Completely lost for words ver this review. Thank you Tian and FasterLouder.
Faster Louder Review
In a mere twenty-eight days, Hunz has managed to do what some bands take months or even years to accomplish, and which some only dream of. Created as part of the RPM Challenge, Thoughts That Move is a beautifully crafted collection of ten songs, which shows musicianship that far exceeds its short gestation period. The music is intricate and enigmatic, occupying that very small space where ambient, electronic, drum ‘n’ bass, and R&B overlap – a place where only a select superb few (Radiohead/Thom Yorke and Gotye spring to mind) have dared to venture.
The album opens with Hunz’s beautiful voice in It’s So Light, followed by Soon Soon, which employs one of the catchiest electronic drum beats since Radiohead’s Idioteque. Upbeat, R&B-infused songs, The Messenger and You Said Hello have such groovy beats and pop-tastic melodies that they are sure to make you want to bop along. These are contrasted with slower tracks like Car In The Meadow and Switch Off which have soaring vocals and Sigur-Ros-style ambience. Overall, the album is entirely cohesive (owing to its short production span) and takes the listener on a wonderful journey of catchy beats, sublime vocals and cascades of electronic noise and loops. God may have created the universe in seven days, but I think Hunz does a pretty good job with Thoughts That Move in twenty-eight.
You can read the whole review here : FasterLouder.com
This week will see some reviews of the show hit around the place. Plus some cd reviews as well. It is always such a nervous time because you hope people understand how you communicate your emotions across. If this review is anything to go by then I think I am being understood. Thank you so much, very “wow”.
Faster Louder Review
. . . . Hunz are, quite simply, amazing. Not only did this band create a sublime album in the space of a month, but they also have the live show to back it up. From the moment Hans van Vliet sings his first note, the audience are completely enchanted. Tonight the band launches their new album, Thoughts That Move, which rivals Gotye’s Like Drawing Blood in my books. (A big claim, I know. You can download it for free from the band’s website and decide for yourself.) Vliet’s laptop combines with careful bass and drums to produce an ambient sonic landscape, over which his luscious vocals soar.
While the band plays a mix of songs from the old and new albums, it is new songs like Soon Soon, with its repetitive drum beat and You Said Hello with its catchy melody that really stand out. From the previous album, the groovy Beg is clearly a favourite, as is the heartbreakingly delicate Draw the Line. The band finishes with the haunting Switch Off, leaving the audience spellbound. I don’t think there is a single person in the room who isn’t in awe of Hunz by the end of the set and I feel privileged to have been one of the first to see these beautiful songs performed live.
You can read the whole review here : FasterLouder.com
Wow. This review speaks for itself but I feel so blessed that people are enjoying my shows. Thank you.
The Troubadour – 7th of Feb
In an uncharacteristic change from my last pilgrimage to the Troub, the crowd is very modest-sized tonight; this occurrence presumably caused by the majority of Brisbane’s gig-goers being at either Cold War Kids, Crystal Castles, The Streets or the freshly-reborn Wolfmother’s “secret” gig. However it doesn’t deter the incomparable Hunz from delivering another standout show; the haunting “down, down, fall down” sample barely fades when the furiously-swaying frontman summons a melange of Four Tet-like glitches before launching into another soaring, drawn-out chorus. The power trio dynamic is employed to full extent – I ‘ve already previously mentioned how impeccable the rhythm section is and how much beautiful, charging bottom end can be extracted from an unfashionable 5-string bass. Additionally, I’m now convinced that the band’s music is as much perfect pop as it is math-rock, Hunz’s Thom Yorke – meets – Chino Moreno voice and modified synth/laptop skills a joy to behold. Let’s just hope he can never change, as he sings.
Tonight’s wildly eclectic bill has plenty of room for no-nonsense, Radio Birdman-style vintage rock & roll, which Black Mustang serve up with gusto. Celebrating their 5th anniversary as a band, singer/guitarists Steve Foster and Dave Starr, four-string punisher Dan Charlton and drummer Joe Hemingway launch into prime head- and hip-shaking ramalama; the swaggering Reason To Love, _Suzie_’s tambourine-aided sex beat, _I’m Not Scared_’s defiant crunch and signature tune _The One_’s glam stomp and genius three-power chord riff get both boys and girls moving and grooving. Ordering us to keep dancing, the quartet churn out a visceral Led Zep-like break before employing plenty of Chris Walken-satisfying cowbell on thudding set closer Jimmy; I am again reminded that local rock music doesn’t get any better than this and that Black Mustang’s Between The Devil And The Blue Sea album is a definite must for the car stereo – and other settings.
Rounding off the night, My Fiction are just as spot-on with their indie-disco throb as Black Mustang are with their classic piledrivers. There’s plenty of Robert Smith theatrics in frontman *Eric Robinson*’s voice as the band charge through the muscular rhythms of single Go and the exuberant_Your Tokyo_; riding the ‘80s-leaning track of the criminally underrated Departure and VHS Or Beta (circa Night On Fire), the four-piece are as fun to watch as their skittering, frequently wah-augmented riffs are catchy. Caught up in the excitement, lead guitarist James Laubscher jumps off the stage and proceeds to attack his instrument on the dancefloor to the collective delight. The big gigs might have attracted the wider crowd, but everyone present here at the Troub tonight could not possibly have any complaints about a highly entertaining evening of quality local music at a majorly cool venue.
Read review at FasterLouder.com.au
I really had a great night. The show just connected on so many levels, and I’m in awe of this review. If you get a chance, come and see me play at the same venue this Friday night. Thank you.
The Troubadour – 24 Jan
The Australia Day long weekend has well and truly arrived and after wading through hordes of inebriated Valley revellers, The Troubadour’s cosy, red velvet-adorned stage is a welcome sight. With firm knowledge that fantastic support acts are a Troub tradition, tonight’s independent music extravaganza kicks off in fine style as local laptop guru-cum-Thom Yorke’s spiritual compadre Hunz assumes control. Augmented by spiralling 5-string bass runs and tasty, trigger-assisted drums, the facial hair-sporting, keyboard-ambushing artist unleashes a number of thoroughly convincing, melodically complex numbers with twice the fire that Pivot usually allow for, gaining a number of new disciples (including this writer) in the process.
Next on, fellow Brisbanites Gladstone & Lochaber should have probably learned that sheer earnestness does not compensate for near-total absence of crowd interaction, no matter how heroic their stage antics or guitar workouts are. Despite drawing a considerable number of people to the stage, the majority of G&L’s reverb/echo-heavy set collapses into a sludgy, predictable indie-rock stew which is only somewhat spiced up by a pulsing, airy U2 detour (which is still hardly The Temper Trap’s Sweet Disposition) and a French song in open E that manages to successfully marry The Stranglers’ La Folie to Logic Will Break Your Heart-era Stills.
Freddy Mercury circa Bohemian Rhapsody? For real? Sure, why not – stuff The Darkness! The mighty Queen could not perhaps ever thought of better heirs than Melbourne’s [ME], and the immediate general consensus among the packed venue is that the fresh-faced quarted are !@%$ excellent musicians who could give The Fleet Foxes a run for their money with their harmonic vocal interplay (no joke). Whether it’s the histrionic soaring crescendos, juicy Brian May-style hammer-ons and fretboard fireworks or the grandiose, Muse-reminiscent piano breaks, the kids are simply more than alright – they are on fire. Working the heavily perspiring crowd into fervour with their own, exquisite brand of theatrical rock, [ME] apply a killer final touch by executing a tribal triple drum assault. Get back to Brissy soon boys – you !%$# rock!