can't recall the title right now, that we recorded for a John Peel session years ago and I swear we've only played once or maybe twice in our lifetime. Well, a few people shouted it out last night. I can't believe the memories our fans have, though with the internet and downloading going on these days, people can get hold of anything, no matter how rare. I'm stunned."

“There Is No Ending" ventured into jangle pop as Middleton offered  a warm series of chirpy Byrds-like melodies over Jones' keyboard samples which sufficiently approximated the horn arrangement found on the recorded version. "You get two extra tracks in America," notes Moffat. “That was one of them! We have ten years worth of material to choose from" the singer says with a measure of disbelief. "We do the songs that we enjoy mostly but I would love to rehearse all six albums worth of material along with all the singles and b-sides and play them all…now that would be a challenge!"

GOMEZ: A FEAST OF FRIENDS AT THE BOWERY BALLROOM

By Tom Semioli

This feature appeared in Amplifier Magazine, October 2006.

“We’re baaaaaaaaaack! How many of yer were here last night? How many of yer are coming back tomorrow?”

It was nearly impossible to figure out who was happiest: Gomez or their paying customers. On the second of three sold out nights at the Bowery Ballroom in New York City, the veteran British five-piece emerged downright ebullient. Especially keyboardist- vocalist-guitarist Tom Gray, who simply could not wipe a Cheshire Cat grin off his face, nor stop playfully goading his extended family of fans. Attired no different than their faithful in t-shirts, sneakers, and worn jeans, Gomez’ extended residency exuded a frat party atmosphere.

Opening with a rambunctious reading of their sunny folk rock anthem “California,” Gomez immediately settled into a comfortable groove which characterized the evening. “Hopefully we can continually reinvent our songs” opines Gray. “It tends to happen over a long cycle. Some songs have managed to change year in and year out and are eternally part of our set. Although, we do love to pull out an obscure tune we haven’t played for several years just to see if we can get a feel for it again.”

Upon their debut in the latter stages of the 1990s Brit-pop explosion, Gomez distinguished themselves not only by the fact that they had three singers and four songwriters in their potent line-up, but they steered clear of the Beatles worship (Oasis, Verve) that made much of the decade seem like a pleasant, albeit re-cycled, rock ‘n’ roll affair. Based in blues, acoustic rock, experimental and old school busking, Gomez have carved out a cult niche, however the band’s record sales have yet to match their critical acclaim.

This year, with a new imprint (ATO), new producer Gil Norton (Pixies, Foo Fighters), and a strong new record of well-crafted pop tunes entitled How We Operate, Gomez appear primed to stay in the game for as long as they wish. Fresh off an appearance on Jay Leno’s Tonight Show, the band’s current trek across North America is a hot ticket. Nearly all the gigs are sold out. “We never practice to speak of,” notes Gray. “We’ll do a rehearsal before taking a new record on the road, but after that we just wing it. I don’t feel that our music ultimately benefits from being over-worked. The naivety gets sucked out and everything can become affected.”

Though Ben Ottewell’s raspy vocals – most familiar to the masses by way of the band’s cover of the Beatles’ “Fixing A Hole” in the Phillips Electronics commercial in 1998 - is Gomez’ most identifiable recorded moment - Gray and guitarist Ian Ball’s harmonies and leads are pleasantly unpredictable. Ian’s solo break on “Charley Patton Songs” and an off-the-cuff rendition of the blues warhorse standard “Baby Please Don’t Go,” which collapsed after two verses, were among the many enjoyable surprises.

With ten years worth of albums and touring under their belt, cat-calls for Gomez tunes went unabated. Gray is continually amused. “There is a daft out-take on Abandoned Shopping Trolley Hotline entitled ‘Shitbag.’ It’s absolute nonsense, but once and awhile, a voice, usually male, will cry out ‘shit---bag!’ Whether that’s for personal amusement or out of a genuine wish to hear the song, I cannot say.”

The title track to their latest collection featured intricate guitar play between Ball, Gray and Ottewell as the latter’s staccato lead vocal stopped and started on the verses in absolute sync with bassist Paul Blackburn and drummer Olly Peacock’s funky rhythms. Peacock’s jazzy brushed snare on “Notice” along with Blackburn’s reggae lines showed the band to be growing even more dexterous and diverse as they approach middle age.

Akin to a grizzled uncle affording advice to the younger generation, the band’s foot-stomping reading of “See The World” came off as well-intentioned mirror of their own life experiences. “Scouting for good restaurants” are among Gomez’ many off-stage on-the-road diversions revealed Gray. “And playing ukulele…or watching downloaded UK television comedy. As for their fans’ continued devotion, nothing surprises Gray, who has seen almost everything imaginable from the stage. “Fighting, getting naked, pissing …occasionally, all at the same time!”