Australian singer-songwriter Brian Campeau is to a guitar what a Thai stripper is to a ping pong ball, both utilising their ‘instruments’ in the most unconventional ways. His new album, Mostly Winter Sometimes Spring, sees him take a very different approach to songwriting, while continuing to make the most of his gift for melody and mood. One instrument was chosen for each song on the album, and played in whichever way worked best at the time. Imagine melodicas, cellos, harmoniums and glockenspiels caressed, thrown, strummed, and deliberately misused in a bid to express Campeau’s experiences over the last two years.
Nina Simone / Just Like Tom Thumb’s Blues
Probably the saddest Dylan cover in history. Unbelievably simple, the band never overplaying, and her vocal is beautiful. Totally effective in creating immediate depression.
Tears for Fears / The Working Hour
The production on this is flawless, and it’s songwriting genius. It’s too bad they were only recognized for their hits because they really deserved more. They could have been hugely influential in the progressive scene if more people had paid attention.
The Dillinger Escape Plan / 43 Percent Burnt
The most brutal of brutal metal. It’s amazing to feel like you’re being murdered by a psychopath for the first two minutes, only to have them throw in a clean jazz section, without sounding cheesy. Plus, it’s with their original singer. Jaw-dropping.
New Buffalo / Cheer Me Up Thank You
She is my new favourite. Her songs are really well constructed and beautifully performed. Her production (done by her at home) is grandiose, yet she still manages to sound intimate. She is a very talented producer. I’ve been recommending this to a lot of people lately.
The Louvin Brothers / Satan is Real
These guys are hilarious. Totally die-hard religious and preachy (with a sermon in the middle of the song), but their harmonies are kick-ass. This really got me back into bluegrass and country.
Leonard Cohen / Avalanche
This whole album is intense, especially with this song as its start. One of his darkest tracks, Cohen is incredibly eloquent (as per usual), very insightful, and the string parts really bring out the mood, making it feel like Withdrawn is a 400 pound sumo wrestler. And he’s sitting on top of you.
Jane’s Addiction / Three Days
This is epic. Perry’s vocals have never sounded better, Navarro’s guitar playing is perfect (despite its messiness) and the rhythm section sounds huge. I would have loved to have seen these guys in ‘91, on-stage fights included.
Tom Waits / Warm Beer Cold Women
This album (Nighthawks) never seems to be in anyone’s top Tom Waits album lists, but when you consider tracks like this (with a perfect sax solo), and the fact that it’s a live album of all new material, you can’t go wrong. He’s one of the best storytellers, hands down, and his band rips it. Great song title, too.
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